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Comparing I am Malala and Pride

August 26, 2020

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The following is an excerpt from our study guide, I am Malala and Pride , available for purchase here .

Plot overview

I Am Malala by Malala Yousafzai is a memoir of the eponymous Pakistani schoolgirl and activist. Yousafzai grows up in Pakistan’s Swat Valley with parents who were unconditionally supportive of her education. However, Pakistan is strongly under the control of the Taliban, an extremist group who opposes education for girls. On the other hand, Yousafzai’s family practice Islam in a peaceful and egalitarian manner.

Tracing how decades of global, geopolitical movements have produced these conditions, Yousafzai recounts the rise of the Taliban and her increasingly dangerous journey to school each day. The geopolitical histories trace back decades to the military rule of General Zia in the 1980s. Since then, turbulent domestic politics combined with a volatile, ever-evolving relationship with America (which, importantly, is partly America’s fault) has allowed the Taliban to rise to power. The post-9/11 period and the ‘War on Terror’ are important milestones here, since these are the years in which Yousafzai grows up. 

As the Taliban continue to deny women and girls their freedoms, Yousafzai becomes an outspoken activist, made all the more prominent by the BBC and the New York Times. Because of her fame, nationally and internationally, she becomes a target and is shot in the head by Taliban gunmen when she is just 15. The memoir starts here in its prologue, before going back in time to catch us up. Indeed, Yousafzai is now well-known everywhere for this incident. 

The remainder of the book traces her recovery, and reaffirms her commitment to fighting for girls’ education. Even though she now lives in Birmingham, England, she has persevered through many setbacks to keep up the good fight - now on a uniquely far-reaching international platform. 

Pride , directed by Matthew Warchus, is a film exploring the 1984-85 miners’ strike in Britain. In particular, it explored how an unlikely ally, the Lesbians and Gays Support the Miners (LGSM) organisation, was able to provide solidarity and support despite their differences. 

At the time, many members of London’s LGBT community had difficult coming out experiences, made all the more difficult by stigma and dominating views of masculinity - they perceived miners in their hometowns as part of that problem. However, activist Mark Ashton saw an opportunity to help a group in need, and a group that was experiencing similar political pressures as themselves, particularly at the hands of Conservative Prime Minister Margaret Thatcher. 

While the National Union of Mineworkers is initially reluctant to take LGSM’s money, Mark is able to connect directly with Dai Donovan, who represents miners from the Welsh village Onllwyn. Over time, LSGM is able to build relationships with locals, who gradually warm to their presence as well. Solidarity - the idea that anybody’s fight against injustice is everybody’s fight against injustice - is an important part of what makes this partnership tick. Their campaign culminates in the Pits and Perverts concert, which raises thousands of pounds. 

The ending is a bittersweet one though - the mineworkers’ union finds this too controversial, rejects further support and ultimately loses the strike, while the queer activists return to their own struggles with identity and belonging. However, the campaign forged lasting bonds between these activists and miners, who show up in their own display of solidarity at the next year’s Pride March. 

Themes, Ideas, and Key Messages 

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I use this strategy throughout my discussion of themes above and in the next section, Essay Topic Breakdown.

Similarities (CONVERGENT Ideas)

Identity and Perspective : Before even considering the activism that is featured in each text, it’s worth unpacking the individual identities of the main characters, and the complexities that come with them. Both texts see characters juggle and negotiate tensions within their identity - in particular, other people who share the identity don’t always see eye to eye with them. In I Am Malala , Yousafzai often finds herself at odds with other practitioners of Islam, especially the more extreme Taliban who would oppose her belief in girls’ education. Likewise, queer activists in Pride ’s LGSM draw incredulity from their peers, who bristle at the idea of supporting the mineworkers. However, not only are these characters able to overcome these tensions, but their personal identities give them a perspective that feeds back into their activism - they actually draw on their identity in their fight for justice. Yousafzai acknowledges that Muslims “don’t [all] agree” (Chapter 7), but she firmly believes that “education for females not just males is one of our Islamic rights” (Chapter 23). Her fight is informed by, rather than separate from, her faith. In the film, personal identity also acts as a springboard for activism. For example, the collaborative and highly successful Pits and Perverts fundraiser came about as a result of the “long and honourable tradition in the gay community [of] when somebody calls you a name…you take it and you own it”. Queerness is mobilised to fundraise for the miners, rather than silenced or excluded as others might have it. 

Injustice and Activism : As we explored in the context sections (and as we’ve been exploring throughout), a fight for justice is fundamentally at the heart of both texts. In the film and the memoir alike, we see conservative agendas disempowering certain groups. Yousafzai recounts how pre-existing sexism in Pakistan, where girls found “no point in going to school just to end up cooking, cleaning and bringing up children” (Chapter 3), was exacerbated by the Taliban who closed schools altogether. They would even vandalise and destroy schools - “by the end of 2008, around 400 schools had been destroyed” (Chapter 11). Yousafzai’s fight is really about equality and human rights. The miners and LGSM are fighting their own injustices and inequalities in the film - Prime Minister Thatcher had been closing down mines and stripping miners of their livelihoods. Not only that, but she’d used pretty brutal tactics, calling in the police and withholding income support for newly-unemployed miners who struggled to feed their families through the winter. 

Women’s Education : This isn't the principal fight in Pride , but there are moments where it definitely shines through. In particular, we first meet Sian as a young housewife, but by the end of the film Jonathan had encouraged her to return to school, and we know that she goes onto become the first female MP of her district. Through the strike, she discovered her own passion for trade unionism, and education hugely empowered her to take that passion further. This is particularly important given how much the strike affects men and women alike - consider the significance of ‘Bread and Roses’. In the memoir, the importance of women’s education is a much more central element. As Yousafzai points out, “going to school wasn’t just a way of passing time, it was our future” (Chapter 11). In both texts, education helps people (and women in particular) forge relationships and futures for themselves, and for one another. 

Differences (DIVERGENT Ideas)

Now it's your turn! Here are some questions to get you thinking about the differences between the two texts:

• Activism: what forms of activism are there? how effective can activism be? how are these ideas portrayed in the two texts?
• Solidarity: what does solidarity mean? what are the ways in which people can show solidarity? how are these ideas portrayed in the two texts?

Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response . 

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Prompt: Compare how the two texts explore injustice.

Step 1: analyse.

This is a theme-based prompt. Both texts have a pretty clear focus on this idea of ‘injustice’, so it’s an important theme to have thought about beforehand. This prompt is quite broad, so you could potentially include a wide range of thoughts and opinions about injustice—you might want to consider angles like who is affected, what its impacts are and what actions can reasonably be taken against it. Also because of how broad this prompt is, try to find answers to these questions from within the texts, but phrase them in a way that doesn’t necessarily refer to a text. This will help you keep your ideas flexible for both texts when the time comes to write. 

Step 2: Brainstorm

I think those angles are a reasonable starting point for brainstorming. In the memoir, Yousafzai and her peers—Pakistani schoolgirls—are the most affected, while the injustices portrayed in the film affect coal miners and the LGBTQ+ community. All of these groups are disempowered and disenfranchised by injustice, and this is an important impact. Note that this is something you can say about both texts, which is exactly how we were trying to phrase our answers.

