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War: Stories of Conflict Teacher Support

Pearson Education Limited 2006

War:

Stories of Conflict Teacher’s Booklet

Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JE

England and Associated Companies throughout the World

© Pearson Education 2006

The right of Graham Fletcher to be identified as the author of this

work has been asserted by him in accordance with the Copyright,

Designs and Patents Act of 1988.

The original edition of War: Stories of Conflict is published in the

Macmillan Children’s Books

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system, or transmitted in any

form or by any means, electronic, mechanical, photocopying,

recording, or otherwise without the prior written permission of

the Publishers or a licence permitting restricted copying in the

United Kingdom issued by the Copyright Licensing Agency, 90

Tottenham Court Road, London, W1T 4LP

ISBN-10: 1-4058-3100-6

ISBN-13: 978-1-4058-3100-0

First published 2006



Introduction

Synopsis War is a collection of original short stories, specially commissioned by Michael Morpurgo,

the Children’s Laureate. The stories encompass various conflicts of the last 1,000 years,

from the Crusades to the recent war in Ira q. They deal with: a child’s relationship with his grandfather, who was badly burnt in the Second World War; a soldier returning from

the Crusades to find to find those who sent him ungrateful; a group of actors waiting for

VE day to be announced; the murder of a soldier on leave from the Iraq war; a romance

between a prisoner of war and a farmer’s daughter in Wales; children in New Zealand

learning about the reality of war in 1940; the persecution of the Marsh Arabs in Iraq after

the 1991 Gulf War, and the eventual return of the water to the marshes; a young, scared

American GI helping out a boy in WWII London; the consequences of the First World War

for a soldier and his family through the generations; a young boy sent to a holiday home

for poor children in WWII; a man remembering the madness, wickedness and boredom

he saw during the Suez crisis in Egypt; a princess who becomes a spy for the Allies in

WWII; a child returning to London in the Blitz to find some mysterious and frightening

neighbours; a mother and son’s journey to central Europe to find a Jewish girl lost in the

war and a young Palestinian girl’s struggle with nightmares caused by conflict.

Teaching War: Stories of Conflict at Key Stage 3

The stories in this collection present many opportunities for teachers to develop their

pupil’s ability to respond to literature. Short stories enable students to focus on themes,

language, characterisation and plot just as they would in full length novels. However,

because of the length of the texts, the students are able to focus in more detail.

This collection provides war stories which are just that – stories of war and the way it

affects individuals and society. The stories do not glorify war, but seek to explore how it

shapes the lives of the people influenced by it. They are accessible by students across

Key Stage 3. The range of locations and historical eras, from the Crusades to the modern

Middle East, via the First and Second World Wars, gives readers dramatic insights into a

variety of cultures and people. The characters, plots and language use provide students

with stimulating, thought-provoking and often challenging situations. These stories defy

the stereotype of warfare. Instead, what links them together is the universality of the

destruction war creates in the lives of those involved in it.

As a collection, the stories are ideal for both comparative study and work on individual

texts. In addition, because of the range of texts and the themes covered within them,

teachers will find it easy to slot them into existing schemes of work



Structure of this resource This resource provides suggestions for activities which can be easily slotted into a

scheme of work around the novel. It consists of two parts: the overview of teaching

and learning and the resources.

The overview of teaching and learning aims to secure progression in learning, rather

than just progression through the pages. It has been divided into 10 natural sections. The overview for each section indicates:

• the chapters to be read

• the features of the text to be explored

• the learning aims for the section (including Assessment focuses)

• brief descriptions of the approaches to teaching.

The resources comprise:

• Pupil worksheets (which can be photocopied)

• Teacher support sheets/OHTs etc

• Assessment criteria, grids etc.



Overview of teaching and learning Section Features to explore

during reading

Learning targets Activities

Pre-reading

Resources

Resource Sheet

1

• How the cover affects our

initial opinion of the book. • The use of media to create

effects.