In terms of taking action against injustice, there’s a wide range of measures across the texts—speaking out, writing for news outlets, organising large-scale fundraisers etc.—and the key takeaway from that might be how diverse these measures are, the different outcomes they generate and whether or not they’re effective. 

Step 3: Create a plan

Because this theme has a lot of rich overlaps between texts, it’s best to integrate discussion of both texts into every paragraph. When we do this for a theme-based prompt, especially a prompt with just one theme, that means every paragraph uncovers a new angle or dimension from both texts about the theme. Learn more about Integrated Text Discussion in How To Write A Killer Comparative .

P1: Injustice is framed as limiting people’s power—we can look at marginalised groups in both texts, from the schoolgirls of Yousafzai’s Pakistan, or the miners and the queer folk from the film.

P2: It’s also something that must be fought. Because it has such a detrimental impact, there is a need for those groups to stand up for themselves and for each other. 

P3: In so doing, injustice may take time to overcome, but that doesn’t mean we shouldn’t fight it. Not all activism can be instantly, wildly successful—partial successes along the way are usually more frequent.

Our contention will try to string those three ideas together: injustice in any society involves some experiencing marginalisation and powerlessness that others do not experience (P1), and it is something that must be fought (P2), even if this is a time-consuming process (P3). Have a go at writing your own essay now if you’d like, or read a free preview of our I am Malala and Pride study guide below!

A Killer Comparative Guide: I am Malala and Pride

How to Write a Killer Comparative Ebook

The Ultimate Guide to VCE Comparative

A Guide to Structuring a Reading and Comparing Essay

Reading and Comparing Essays

‍ How to get A+ in Reading and Comparing

Compare the Pair: A guide to Structuring a Reading and Comparing essay

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Written by Mark Yin, a 50 English study scorer with a 99.95 ATAR:

• Learn unique points of comparison through LSG'S CONVERGENT and DIVERGENT strategy and stand out from the rest of the Victorian cohort
• Sample A+ essays, with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals
• How to think like a 50 study scorer through advanced discussions like structural feature analysis, views and values and film techniques.

The idea of VCE English assessments can sometimes be a bit daunting. Always so much you want to write, never as much time as you need and they always seem to come around sooner than you think. But there is never as much cause for alarm as you think and I’m willing to guarantee that almost everyone reading this is so much better than they think at English . 

You’ve already come so far from where you started in your high school English journey. I’d like to challenge anyone reading this to go and find the earliest English essay you’ve got tucked away somewhere. I’ve done this myself and, if yours is anything like mine, you’ll be almost disgusted by what you find. Year-7-me just loved to retell the story, cling to my rigid TEEL formulas and leave my quotes just dangling, write the same basic paragraph three times and call it a complete essay. Not a pretty read and I’m sure a couple of you can relate. But, this exercise does at least prove a very valuable point: you are capable of improving at English .

So let’s start thinking about that essay you’ve got coming up again. You’ve just given yourself a nice confidence booster with that walk down memory lane, reminding yourself that you are a more-than-capable English student these days. But all you now want to do is your very best for this next essay. But how do you keep improving between now and then? After all, if you knew what you had to do to improve your English, you’d already be doing it, right? So what we’re going to do now is to have a look at what taking your essays to that next level really looks like; how you can improve your writing between now and then, whenever that might be. 

So to do this, we’re going to take an already good paragraph and improve it together. Take this one, one that I conveniently prepared earlier to a Station Eleven prompt that has to do with the theme of memory/history.

Part 1: The Good Paragraph

Q: Mandel shows the importance of remembering the past. To what extent is this true?

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating such an enduring legacy for a character who believes in the power of such legacies - 'they’re all immortal to me' - Mandel implies that characters like this are able to achieve meaning and fulfilment by preserving these legacies. Mandel also uses the character of Miranda to highlight the importance of legacies to provide meaning where Miranda lacks it in her day-to-day life. Even though Miranda’s life is left incomplete by her sudden death, the beauty in the scene of her death suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters: 'its extravagant sunsets and its indigo sea'. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the value of creating legacies that allow others to remember the past.

Let’s call this our good paragraph. I’ve modelled this off of an essay I found from my Year 10 self, as happy as Year-10-me would have been with this performance, it’s far from perfect. But, it is a very functional paragraph that does all that a paragraph really needs to do. It introduces an idea, justifies it with evidence, links back at the end and doesn’t waste too much time retelling the story. So now we get to the fun bit: we’re going to take this already good paragraph, and turn it into a better paragraph.

So how do we make a good paragraph better ? 

Well, for a start, we can integrate our quotes so that the paragraph reads better . You’ll see in just a second how much of a difference this can make. This is something I learnt to do between Years 10 and 11. Other improvements that could be made include answering the prompt more directly and using some of the language of the prompt within our answers. So let’s change this and see now what these small differences do to our paragraph.

Part 2: The Better Paragraph

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies that allow others to remember the individuals who came before. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating this symbolic memorial for a character who believes that such legacies can allow individuals such as actors to become 'immortal', Mandel implies that characters like this are able to achieve meaning and fulfilment through their legacies. Furthermore, Mandel also uses the character of Miranda to highlight the importance of creating a legacy through one’s art to provide meaning where Miranda lacks it in her day-to-day life. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the importance of creating legacies that allow others to remember the past.

There we have it. The paragraph has been rewritten based on the ones I wrote in Year 11 and we have the first signs of improvement. The topic sentence now references the ‘remembering the past’ aspect of the prompt. The linking sentence now uses the ‘importance’ part of the prompt. All of the same quotes are used but are now integrated (check out How To Embed Quotes in Your Essay Like a Boss if you need more help with this). 

We’ve made sure not to have more than one sentence starting with Mandel (a small nitpick but still a nice addition). It flows better. It answers the prompt more directly and suddenly we have a better paragraph . Year-11-me has shown improvement and with this comes better scores and more confidence: something that’s very important for success in English. If you’re confident and proud of what you’re writing, then you’ll have higher marks and, even better, more fun!

We haven’t changed much and the paragraph is already better . But it’s not my best paragraph. Between Years 11 and 12, I learnt even more things. I was taught to write about not only the world of the text but also the world around us that we and Mandel live in: you’ll notice that this better paragraph talks more about ‘characters’ that live ‘in the text’ whereas my best paragraph would talk more about the text in the context of the world you and I live in . I learnt to make my topic sentences more abstract and broad so that they relate more to our own world and less to the world of the text and remind whoever’s assessing that my ideas apply to everyone and not just within the texts. I learnt to respond more directly to different types of prompts (Discuss, To what extent is this true?, How does Mandel… and others) and I learnt to be more direct in discussing the views and values of Mandel (what she likes, what she doesn’t like, what she wants to see more of in the world)

So let’s apply some final changes, and see what our paragraph looks after two more years of refining English. This final paragraph is almost exactly the same as one I wrote in timed conditions before my final exam.

The Final Part: The Best Paragraph

A: Mandel explores the importance of legacies, not only as sources of meaning for their creators, but also for their roles in allowing others to remember the roles of those who came before. Such an idea is explored through the naming of Jeevan’s son, securing the legacy of Frank. By affording such a permeating influence to an individual who writes of and appreciates the 'immortal[ity]' of long-dead actors, Mandel implies that an appreciation of the inherent value in a legacy and its ability to influence future events is a key quality in individuals. Furthermore, Mandel uses the character of Miranda to highlight the importance of creating a legacy that outlives oneself to provide meaning. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, Mandel suggests that the meaning in Miranda’s life comes from the legacy that is the art she makes in her 'independent' life that continues to influence events and allow others to remember the past long after her death. Mandel provides contrast through her exploration of Arthur, whose legacy does not influence any events in the post-flu world because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, reinforcing Mandel’s view that individuals who forfeit control of their own legacies, as Arthur does, lead far less completed and fulfilled lives. Therefore, Mandel highlights the immense importance of creating legacies that allow others to remember the past and encourages greater appreciation of the value of legacies in contemporary society.

So, two years later, and we’ve got what is still essentially the same paragraph, just brushed up to an even better, or best , standard. So if we’re using the same evidence, exploring the same characters and introducing the same ideas, why is this paragraph better than the last two?  

Well, if you study the topic and linking sentences, they discuss the concept of a legacy being a means of allowing others to remember the past and the importance of such a thing and everything in-between links this concept to the text. ' Mandel highlights the immense importance' represents a subtle but nice nod to the wording of the prompt by giving an ‘extent’ to which Mandel ‘shows’ or highlights. Every piece of evidence is discussed in reference to what Mandel believes about the world around us and how individuals should act in modern society. 

And there’s something very nice that we can now reflect on. This paragraph has gone from good to much better without having to introduce any new ideas. There are no overly complex interpretations of the text, we’ve just taken the same skeleton of a paragraph and made it look better without changing its real substance. 

And one of the wonderful things about making efforts to improve the quality of your writing is all the confidence that comes with this, whether this be from getting better at discussing views and values , learning to integrate your quotes or any achievement like this. I know that my confidence surged as my English got better and, as I got more confidence in my writing, I got more confidence in what I wrote about. My interpretations of the text became more and more obscure and a bit whacky at times and I had fun writing about these things. If you improve your writing, you’ll improve what you’re writing about which will mean you’ll have more fun writing and the cycle of improvement will just continue.  

So to cap off, I thought it might be nice to have a checklist of sorts that you might be able to put against your own writing.

What’s the next step I could take in improving my English?

• Are all my quotes properly integrated ? (Hint: if the sentence doesn’t make sense without quotation marks, the answer is no)
• Have I got more than a couple of sentences starting the same way or could I vary my sentence structure a bit more?
• Have I explicitly used some parts of the prompt in my own writing so that I can directly answer the question in my essays?
• Am I writing about both the world of the text and the world we live in outside of the text instead of just the characters and relationships within the text?
• Are my topic and linking sentences describing a concept that relates to the prompt with everything in-between relating this concept to the text? (I found this a very useful way of thinking of paragraphs)
• Is all of my evidence being discussed in relation to the views of the author ?
• Does my essay/paragraph explain what the author would like to see more of/less of in modern society based on what is explored in the text?
• Is my essay/paragraph specific to the exact wording and type of prompt?

And these are just some of the improvements that could be made. I’m sure each of you could ask teachers and past students and find many, many more tips on improvement. Just as long as you’re thinking about what the next step in your English might be, then you’re already headed in the right direction. So good luck and happy writing!

This blog was updated on 23/10/2020.

1. Introductions

2. Characters

4. Literary Devices

5. Important Quotes

6. Comparing Penelopiad and Photograph 51 Video Transcription

7. Sample Essay Topics

8. Essay Breakdown

For a detailed guide on Comparative, check out our Ultimate Guide to VCE Comparative.

Introductions 

The Penelopiad by Margaret Atwood retells the story of the Odyssey by Homer from the perspective of Penelope, a half mortal and half divine princess who also happened to be the wife of Odysseus, and her Twelve Maids. A retrospective narrative, Atwood opens her mythological tale with Penelope and the Maids in the afterlife reflecting on the events that occurred centuries before. Told in chronological order from her birth, the Maids serve as a traditional part of greek theatre in their purpose of a Chorus as they make commentary on their life.  

Anna Ziegler’s play, Photograph 51 , is set during the 1950s in the age of scientific discovery as researchers are scrambling to be the first to unlock the mysteries of DNA. Its protagonist, scientist Rosalind Franklin is an under-appreciated genius working as the only female in her respective field. As one of her photographs uncover the truth of DNA, her competitors' ambition leads the men around her to success. 

The Penelopiad 

Major characters.

• The Suitors
• The Twelve Maids 
• King Icarius of Sparta
• Penelope’s Mother (The Naiad) 
• Uncle Tyndareous
• Melantho of the Pretty Cheeks 

Minor Characters

• Theseus and Peirithous
• Piraeus and Theoclymenus

Photograph 51

• Rosalind Franklin 
• Maurice Wilkins 
• James Watson 
• Francis Crick 
• Don Caspar 
• Ray Gosling 

Both texts explore the use and demonstration of power in its various forms of physical displays of strength to the patriarchal forces that govern each texts respective world. Indeed, the power of men prevailing atop the social hierarchy while displacing those below them is a common theme within both texts. The authority associated with Icarius’ title of King allows his drunken and rude behaviour to go by unquestioned while in Photograph 51 Wilikins embodies the power possessed by white men. The patriarchal power that men possess within each of the respective texts becomes closely linked to fragile masculinity in their exertion of physical strength or intellectual superiority; Odysseus self-proclaimed superhuman strength is equated to Wilkins need for intellectual dominance, especially over the brilliant Rosalind. 

While the men within each text exert their inherent power of supposed supremacy, the women within each world draw are shown to draw on their physical appearance as a source of power or is shown to be disempowered by it. In The Penelopiad , Helens is known for her legendary beauty which she uses to relentlessly taunt Penelope, the proverbial ugly duckling, through which Atwood demonstrates how, like other forms of power, can be used to oppress others. Conversely, Photograph 51 examines how Rosalind is disempowered by her perceived lack of traditional physical beauty. Many of the men around her using her unflattering appearance to ridicule and minimise her and her work. 

While the time periods in which the two texts are set may greatly differ, the notion of identity is still a prevailing theme that is explored. Indeed, the role others perceptions play in each character's construction of their own self-worth and values provides both authors a basis for the examination of how societies enforce conformity while punishing uniqueness. In The Penelopiad, it can be seen that the glowing perceptions of Odysseus from his mother and his nurse nurture and grow Odysseus’ egocentric view of himself as a hero. In contrast Photograph 51 demonstrates the negative effects these perceptions can have on one’s self-identity, as the negative views that surround Rosalind ultimately make her question herself and her actions. 

Not only do others perceptions shape one's personality, but the expectations enforced by Society. Both protagonists within each text feels pressure from those around them to live up to certain expectations; Penelope feels she must constantly encourage Odysseus’ self glorifying tales of heroism, while Rosalind feels similar pressure to follow her father's advice to consistently be right which eventually leads to her unfavourable reputation for being difficult to work with. 