Learning focuses

To be able to:

• use the media

information to infer/deduce the

possible nature of the

book. Assessment focuses

and Framework

objectives Writing AF3: 9Wr4

Activity 1: Cover tales

• As a class, discuss stereotyping. Talk about what it means: ask pupils what symbols of peace there are, e.g. white doves being

released/children holding hands etc. and ask how helpful such

‘shorthand’ is.

• Look at the cover together without opening the book or discussing its contents. Ask them to predict what the stories will be about; explore

the word ‘conflict’. Ask for justification based upon references to the picture and the title of the collection.

• Use Resource Sheet 1 to enable pupils to collect their ideas.

• Collect in the sheets and keep them for re-use in the final activity.



Section Features to explore

during reading


Half a Man

Resources

Resource Sheet 2 (OHT)

Resource Sheet

3

Resource Sheet

13 (Assessment)

• How the author builds up

the character of the grandfather before he

appears in the story. • Why the parents react to

the grandfather in the way

they do.

Learning focuses

To be able to: • empathise with

characters • synthesise

information from the

text into their

improvisations.

Assessment focuses and Framework

objectives

AF2, AF3

• 7R18, 7S&L10, 7S&L12

• 8R2, 8S&L10, 8S&L14, 8S&L15,

8S&L16 • 9R1, 9S&L10,

9S&L12, 9S&L14

Activity 1: Drawing out information about a character

• Read from the beginning to ‘he hated people staring at him, particularly children’ (page 5).

• Show Resource Sheet 2 (OHT) to the class and ask for suggestions to fill in some of the initial points in the boxes (apart

from the last one). Then distribute copies of the sheet to pairs to

complete.

Assessment Exercise: Practising and performing an improvisation • In the same pairs, prepare an improvisation of a conversation

Michael's mother and father might have before the arrival of Grandpa. Model the first idea for them, as follows:

Who speaks first? Mum

How do you think the conversation might start? Mum sits down

and tells Dad she needs to talk to him… • Finish by performing the improvisation to another pair. Does it work,

given what we know about the characters?




during reading


Ex Voto and

Real Tears

Resources Resource Sheet

4

Resource Sheet

5

• The similarity of the

returning soldiers’ situations.

• The reactions of the different characters and

the reasons for them.

Learning focuses

To be able to: • compare between

texts • express their own

opinions

• find a form of words

to express these.


objectives

AF3, AF4, AF6

• 7R7, 7R9, 7R18, 7S&L3, 7S&L4,

7S&L10, 7S&L13 • 8R3, 8R5, 8R6,

8R16, 8S&L3, 8S&L10

• 9R6, 9R7, 9S&L2, 9S&L9, 9S&L 10

Activity 1: Comparing reactions.

• Divide the class into groups. Give each group one of the following characters:

– From Ex Voto: the Abbot, the widow and the other people outside the church

– Real Tears: The Narrator, Stephanie, Ginny, the people

at the taxi rank.

• Using Resource Sheet 4 to summarise their ideas, ask the groups

to prepare a short presentation on one character selected for them by you, and his or her reaction to the soldiers. This should include a

flipchart presentation to synthesise the major points. As this is done, pupils can make brief notes on the original resource sheet.

• Put two of the flipchart sheets next to each other and ask pupils to

pick out the similarities and differences between them.

• Ask pupils to take one aspect of the treatment of the soldiers and write one paragraph explaining the similarities or differences

between them.

Activity 2: Discussing the nature of a hero • As a class, discuss what makes a stereotypical hero. In pairs, use

Resource Sheet 5 to show how much the soldier in Real Tears (Ben) fits the stereotypical ideas. Then, still in pairs, discuss why he

is not treated as a hero and prepare feedback for the rest of the

class, using the Reasons column to support any statements made.




during reading


The Question

Mark

Resources Resource Sheet

6

• How bias can be used to

reinforce the author’s viewpoint.

• How to collect evidence from the text and use it to

compare characters.

• How the attitudes of the

other characters towards

Elizabeth’s father and Toby’s are used to support

the authorial message.

Learning focuses

To be able to: • appreciate how bias

can be expressed covertly through

language

• compare characters,

and the different

functions they play, in stories.