Both Ziegler and Atwood suggest that in order to overcome the pressures and external expectations of society each which of these women must have a positive and strong sense of self. In the case of Photograph 51, Rosalind must adopt a strong self-belief in her work in order to survive the hostile masculine environment around her. By contrast, Odysseus constantly boasts and exaggerates his stories of heroism and the cleverness of his actions. While both Odysseus and Rosalind have a strong self-belief, Odysseus’ is guided by ego while Rosalind’s is guided by intelligence

Women and Misogyny

The feminine figure and roles are depicted in contrasting ways between the texts, but both show how the construction of characters who either adhere to or reject the social constructs of femininity during their era are forced to grapple with the harsh realities of being a woman in both ancient and modern times. One of the biggest examples of femininity shown within each text is the value the patriarchal system places on motherhood and the high expectations they have for mothers and mother figures. Some mother figures in the The Penelopiad demonstrate the gentle and protective qualities associated with typical feminine attributes; the two contrasting figures within the same text, Odysseus’ nurse and mother demonstrate the two extremes of femininity relating to motherhood. Eurycleia is presented as benevolent and dedicated to the mother figure ideal as she is shown to snatch Penelope's newborn son and envision him as her own. In contrast, Penelope's mother an elusive and neglectful Naiad leaves her child to swim around unsupervised. 

In Photograph 51 mothers are depicted as primarily concerned with the needs of their children and husbands as they are shown to identify themselves with their attributes and successes. It can be seen that such characters as Gosling's mother's interest in his PhD suggests that like Penelope she judges her own worth by her child's success. Indeed, while these mothers are shown to be nurturing and caring most of it emphasises their need to control and guide their child's life.

Not only mothers, but wives become another primary source of femininity that is examined within both texts. The Penelopiad’s notion of wives becomes closely related to the idea that within a patriarchal system women are associated with being a possession rather than an equal. Regardless of class and social standing every woman on some level is shown to be oppressed by this traditional and conventional idea of womanhood. Penelope is encouraged to be a doting wife to her husband Odysseus, while in contrast, the Maids remain unmarried yet are still subjects of oppressive mistreatment. Unlike The Penelopiad, wives have little to no significance within Photograph 51, a text heavily focused on the scientific discovery of DNA, Indeed, the woman or the wife is seen as irrelevant in the scientific field while any mention of women outside of Rosalind is confined to the wives of men contained within the domestic sphere. 

Storytelling and The Narrative 

The notion of storytelling and the power of narrative becomes closely linked to such ideas as femininity and womanhood within each text as each closely revolves around women taking back control of their own narratives and stories. The Penelopiad is a story about other stories as it is based off retelling an already famous story. The Odyssey becomes a vessel for Penelope to share her own insights and feelings while her actions of retelling the well-known work is a source of empowerment for her as she is able to negate stories about herself that she would prefer not to hear. This frees her from the burden of being a legend or a myth as she urges women not to follow her example of keeping their mouths shut. In contrast, Rosalind Franklin does speak out initially but gained an unfortunate reputation as a difficult woman in stories about her that are circulated by men. 

Through this, it can be said that the aim of both Ziegler and Atwood is to challenge the historical invisibility of women throughout time. While Ziegler's play attempts to highlight the ways in which stories told by men have worked to minimise or downplay the roles and contributions of women, The Penelopiad attempts to offer new perspective of already well-known stories that intend to give insight into the woman's understanding of life.

Literary Devices

• Dramatic Irony 
• Dramatic Monologue 
• Genre, literary form and its construction 
• Authorship 
• Narrative structure 
• Style and language 

Important Quotes 

“And what did I amount to, once the official version gained ground? An edifying legend. A stick used to beat other women with.” (ch.1) 

“We were told we were dirty. We were dirty. Dirt was our concern, dirt was our business, dirt was our specialty, dirt was our fault. We were the dirty girls. If our owners or the sons of our owners or a visiting nobleman or the sons of a visiting nobleman wanted to sleep with us, we could not refuse.” (ch.4) 

“Water does not resist. Water flows. When you plunge your hand into it, all you feel is a caress. Water is not a solid wall, it will not stop you. But water always goes where it wants to go, and nothing in the end can stand against it.” (ch.7) 

“Oh gods and oh prophets, please alter my life,

And let a young hero take me for his wife! 

But no hero comes to me, early or late—

Hard work is my destiny, death is my fate!” (ch.8) 

“The more outrageous versions have it that I slept with all of the Suitors, one after another—over a hundred of them—and then gave birth to the Great God Pan. Who could believe such a monstrous tale?” (ch. 20)

Photograph 51 

“Dr Wilkins, I will not be anyone’s assistant” (Rosalind pg.13)

“It’s for men only” (Wilkins pg.17) 

“But those are precisely the conversations i need to have. Scientists make discoveries over lunch.” (Rosalind pg. 17) 

“...You don’t have to try and wing me over. In fact, you shouldn’t try to win me over because you won’t succeed. I’m not that kind of person.” (Rosalind pg.35) 

“To Watson and Crick, the shape of something suggested the most detailed analysis of its interior workings” (Casper pg.41)

Comparing Photograph 51 and The Penelopiad

[Video Transcript]

 background.

The play Photograph 51 by Anna Ziegler invites us to revisit the events surrounding the discovery of DNA’s double helix structure. While the DNA double helix structure is common knowledge now, in the 1950s many scientists were racing to claim its discovery. Ziegler's title, Photograph 51 is simply named after the X-ray photograph taken of the hydrated B form of DNA, which was crucial in the consequent events that eventually led to the identification of DNA's structure. However, much controversy has surrounded exactly who deserves credit for the discovery, particularly because the Nobel Prize was awarded to James Watson, Francis Crick, and Maurice Wilkins - 3 people who did not actually take Photograph 51 itself. Instead, people have argued that Rosalind Franklin should have been one to be award the prize, or at least share the prize as it was her work that led to Photograph 51 and without it, Watson, Crick and Wilkins may not have discovered the DNA structure. Yet what makes this situation even more complicated is that Franklin’s work was shared with Watson without her knowledge in addition to the fact that Franklin died of ovarian cancer 4 years before the prize was awarded. Since the Nobel Prize does not generally make posthumous awards, Rosalind’s work has never shared in the glory along with the other men. Ziegler takes this opportunity to explore Rosalind’s perspective, and gives the audience a chance to peer into her experiences, interactions with others, and strong mindset. The question now begs: if Rosalind’s data had not been leaked, would she have gone on to discover the structure of DNA on her own? If Watson and Crick had not seen Photograph 51 , would they have gone on to discover the structure of DNA on their own?

The Penelopiad is similar to Photograph 51 in that it is written from a women's perspective previously never explored in literature. While in Photograph 51 , Ziegler allows us to be privy to Rosalind’s thoughts - a perspective unknown to media and publications because of her death, Margaret Atwood chooses to write from Penelope’s perspective, a view also previously never explored in Greek literature. Penelope’s reminisces about her life from her deathbed in Hades, the underworld. We learn of Penelope’s key life moments from childhood through to adulthood, such as the psychological damage inflicted upon her when her father attempts to drown her as a child, to her pretending to weave a shroud so that she can delay the decision to choose a Suitor who undoubtedly only wants to marry her so they could take up the throne and treasure. Her narrative is occasionally interrupted by the 12 maids who were killed by Odysseus, Penelope’s husband, upon his return. These maids were wrongly murdered and their presence in Atwood’s story brings attention to their plight as not only females, but as slaves during Ancient Greece. When studying The Penelopiad , I would strongly encourage you to be familiar with its historical context - mainly, you should have a good understanding of the story ‘The Odyssey’, the Trojan War, and the roles of the Gods mentioned in the novel. I’ve created a playlist I’ll link below for you with some videos I believe will be helpful for your studies. 

Common Themes

Women’s reactions to misogyny.

Misogyny is widespread in both Photograph 51 and The Penelopiad, and both writers explore the ways in which females deal with such an environment. Penelope is more graceful in her response, as she is accepting of her place as a woman, as poignantly expressed: "I kept my mouth shut; or, if I opened it, I sang [Odysseus] praises. I didn’t contradict, I didn’t ask awkward questions, I didn’t dig deep.” Meanwhile, Rosalind reacts with snark hostility, "I don’t suppose it matters whether or not it suits me, does it?”. Rosalind refuses to let her womanhood impede her career as a scientist, to the extent that her stubbornness is self-defeating and her being constantly on guard only causes further misunderstandings and tension with Wilkins: “You know…I think there must come a point in life when you realise you can’t begin again. That you’ve made the decisions you’ve made and then you live with them or you spend your whole life in regret."

Misogyny from a male lens

In The Penelopiad, even Telemachus shows a lack of understanding and empathy for his own mother, and wants her to find a Suitor quickly because she is "responsible for the fact that his inheritance was being literally gobbled up." He disobeys Penelope’s wishes and resents being “under the thumbs of women, who as usual were being overemotional and showing no reasonableness and judgement”. Like Telemachus, the men in Photograph 51 have NO sense of what it means to be a woman. They is frustratingly presumptuous in the female psyche, as seen when Crick boasts: "See, women expect men to fall upon them like unrestrained beasts.” The viewpoints of the males in both texts highlight misogyny that is deeply rooted in society, and a demonstration of how far we can be from the truth when we formulate our own assumptions.

Women’s undervalued abilities 

Penelope is clever, but it’s only beauty and sex appeal that is valued in society as so clearly shown by all men charmed by Helen of Troy. Penelope's intelligence, and more widely, all women’s intelligence is seen as a threat to men as she says, 'cleverness is a quality a man likes to have in his wife as long as she is some distance away from him". Unlike Penelope’s era where women usually didn’t actively or overtly fight for their rights, the 1950s sees more agency in women. While Rosalind’s intelligence secures her a job and career, she still faces a hostile, sexist environment. Her fellow male scientists dismiss her credentials. From the get go, Rosalind is expected to ‘assist’ Wilkins, and is disparagingly referred to as ‘Miss Franklin’, rather than as ‘Dr Franklin’ as she is rightfully entitled to. Moreover, her methodical approach to her work drives the frustrated Wilkins to share her confidential research with Crick and Watson, displaying the men's inherent distrust and disrespect of women.

Here’s a tip for you. You may have noticed that the common themes I mentioned aren’t just one-worded themes, like ‘misogyny’. Yes, I could’ve lumped my themes together under the umbrella of ‘misogyny’ but I wanted to go that extra mile. By breaking it down further, I am better able to showcase my detailed understanding of the texts, and you’ll find that adopting this specificity in writing is rewarded in VCE. 

Here’s another tip. At the Year 12 level, and particularly in Reading and Comparing, your assessor expects you to not only understand the text itself, but to understand the real-life implications explored. Here we’re looking at human reactions and responses to our world and experiences. So when you start comparing Photograph 51 and The Penelopiad think about the human condition. For example, on a textual level, you’d be asking yourself: what factors drive Rosalind to act with such hostility towards men? Why is the way she deals with misogyny so different to that of Penelope? Now if we zoom out and look at the bigger picture, you need to start asking yourself: What do these texts say about us as people? What can we learn from these stories?

Obviously there’s so much more you can extract from these books and compare, but I hope this has given you something to think about!

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative .

• Sample Essay Topics

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Character-based Prompt:

While Rosalind and Penelope are examples of strong female characters, they are both severely flawed. Discuss. 

Theme-based Prompt: 

In what ways do misogyny and expectations impact individuals identity within each text?

Structure-based Prompt:

What structural elements help convey the strength of women within The Penelopiad and Photograph 51 ?

Quote-based Prompt:

“We were told we were dirty. We were dirty. Dirt was our concern, dirt was our business, dirt was our specialty, dirt was our fault. We were the dirty girls.” (The Penelopiad) 

Authorial message-based Prompt: 

What comments do the authors make about the corrupting force of power?

Make sure you watch the video below for extra tips and advice on how to break down this essay prompt!

Essay Topic: The authors of Photograph 51 and The Penelopiad give voice to the women in their stories. Discuss. 

• ‘Authors’ - means I should talk about their intention and what message they want us to hear
• ‘Voice’ - power to speak, to story-tell, to share their side of the story
• ‘Women’ - be sure not to only talk about the main characters such as Penelope and Rosalind but other women in the books
• ‘Discuss’ - a word like ‘discuss’ gives you a lot of flexibility to discuss any ideas that are relevant to the topic, whereas a ‘do you agree’ style of question is a bit more limiting. With so much more flexibility to ‘discuss’ various ideas, I’m going to touch on topics that most interest me . I feel that this is a great way to get yourself in tune with the book, especially as you start writing. The more you can make the writing interesting for yourself, the more interesting it will be for your reader. 

Contention : 

By giving voice to the women in their stories, atwood and ziegler reveal stories of those previously silenced, and showcase how storytelling empowers women marginalised by misogynistic social constructs. , body paragraph 1: in giving a voice to the females, both atwood and ziegler offer a new, previously unseen perspective on misogyny. .

• In The Odyssey, the maids are constructed as unfaithful and disrespectful of queen Penelope, Telemachus and other staff. Their own story is silenced and instead, is observed through others, whereas in The Penelopiad, the maids tell their own version of events - mainly that their actions were under Penelope’s instruction.
• The patriarchal rule is accentuated through their lack of status and rape, which is considered to be a “deplorable but common feature of palace life”.
• Moreover, we feel sympathy for these three-dimensional characters, as they ’toil and slave/ And hoist [their] skirts at [men’s] command’. 
• Likewise Rosalind Franklin's version of events has never been revealed because of her early death. In Photograph 51, we learn of the misogyny Rosalind faced as a female scientist "My name is Rosalind. But you can call me Miss Franklin. Everyone else does."

Body paragraph 2: By offering these women a voice, the authors reject social conventions of femininity. 

• Penelope is cunning and intelligent, foiling the Suitor’s plans to marry her by delaying her decision with the endless weaving of her ‘shroud’. The juxtaposition of unsuspecting men and strategic Penelope thwarts traditional gender roles where women are viewed as inferior.  "They were very angry, not least because they’d been fooled by a woman."
• Meanwhile, Rosalind is stubborn and resilient nature rebuffs the narrow-minded beliefs of her fellow coworkers who believe that “kindness always works with women” and that "women expect men to fall upon them like unrestrained beasts."