Assessment focuses

and Framework

objectives

AF3, AF4, AF5, AF6 • 7R14, 7R17, 7Wr15,

7Wr19, 7S&L5 • 8R3, 8R6, 8Wr10,

8S&L10, 8S&L12 • 9R6, 9R11, 9Wr17,

9S&L6

Activity 1: The use of language to portray characters

• In The Question Mark, Elizabeth describes the Japanese as ‘baddies’. As a class, discuss how language is used to portray the British as

heroes. You may need to select examples to prompt pupils. • In pairs, use Resource Sheet 6 to examine the use of bias within

the story. Then discuss the roles played in the story by Elizabeth’s

father and Toby’s father.

• As a class, discuss why the author has presented the two characters

so differently. • Use the findings from Resource Sheet 6 to support a class

discussion about how the author uses Elizabeth’s father in the story and what his real function is.

Extension

• Ask individual pupils, where able, to write a detailed explanation of how the author challenges the stereotypical view of ‘enemies’.




during reading


The Princess

Spy, The Promise and A

Place on the Piano

Resources

Resource Sheet

7

• How authors create

characters. • How the ending of a story

affects the reader’s understanding of the

whole story.

Learning focuses

To be able to: • express their own

opinions • use inference and

deduction to predict

possible future

events.


objectives

AF2, AF3, AF4, AF6

• 7R15, 7R17, 7S&L5, 7S&L13

• 8R3, 8S&L5, 8S&L11, 8S&L12

• 9R6, 9R7, 9S&L2, 9S&L9, 9S&L10

Activity 1: Pre-reading discussion

• Before reading any of the stories, discuss the various meanings of the word ‘conflict, for example in the wider, global sense, but also

internal, emotional conflict, and in relationships, between groups etc.

Activity 2: Lies and principles

• As a class, discuss the notion of an acceptable lie (are there any?),

then read The Princess Spy.

• Ask pupils in pairs to discuss what principles, if any, are worth dying for and to feed back to the rest of the class.

Activity 3: Comparing lies

• Read the other two stories.

• Then ask pupils in pairs to use Resource Sheet 7 to compare the

nature of the lies told in The Princess Spy, The Promise and A Place on the Piano. They should consider why they are told and what

effects they are likely to have on the characters involved. Discuss how these three stories fit into a book of stories of conflict.

Activity 4: Comparing endings

• Re–read the endings of The Princess Spy and A Place on the Piano. As a class, discuss what the writer was trying do with each ending. In

pairs, use the What effect is there on the reader? section of

Resource Sheet 7 to help discuss which ending is preferred and why. Feed back to the rest of the class on the effectiveness of the

twists at the end of each story.




during reading


Not a Scratch

Resources

Resource Sheet 8

Resource Sheet

9

• How a wide expanse of

time is covered in a short piece of writing.

• How irony is used to make a point clear to the reader.

Learning focuses

To be able to: • trace the events of a

story • explore authorial

intent.


objectives AF5, AF6

• 7R2, 7R15, 7R17,

7S&L5, 7S&L13

• 8R3, 8R5, 8R7, 8R10, 8S&L3,

8S&L10, 8S&L12 • 9R6, 9S&L2, 9S&L9

Activity 1: Discussing the author’s intentions

• Read Eleanor Updale’s introduction to Not a Scratch. Discuss what the writer says she was trying to do.

• In pairs, use Resource Sheet 8 to map out the crucial events in the lives of the family.

Activity 2: Writing about the author’s intentions

• Read the final section from ‘It didn’t say so on her death certificate in

2005’ to the end of the story (page 164). As a class, discuss how Susan was affected by the First World War, even though she was not

alive during it. • Individually, pupils use Resource Sheet 9 to show how the First

World War continued to affect the family. For each character, pupils

write on the sheet what agony the First World War had given them.

Then they write a sentence to explain what the writer’s intention was and how she tried to achieve it.

Extension

• In pairs, read the last two sentences of the story. They are meant to be ironic… How? Read again the writer’s introduction to the story.

• Discuss how Eleanor Updale tries to achieve her aim and make a short presentation to the rest of the class to show how well she does.

Include in the presentation a reference to the ending of the story to

explain how the use of irony makes the point of the story clearer.




during reading


Leila’s

Nightmare

Resources

Resource Sheet

10

• How the different types of

conflict taking place within the story are shown by

the author.

• How the different

viewpoints are shown through the use of the

third person narrative. • What alternative methods

of showing viewpoints could be used.

Learning focuses

To be able to: • appreciate the

author’s technique

• extract information

form the text to support their points

of view.

Assessment focuses

and Framework objectives

AF5, AF6 • 7R15, 7R17, 7Wr6,

7Wr14, 7S&L15,

7S&L17

• 8R3, 8R5, 8R7,

8R10, 8R16, 8S&L14, 8S&L15

• 9R6, 9R7, 9R11, 9R12, 9Wr9, 9Wr11,

9S&L6, 9S&L12, 9S&L14

Activity 1: Going beyond the surface meaning

• As a class, discuss the range of conflicts taking place in the story, both physical and mental.

• Use Resource Sheet 10. Individually, fill in what the characters

think about the soldiers. Use the sheet as the basis of a class

discussion on how the author manages to show the reactions to war from the points of view of Leila, her mother, her brothers, her

grandfather. Discuss what the soldier’s points of view are and how the author shows these.

Activity 2: Showing understanding of characters

• Ask pupils to write a monologue as one of the characters explaining his/her viewpoints and how they may have changed during the story.

This may need to be modelled by providing the opening lines, as follows:

– Sample opening for Uncle Latif: ‘Leila didn’t know what she was

doing. I was only trying to protect her. I didn’t expect them to

attack me. I used to try to see their point of view but not any

more. They’re nothing but monsters.’ • Pupils perform the monologue for the rest of the class.




during reading


American

Patrol and Albert’s Cap

Resources

Resource Sheet 11 (OHT)

• How similar the two

stories are. • How the authors use

setting, time, the main

characters, themes and

language to make their authorial viewpoints clear.

Learning focuses

To be able to: • make comparisons

between texts

• express personal

opinions.

Assessment focuses


AF4 • 7R2, 7Wr2, 7Wr12,

7Wr19 • 8R3, 8Wr1, 8Wr10,

8Wr18

• 9R7, 9Wr4, 9Wr9,

9Wr10, 9Wr17

Activity 1: Comparing stories

• Read American Patrol and Albert’s Cap. Display Resource Sheet 11 (OHT) to the class. Draw arrows from the words to the appropriate

boxes (e.g. if Setting is similar draw an arrow to the top box) and

then ask for examples to back up the similarities and differences. Do

this for Setting and one other feature, then distribute copies of the sheet to pairs to complete.

• Pupils turn these notes into simple sentences comparing and contrasting the features. You may need to model this, using

appropriate connectives. • Finally, individuals write a comparison of the two stories, explaining

which one they prefer and why.




during reading


All stories

Resources

Resource Sheet

12 (OHT)

Resource Sheet 14 (Assessment)

• How writers use plots and

language to shape readers’ reactions to

characters.

Learning focuses

To be able to: • make comparisons

between texts

• express personal

opinions.

Assessment focuses


AF6 • 7R4, 7R14, 7R16,

7Wr2, 7S&L5, 7S&L13

• 8R3, 8Wr10, 8Wr13,

8Wr17, 8S&L3,

8S&L10, 8S&L11,

8S&L12 • 9R2, 9R4, 9R6, 9R7,

9Wr2, 9Wr9, 9Wr10, 9S&L9, 9S&L10

Activity 1: Reading across three texts

• Show Resource Sheet 12 (OHT) to the class. • Using A Place on the Piano as a sample ask for suggestions to fill in

some of the initial points in the boxes.

• Then, in groups, choose a further two short stories (or one plus a

new one). Distribute copies of Resource Sheet 12 and complete the sheet as a basis to make a presentation to show how the writer has

tried to shape the readers’ reactions to the characters within them. Good examples of this are Mrs Glossop and the narrator’s mother in

A Place on the Piano.