Body paragraph 3: Most importantly, both authors showcase the importance of giving women a voice as a means to control their own narrative. 

• Penelope opens her reflection with an emphasis on how she “owe[s] it to [herself]” to “spin a thread of [her] own”. She shares how she now has the opportunity to share her side of the story, whereas allowing others to speak of her from their perspective means that “they were turning me into a story…not the kind of stories I’d prefer to hear about myself”.
• While Penelope is empowered to reveal her story and invites us to an alternate version of historical events, this is not afforded to Rosalind in Photograph 51 . Rosalind is literally sidelined, “…we just hear her lines - a recording, or she speaks from offstage' and therefore unable to control her narrative. The stage direction (/) indicates that the men of past and present talk over her, reducing her opinion and overriding her speech with their own “self-aggrandisement."

To see another essay prompt breakdown for this text pair and a full sample A+ essay with annotations, check out this blog post .

Useful Resources

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

Master Reading and Creating

‍ ‍ A Guide to Structuring a Reading and Comparing Essay

Why Is the Context Important?

Understanding the context of the texts you are studying is essential if you are to satisfactorily respond to any prompt ( learn about the 5 types of prompts here ). Not only does it provide an insight into the society of the time and their views and values , it also allows for greater awareness of the characters’ motivations, resulting in a richer discussion in your essays. Discussing the context of the texts also makes for an ideal comparison which can be incorporated in the introduction as well as the body paragraphs. Moreover, context paragraphs are a great tool to have up your sleeves, as they can easily be adapted to almost every essay question, a real asset when attempting to write an essay in an hour. 

In this blog post, I will be giving a brief overview of the contexts of the play The Crucible by Arthur Miller and Rosalie Ham’s The Dressmaker . Further down , I have also provided a sample paragraph as an example of a way in which I would go about writing a context paragraph in response to an essay prompt concerning the two texts. Both of these texts are set in fascinating and significant eras of human history so I invite you to conduct your own research after reading this! 

At first glance, the town of Salem, Massachusetts in 1692 and Dungatar, Victoria in 1950s Australia have little in common; however, both towns exist in stifling geographical isolation, allow myopic and parochial outlooks to flourish, and maintain an irrational but overwhelming fear of ‘the other.’ 

The Crucible, Arthur Miller

The Crucible is set in 1692 in Salem. The provincial, conservative town was established by English Puritans who, fearing persecution, fled from a Britain dominated by The Church of England. The first Puritans to arrive in Salem faced brutal conditions, including 'marauding Indians' and living on a 'barbaric frontier' that lay close to the 'dark and threatening…virgin forest' that they believed to be the 'devil’s last preserve'. In order to overcome these challenges, the people of Salem were forced to unify and remain diligent. In order to ensure efficiency, a strict and rigid way of life was adopted, where work and prayer were championed and individual freedoms and pleasures abhorred. Though this harsh way of life did allow the Salemites to stay alive, it forced them to suppress various natural human emotions such as joy and anger, so as to not detract from work and prayer. Further, the town had limited their interaction with the outside world, compelling them to instead be constantly surrounded by each other. This hazardous combination of repression of emotions and interaction with only a small pool of people spurred private jealousies and vengeance within the townspeople, and it is here that the play commences.

The Dressmaker, Rosalie Ham

In contrast, Ham’s novel takes place in 1950s rural Australia, in the fictional town of Dungatar. Despite being set centuries after The Crucible , Dungatar is rife with the same parochialism (great word to use for both texts, referring to a limited/ narrow outlook), resentment and gossip as Salem. The town’s physical isolation - it is surrounded by 'wheat, yellow plains' and seems to be a 'dark blot shimmering on the edge of flatness' - corresponded with their metaphoric isolation from global events, creating an intense fear of ‘the other’. Further, similarly to The Crucible , the stark physical isolation ensures that each individual’s social interactions are limited to the town’s small population, fostering a breeding ground for narrow-mindedness and prejudice. Ham’s description of the way 'the crowd screamed with lust, revenge, joy, hate and elation' after a local football match win reveals the underlying emotions of the town, repressed behind a veneer of respectability and perceived moral propriety. All it takes is a stimulus, which arrives in the form of outcast Tilly Dunnage, to uncover the malicious undertones of the provincial town. 

Example Context Paragraph

During VCE, I tended to use my first paragraph (in response to an essay prompt) as a way to explore the context of the texts I was studying, and relate the context to the essay prompt being addressed ( learn more about the different types of essay prompts here ). In this case, the prompt I have responded to is:

‍ Compare the ways in which The Crucible and The Dressmaker portray divided societies. 

I was able to adapt much of this paragraph below to whatever essay prompts I came across. 

The geographical isolation of rural, parochial towns can breed a kind of myopia amongst inhabitants and promote binary thinking. Salem is situated on the 'edge of wilderness’, with the 'American continent stretching endlessly West’. The 'dark and threatening' forest which ominously surrounds the town is believed to be 'the last place on earth not paying homage to God’, inciting the irrational fear that 'the virgin’s forest was the Devil’s last preserve' (1) . To combat the imminent threat of the 'marauding Indians' upon their arrival in Salem, the Salemites maintained that 'in unity…lay the best promise of safety’, and hence were governed as 'an autocracy by consent' (2) . Similarly, in The Dressmaker , the town of Dungatar 'stretches as far as the silos' and is described as a 'dark blot shimmering on the edge of flatness’. 'The green eye of the oval' is a physical representation of the town’s predilection for prejudice and endorsement of slyly watching others (3) . The stifling insularity experienced by both towns perpetuates a paucity of culture and 'parochial snobbery’, as well as fostering austere social expectations (4) . The totalitarian regime that governed Salem and their 'strict and sombre way of life' conditioned the people of Salem to repress natural human emotions so as to conform to the conservative and rigid values of society. Indeed, Miller’s description of the 'small windowed dark houses struggling against the raw Massachusetts winter' alludes to the Salemites’ dogmatically narrow-minded outlook and their repression of any individuality. Hence, despite the veneer of propriety upheld by Salem’s 'sect of fanatics’, the town is rife with hidden resentments and 'long-held hatreds of neighbours' (5) . Whilst moral respectability and piety conceal the true sentiments of the people of Salem, clothing is the mask for the 'liars, sinners and hypocrites' of Dungatar (6) . Though on the surface the town appears respectable, the true desires of 'the sour people of Dungatar' are revealed through their desire 'to look better than everybody else’. Their lack of connection with the outside world forces their constant interaction with one another and means that 'everybody knows everything about everyone' (7) . Thus, Miller and Ham postulate that geographical isolation inevitably forges unyielding social norms that repress human emotions and pits individuals against each other (8) .

‍ Annotations (1) In these two sentences, I’ve provided the geographical context of Salem.   ‍ (2) My description of the geographical location is followed quickly by describing the town’s beliefs and values, which have a large impact on the social context.  ‍ (3) Here, I’ve used the geographical context as a metaphor to explain the social context of Dungatar. ‍ (4) I’ve described a similarity between the two towns - remember to use lots of meaningful comparisons in all paragraphs ( LSG’s CONVERGENT and DIVERGENT strategy is a useful strategy for this).  ‍ (5) I’ve detailed how the societal expectations and values of the Salemites (the people of Salem) can impact the behaviour of the characters.  ‍ (6) Here, I’ve outlined a subtle difference (or divergence ) between Dungatar and Salem.  ‍ (7) Once again, I’ve related the townspeople’s values and beliefs, as well as the physical context, to their behaviour. ‍ (8) I’ve ended with a meaningful comparison between the intent of the two authors. 