Activity 2: Assessment Exercise • Practise a presentation in groups which focuses on the different

characters in the stories and how the writer has shaped our reaction to them. Suggest that pairs within the group deal with one or two

characters from a story, and explain what they are like; how the

writer presents them (referring to examples) and what they (the

pupils) think of them as characters.

• Resource Sheet 14 (Assessment) can be used here.




during reading


Follow-up

Resources

Resource Sheet

1

• How the cover affects our

initial opinion of the book. • How important the cover is

in influencing the reader.

• How to self-review.

• How media can be used to create effects.

Learning focuses

To be able to: • review and revisit

their ideas

• demonstrate their

understanding of media techniques.


objectives AF3, AF6

• 7R10, 7Wr 11, 7S&L5, 7S&L13

• 8R9, 8Wr1, 8S&L7,

8S&L10, 8S&L12

• 9R6, 9R7, 9Wr 4,

9Wr12, 9S&L2, 9S&L9, 9S&L10

Activity 1: Looking back

• Give out the completed Resource Sheet 1 from the first session. • Discuss what the initial thoughts about the collection were, and

compare these with the reality of the stories.

• In pairs, given what they have read, discuss what they think the

front cover of the book should look like. Ideally, they should link these designs to the issues and content of the text as they know it.

Pupils then feed back their ideas to the rest of the class. • Individually, design a new front cover for the book and write an

explanation of how it works.

War: Stories of Conflict Pupil Resource Sheet 1

Pearson Education 2006

Pupil Resource Sheet 1

Task

Look at the outside cover of War: Stories of Conflict. What do you think the stories will be about? In each of the boxes below, write a sentence to show how

the image, text and font influence your thoughts.

The image and the colours The image on the cover shows

The fonts

I think the font/typeface shows

The title

The title tells us that

War: Stories of Conflict Teacher/Pupil Resource Sheet 2


Teacher/Pupil Resource Sheet 2 (OHT)

Task Use the boxes below to help you recall and note down key information and then plan the content of your improvisation.

Resource sheet 3

Events from previous visits that could be included in

the conversation

•

•

•

•

•

Outline of Grandfather’s injuries and how he

received them

•

•

•

•

•

Ideas to be included in the improvisation (DO THIS LAST)

•

•

•

•

•

•

Mother and Father’s opinions

•

•

•

•

•

Grandfather



Pupil Resource Sheet 3 Task

Now you know what you and your partner are including, you need to make some

more decisions. Use the grid below to help you structure your improvisation.

REMEMBER – you are not writing the actual lines, just an idea of what Mum and Dad might talk about.

Order of ideas Ideas and outline of what is said

1 (Introduction)

Who speaks first?

How do you think the conversation might start? (awkwardly? joyfully?)

2

What is said/what they talk about:

Link to next idea:

3

What is said/what they talk about

Link to next idea:

4


Link to next idea:

5


Link to next idea:

6 (Ending)

What is decided?

Who speaks last?



Pupil Resource Sheet 4 Task Fill in the diagram below to show the attitudes of different people towards the

‘heroes’ once you have watched the group presentations.

REACTION TO THE CRUSADER (SIR HUGH)

The Abbot’s reaction

Evidence

The widow and the people outside the church’s reaction

Evidence

REACTION TO THE SOLDIER (BEN)

The narrator’s reaction

Evidence

Stephanie’s reaction

Evidence

Ginny’s reaction

Evidence

The people at the taxi stand’s reaction

Evidence



Pupil Resource Sheet 5 Task

Complete the diagram with the features that make up a hero for you.

Then, put your ideas into the grid below. Tick Box 1, 2 or 3 to show how much

Ben fits them: 1 is a complete match; 2 is a partial match; 3 is not a match at all. Use the Reasons column to explain your thoughts.

Idea 1 2 3 Reasons

•

•

•

•

•

Hero



Pupil Resource Sheet 6 Task Elizabeth’s father:

Elizabeth’s mother is biased.

Write your own definition of ‘biased’:

________________________________________________________

________________________________________________________

Why is Elizabeth’s mother biased?

•

•

•

•

Which other characters are biased?

•

•

• What are their reasons for being biased?

•

•

• How biased is Elizabeth’s father?

Which character (if any) do you think expresses the viewpoint of the author?

What reasons can you give for your choice?

•

•

I think if you look at war really closely it

loses its shape. I mean, for your mum, we are the goodies and they are the baddies –

no doubt about it. But over in Germany – in

Japan - there are thousands of people absolutely sure that they are the goodies

and we are the baddies.




Task Fill in the grid below to help you compare the effects of the lies told in each

story.

Questions The Princess Spy The Promise A Place on the

Piano

What is the

lie?

Which character(s)

are affected by the lie?

What effect

does it have

on them?

What effect is there on

the reader?

(i.e. Does it change the

way we view a character or

subject?)




Task In her introduction to Not a Scratch, Eleanor Updale writes, ‘This is the story of one family’s experience and how the scars of war are still

visible in the actions and attitudes of later generations.’

On the flow diagram below, add the events that took place in the

family’s life. The first one has been done as an example.

New Year’s Eve 1915

Maude and Sydney go to a party

and vow to marry as soon as the war is over.

1916 – 1918

1919 – 1938

1939 – 1945

1946 – 2005




Task

In her introduction to Not a Scratch, Eleanor Updale writes, ‘We should remember the survivors. Their agony lives on in unexpected ways.’

In each character’s flash, note down what their ‘agony’ was. Then, write one

sentence underneath to explain what the writer’s intention was and how she tried to achieve it.

Eric Margaret

Sidney

Maude

Susan

________________________________________________________

________________________________________________________




Task Fill in the thought bubbles to show what each character thinks about the soldiers.

Leila’s mother

Leila

Leila’s uncle

Leila’s cousins

War: Stories of Conflict Teacher Resource Sheet 11


Teacher Resource Sheet 11 (OHT)

Setting Time Main Character Themes

Language use Authorial viewpoint

Similar

Different

War: Stories of Conflict Teacher/Pupil Resource Sheet 12


Teacher/Pupil Resource Sheet 12 (OHT)

Task Use the grid below to collect material for your presentation.

Story 1

______________

Story 2

____________

Story 3

_____________

Plot

summary

Characters

Readers’ reactions to

characters

Techniques

used

Effectiveness

of techniques

War: Stories of Conflict Assessment Grid


Guidelines for assessing reading task

Assessment Exercise 1

Text: Half a man In pairs, students improvise a conversation between the boy’s parents as detailed in the lesson plan. Pupils will have done some planning first before performing the improvisation.

AF2 – understand, describe, select or retrieve information, events or ideas from texts and use quotation and reference to text.

AF3 – deduce, infer or interpret information, events or ideas from texts.

Level 3 From some parts in the excerpt:

Identifies simple, most obvious points

May show some misunderstanding

Uses some reference, but not always relevant e.g. often paraphrasing or retelling the narrative rather than supporting comment

From some parts in the excerpt:

Responses show meaning established at a literal level, but little sense of meanings beyond this

Straightforward comment based on a single point of reference

Responses based on personal speculation rather than reading of the text

Level 4 Across the whole excerpt:

Identifies some relevant points

Uses some generally relevant textual reference or quotation to support comments , e.g. refers to most obvious details but is unselective or lacks focus

Across the whole excerpt:

Comments make inferences based on evidence from different parts of the excerpt e.g.

Mum: I really don't like Dad coming here. He's really difficult to deal with.

Dad: I know. He hardly speaks and it's hard to even look at him. I know it gives Michael nightmares just before your father arrives each time.

Inferences often correct, but comments not always rooted in the text, or retelling narrative


Most relevant points clearly identified, including those from a range of places in the excerpt

Comments generally supported by relevant textual reference or quotation, even when points made are not always accurate


Comments develop explanation of inferred meanings drawing on evidence from across the excerpt e.g.

Mum: I really don't like Grandpa coming here. He's really difficult to deal with. I’ve explained to Michael about how mustn’t leave his toys out in case Dad trips over them or have the television on loud because he doesn’t like too much noise. Most of all I’ve drummed into him that he mustn’t stare at his Grandpa. I’ve never been able to explain that though.