Looking for more? Check out our other blog posts on The Crucible and The Dressmaker :

The Crucible by Arthur Miller

The Dressmaker by Rosalie Ham

Comparing The Crucible and The Dressmaker

Charlie’s Country  is an Australian drama film directed by Rolf de Heer, starring David Gulpilil. The linear film, co-written by de Heer and Gulpilil, tells the story of Charlie, a middle-aged Aboriginal man living in the town of Ramingining. The audience follows Charlie as he sets off to reconnect with his Indigenous origins; choosing to abandon urbanised society, Charlie flees into the bush to live by his “Mother country”. Much to his demise, Charlie subsequently becomes ill and is admitted to hospital in Darwin. After discharging himself from the hospital, Charlie is quickly arrested for assaulting a policeman. Charlie serves time in prison for his crime and the film’s final scenes show Charlie, free and mentoring young Aboriginal boys in their native cultural traditions. As the audience follows Charlie’s everyday encounters, they gain insight into the harsh realities faced by Aboriginals in modern-day Australia. Through his individual plight for survival amidst illness and poverty, de Heer presents profound political commentaries on this very pertinent social issue, spanning decades in Australian history.

The film's critical acclaim upon its release in 2013 was the impetus in prompting conversations and debates about the politics of Indigenous Australians. De Heer’s depiction of this remote community grappling with issues as a result of government-imposed law serves to capture the oppression and deeply ingrained racism that continues to persist.

Tracks  is one Australian woman’s survival narrative. The 1980 autobiographical memoir by Robyn Davidson, recounts her courageous 1700 miles trek across Australia, beginning from Central Australia towards the Indian ocean. In the effort to escape the monotony of her daily life, Davidson travels to her first destination -- Alice Springs -- in 1973 to start preparations. In the 2 years she spends there, she learns how to train camels and live minimally, the former proving to be a challenge. Despite her vehement will to refuse any kind of donation or financial help, Davidson eventually accepts a writing deal in partnership with National Geographic, providing the much-needed funds to confirm her departure. It's through this deal that she meets Rick Smolan, whom under the conditions of her deal has been recruited to photograph this journey - an unsettling compromise for Davidson which she ruminates on frequently in the novel. With her beloved dog Diggity and her camels, Davidson traverses the Australian landscape, discovering more about herself, her country and the people. 

Fundamentally, this book is as much about Davidson’s internal transformation and personal frontiers as it is about exposing the colonial and masculine ethos that permeates Australian history.

Themes (Similarities and Differences)

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I use this strategy throughout my discussion of themes here and in a later section, Sample Essay Plan.

Isolation and Alienation

Charlie, drawing on Gulpilil's own experiences, becomes profoundly alienated from his Ramingining community to the extent where he serves no major function in the community life. Charlie is alienated both physically and figuratively, not only does he live in a makeshift hut on the outskirts of town, but he is separated from the Aboriginal community in this town and resents the fact that white Australians have assumed power over his land. He is evidently neglected from the wider society, which causes much of the internal and external conflict he experiences in the film, an ordeal which many within the Indigenous minorities can empathise with. 

In his efforts to escape his life within the confines of the intervention, Charlie sees isolation and social rebellion as a mechanism to rediscover his Indigenous roots, spending time in nature to fulfil his journey for self-discovery and to gain the freedom he’s lost. Removing himself from a town permeated by imperial powers provides him with an opportunity to restore his lost sense of self-autonomy. De Heer is intending to reveal the difficulty of assimilation for Aboriginal Australians. He also highlights the importance of human connection and relational harmony for individuals.

“Do you mind if I call you Charlie? I have difficulty pronouncing foreign names.” “Now I’m a foreigner?” (Charlie and the Darwin doctor) 

“It's isolated, it's remote.” (Policeman Luke on Ramingining)

“I work for them catching criminals, they don’t pay me.” (Charlie)

“I don’t know what’s wrong with him… shaming us.” (Pete on Charlie)

Robyn Davidson views complete isolation as a way to detach herself from the commercialism and expectations of modern-day Australia, to connect with nature and to challenge her own beliefs of herself. For her, complete solitude in this journey is a private and personal gesture designed to intentionally preserve the sanctity of the trip. While Rick Smolan’s company appears benign, Davidson’s abrasive attitude towards him as well as her reluctance in ‘selling’ her story is particularly revealing of her attempt to maintain the subjectivity of the trip. The act of breaching this solitude is what Davidson sees as an egregious debasement of the sacredness of the journey, allowing it to be objectified by the eyes of the public. In addition to this, isolation signifies liberation and freedom from a society laden with rigid expectations, Smolan acts as a constant reminder of these external responsibilities. Davidson experiences alienation from the wider society, being a confident, decisive woman trekking independently and defying the limitations imposed on her sex. She also repeatedly expresses her sense of alienation when entering Aboriginal communities and although she is sensitive to the impression she gives, she acknowledges her persistent feeling as an outsider. Davidson is aware of the divide between these two cultures that have resulted from a history of inequality and oppression. In  Tracks , Davidson also demonstrates the need for meaningful connections, however she sources this from her animal companions and nature.

“My aloneness was a treasure which I guarded like a jewel... but like everything [it] had to follow the laws of change.” (p. 40)

“No more loved ones to care about, no more ties, no more duties, no more people needing you to be one thing or another, no more conundrums, no more politics, just you and the desert baby.” (p. 94)

“I could never enter their reality, [I] would always be a whitefella tourist on the outside looking in.” (p. 146)

“I could not be with the Aboriginal people without being a clumsy intruder.” (p. 146)

Charlie’s displacement from his community is the driving force behind his decision to return to the Aboriginal way of life. De Heer uses this depiction of Charlie, to serve as a wider embodiment of the difficulty for the Indigenous people to assimilate and conform to the western lifestyle. After witnessing the limitations he faces under the ‘whitefella’ laws in Ramingining, it is Charlie who first attempts to escape his community. He repeatedly rejects the life of subordination and compliance under the government laws, which as shown in the film has forced many of the Indigenous people to neglect their own traditions and way of life (for example, they must now eat unhealthy fast foods to survive and go through school). Charlie’s individualistic expressions seen through crafting a spear and going hunting are actively suppressed by the white authority, leaving him to conclude that the only way to fully exercise his personal agency is to live in the Australian wilderness, alone. His act of abandoning the car with his belongings and parting with almost nothing in his possession is significant in demonstrating his defiance of the imposition of western culture and his journey for self-reliance. De Heer depicts how conforming to an oppressive society is detrimental and praises the self-transformative effects of embracing individualism rather than blindly conforming.