Dad: I know. Your Dad’s so taciturn. It’s hard to get anything out of him. It's hard to even look at him. He hardly speaks. Never smiles. Never laughs. I know it’s difficult for him but it gives Michael nightmares every time before he comes.

Comments make inferences and deductions based on textual evidence


Relevant points clearly identified including summary and synthesis of information from different places in the excerpt.

Response incorporates apt textual reference and quotation to support main ideas


Comments securely based in textual evidence and identify different layers of meaning with some attempt at detailed exploration of them e.g.

Mum: I really don’t like Dad coming here. It’s so embarrasing. Michael stares at him. I’ve told him not to but he does. I dread to think what Dad thinks of it. He must hate it. I’ve told the boy it’s rude but he does it just the same. I can’t think why. I can’t bear to look at him. I can tidy his toys away and I can turn the televison down but I can’t stop Michael staring at him. Perhaps if we saw him more often it would be easier.

Dad: You know why we don’t see him more often. There’s the distance from the Scilly Islesand the expense. You know how much he hates big cities, especially London. Besides, it’s so bad when he’s here that I don’t think we could take more of him.

Comments consider the wider implications or significance of information, events or ideas e.g.



Mum: I never knew Dad before the injury. He must have been different then. My mother never wanted to talk about it. She just said he was no longer the man she married. She made him believe he was only half a man. I was very young when she left him. The only things I knew about him were what she told me. I still don’t know exactly what happened to him. She wouldn’t let me see him. In the end I had to sneak off without telling her. I was practially grown up by then. I can’t forgive her for that.


Summarises and synthesises relevant points from across the excerpt, using evidence judiciously, often following a key reference with several linked examples

Response incorporates apt and succinct reference, integrating support throughout explanation

Across the. whole excerpt:

Comments securely based in textual evidence and interpret different layers of meaning through detailed exploration e.g.

Mum: I really don’t like Dad coming here. It’s so embarrasing. Michael stares at Dad and I can’t bear to look him in the face. It’s not just his face. It’s his hands with the missing fingers; the top lip that’s disappeared; the ear that’s little more than a hole in his head. It revolts me but Micahel seems fascinated by it. I watch him. It starts off with a sneaky look and very soon that look becomes a stare. I’ve told him not to but he does it all the time. He knows I’m watching him. He must be able to feel my eyes boring into him, willing him to stop staring. I dread to think what Dad thinks of it. He just sits there, not smiling, not reacting. He must hate it. I’ve told the boy it’s rude but he does it just the same. I can’t think why. I can’t bear to look at him.

Dad: I’ve seen Michael doing it too. Sometimes I have to kick him under the table to try to make him stop. I don’t know why, that face is so forbidding that I can’t look at it either. I don’t think it would be easier if we saw more of him. It’s just something we have to get through once a year.

Comments show appreciation of the wider implications or significance of information, events or ideas e.g.

Mum: I never knew him him before the injury. He must have been different then. My mother never wanted to talk about it. She just said he was no longer the man she married. She made him believe he was only half a man. I was very young when she left him. The only things I knew about him were what she told me. She wouldn’t even look at him. She was his wife and couldn’t bear to look at him. How would that make him feel? She said she wouldn’t let me see him because it would frrghten me. She was right. When I finally sneaked off to see him I was shocked. I can’t look at him. I want to but I can’t. His own daughter and I can’t look at him. How must that make him feel? I can’t tell him, so I have to content myself with trying to be kind to him. In the end I think I’m just trying to proect myself ... and Michael ... and Dad.



Guidelines for assessing reading task Assessment Exercise 2 Text: Three stories of group’s choice

AF6 – identify and comment on writers’ purposes and viewpoints, and the overall effect of the text on the reader.

Level 3 From some parts in the excerpt:

Comments identify main purpose e.g. A Place on the Piano, The Princess Spy and the Promise all have lies in them. The authors are trying to show that it is not always right to tell the truth.

Expresses personal response but with little awareness of the writer’s viewpoint or effect on the reader e.g. We liked A Place on the Piano more thn the others because the twist at the end of it is better than the other two.


Main purpose identified

Simple comments show some awareness of writer’s viewpoint e.g. All three texts deal with the idea of the truth on people. They are all told in the first person. This allows the reader to understand more clearly the thoughts of the main characters because they are able to express their own feelings.

Simple comment on the overall effect on the reader e.g. The Promise was the easiest for us to understand as it was the one we felt closest to and could have imagined ourselves as being in. The other two were about adults and it was hard to relate to them.


Main purpose clearly identified, often through general overview e.g. The authors’ main purposes in The Princess Spy, A Place on the Piano and The Promise are similar. Although the settings are completely different, they all show the effect of not telling the truth. The reader is forced to question whether this is a good or a bad thing by showing how the outcomes affect the characters.

Viewpoints clearly identified with some, often limited, explanation e.g. We felt that The Princess Spy was making a big point about how people are seen to be unimportant in war. For us it was the most appealing as it not only made us admire her courage in remaining silent but it also made us angry at the way her controllers sent her to her death by allowing her to be caught. They expected her to talk and give the Germans false information about the Allied landings. Ironically, she stayed silent unnecessarily.

General awareness of effect on reader with some, often limited, explanation


Evidence for identifying main purpose precisely located at word/sentence level or traced through excerpt e.g. In a Place on the Piano, Eva Ibbotson is trying to explore the differences between love and duty. Mrs Glossop is clearly shown to have little understanding of Marianne, the young girl she intends to adopt. She wants her out of a sense of duty whilst Mrs Wasilewski wants her because she loves her. Mrs Glossop takes it for granted that because the girl is poor “ she’ll be a little savage” but feels that she has no choice but to take her in. Her lack of commitment to the girl is shown when she does not even go to collect her herself as she has to go to a royal garden party “ and two days later it’s Daphne’s prize giving”, another event that cannot be missed. The reader is meant to appreciate how little the girl would mean to her. The writer’s view is made even more plain by the fact that Mr Glossop cannot collect the girl because he has “the annual meeting of the cricket club” to attend. Mrs Walewski has none of these vitally important functions. She had made Marianne’s world with such loving care” and had “almost been destroyed at the thought of losing her.”

Viewpoints clearly identified and explanation of it developed through close reference to the text

The effect on the reader is clearly identified, with some explicit explanation as to how that effect has been created



NB If a Powerpoint presentation is used, some detailed preparatory work on how they might utilise the program to convey what they know will be needed. Also, they will need to avoid

common pitfalls such as:

• Too much movement, animation/effects at the expense of clarity

• Too much time spent on the look, not enough on the learning (about the texts)

• One person doing all the work, while the other merely reads out or presents

• Not getting the balance right between verbal description and visual support (the

Powerpoint slides should not merely replicate what is said).


Apt and judicious use of evidence for identifying main purpose precisely located at word/sentence level or traced through excerpt e.g. The Princess Spy explores the abstract ideas of honour, truth, bravery and loyalty. The poignant death of the spy in Dachau is described almost objectively: “An SS man came up behind them and, one by one, shot them dead.” The lack of vivid description makes the death seem more shocking, cold, callous and calculating. The reader is forced to question why it happened. The guilt is not just pointed at the Germans. They are portrayed stereotypically as arrogant and ruthless. However, they are perceived to being playing their role. What is shocking for the reader is the action of the British. They are seen to be equally complicit in the girl’s death. They had expected her to be captured and anticipated her he interrogation. Assuming she “break in the end”, they had given her “false information”. “It was all part of the plan” makes it clear that they had little regard for her safety. The use of the first and third person narratives throughout the story alternately thrusts the reader into the action and then removes them from it, creating a feeling of confusion that reflects the main character’s position. At the end the reader is left to consider the value of one human life in comparison with the ‘greater good’ and where the truth sits in such relationships.

Subtleties of viewpoint explored through developed explanation with close reference to the text

A range of effects on the reader is explored, with explicit explanation as to how that effect has been created

war: stories of conflict - pearson education€¦ · war and a young palestinian girl’s struggle...

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