"Live the old way… …going to my Mother Country.’"(Charlie)

“F--- those thieving…white bastards.” (Charlie)

“The kids go to school now. They don’t care.” (Charlie)

“Why did you come here? From far away… stealing people’s stuff! Is this your land?... F---ing bastards.” (Charlie)

“I’m free now. I have my own supermarket! And this is my country! I can dance with it!” (Charlie)

Robyn Davidson’s decision to leave her normal life in Queensland to cross the Australian desertland is one that becomes the subject of much scrutiny and doubt. Her bold, dauntless approach towards pursuing this journey, specifically as a single, young woman was radically counter-cultural to the perception of women in the 1970s as delicate and docile individuals. Davidson’s indifference and somewhat dismissive attitude towards the derogatory remarks and reductive characterisations are indicative of her acknowledgement of the unjustified prejudice that permeates Australian culture. Additionally, Davidson’s assertive personality and commitment to travelling in the wilderness alone is ultimately an establishment to herself as an autonomous woman, rebelling against the traditional conventions of marriage, motherhood and domesticity that was previously expected of her. Ultimately, Davidson strongly asserts the need for resistance, particularly where there is the expectation for conformity, as well as her experience, is revealing of the cleansing and liberating feelings of embracing individualism rather than conforming.

“(Dropping eyes to chest level). "Where’s yer old man?" "I don't have an old man." (p. 5)

“I was self-protective, suspicious and defensive and I was also aggressively ready to pounce on anyone who looked like they might be going to give a hard time.” (p. 34)

“It was essential for me to develop beyond the archetypal female creature who from birth had been trained to be sweet, pliable, forgiving, compassionate and door-mattish.” (p. 34)

“I wanted to… unclog my brain of all extraneous debris, not be protected, to be stripped of all social crutches, not to be hampered by any outside interference.” (p. 91)

Belonging and Identity

The laconic and monotonous pace of the film is suggestive of a more deeply rooted issue surrounding the identity distortions experienced by Aboriginals, even to the present day. This depiction acts as a personification of the widespread troubles of Indigenous Australians -- the deep struggle between submitting to the institutions of the ‘whitefella’ intervention and clinging to what is left of their traditional heritage, often rendering them feeling separated from both cultures. The mundane nature of his daily activities conveys the social incongruence between Charlie’s struggle to live sufficiently as a ‘traditional’ elder or as a ‘modern’ Australian, finding himself disconnected from both. This internal battle is psychologically taxing for Charlie, as he encounters many contradictions: receiving welfare payments, only to have to give them away to his family, and so he goes without food and later becomes hungry, only to be denied the opportunity to hunt for his own food. Fulfilling one culture means rejecting the other, and freedom in one means rebellion in the other. Thus, Charlie sees social transgression as his only choice of refashioning his own identity. De Heer reveals how freely establishing a secure sense of identity and belonging in their culture is critical in the lives of these individuals, however, the long-term damage that western society has inflicted has made this almost impossible.

“You’ve got a job, and you’ve got a house…on my land. Where’s my house? Where’s my job?” (Charlie)

“We need to teach them… the traditional ways.” (Charlie’s friend) 

“I’ve been away fishing, now I’m home. I’m eating well. It’s my own supermarket.” (Charlie)

In  Tracks , Davidson’s attempt to escape the responsibilities and social pressures to immerse herself in nature is ultimately a journey of self-discovery; to define her own identity irrespective of the expectations imposed on her by the 1970s society. As a solitary female, challenging the restrictions of her sex and exposing herself to unpredictable surroundings, she can curate her own identity as a progressive, post-colonial feminist, seizing and capitalising on the autonomy she has. This endeavour allows Davidson to undergo a form of self-transformation, a search for meaning for herself and others, what she describes as a “desocializing process -- the sloughing of, like a snakeskin”. Furthermore, Davidson is determined to rediscover her place in respect to the desertland, educating herself about the native biodiversity and most importantly, the native people. Although Davidson recognises that she will always be considered a ‘whitefella’, she finds a sense of fulfilment and belonging in engaging with and observing the rural Aboriginal communities. She demonstrates a deep understanding of the distorted identity and loss of belonging for the Aborigines at the hands of imperial white forces and is sensitive to the damage that has been inflicted. Above all, Davidson gains a renewed, stable sense of identity and belonging through her resistance to the imperial Australian racist mentality, challenging the male-orientated culture. However, she is also confronted by the reality of this breakdown of identity within the Aboriginal communities.

“This was my first home, where I felt such a sense of relief and belonging that I needed nothing and no one.” (p. 40)

“From the day the thought came into my head ‘I’m going to enter a desert with camels’, to the day I felt the preparations to be completed, I had built some intangible but magical for myself…” (p. 95)

“I wanted to understand so much… I melted into a feeling of belonging. They were letting me into their world. They asked me if I wanted to dance.” (p. 145)

“Once dispossessed of this land, ceremonial life deteriorates, people lose their strength, meaning and identity.” (p. 167) ‍ ‍

Connection to Nature

The significance of nature to the Aboriginal people is at the core of this film. Charlie embodies this connection through his escape to the Australian wilderness. This first acts as a fresh alternative to the restrictive, repressive lifestyle within his government-intervened community, given. It's an opportunity to rebel against the western lifestyle and restore his traditional way of life, which leaves him feeling free, happy and powerful. However, his struggle to adjust to this change is indicative of the corruption of the intrinsic link between the people and the land. The harmonious, symbiotic relationship that the Indigenous people once had with the land has deteriorated; having been essentially poisoned through the introduction of a progressive white society. As much as Charlie tries to balance elements of both cultures by hunting and quitting smoking, it becomes apparent to him returning to where ‘[he] was born’, is the only way to rediscover his sense of self and truly experience freedom. Ultimately, like much of the wider Indigenous people, Charlie’s unable to fully abandon the constraints of white society and has become dependent. De Heer confronts the audience with the consequences of this irreversible separation through the illness and poverty that the Aboriginal people must endure.

“There’s lots of food in the bush… It's like a supermarket out there.” (Charlie’s companion)

“Then you’ll die in the wrong place… a long way from your country… They’ll be no one with you, no one to look after you.” (Charlie to a friend)

“I was born in the bush. They didn’t find me in the bush.” (Charlie)

“I want to go home now......back to my own country......where my place is...” (Charlie)

The connection to nature seen in  Tracks  serves several functions for Davidson. Contrary to the majority of attitudes of the time, Davidson can recognise the sanctity of the Australian land and is determined to learn about and experience this connection between the Aboriginal people and their environment. Like in  Charlie’s Country , Davidson’s encounter with the rural, minimalist Aboriginal communities is a distinct contrast to the urban society which she leaves behind. It’s a sobering reminder to Davidson of the persisting racism and colonialist mentality which pervades Australian history and confirms the serious consequences that have occurred from the loss of connection between land and people. Even further, her battle to survive and adapt to the unpredictability of the desert is the ultimate test of endurance, which Davidson acknowledges enables lasting self-transformation and consolidates to her the true majesty and reverence of nature. Therefore, this escapism into the desertland is Davidson’s own challenge for personal change and a chance to experience true liberation like Charlie, as well as finding peace with the natives by means of acknowledging the usurpation of their traditional land and rights.

“All around me was magnificence. Light, power, space and sun. And I was walking into it. I was going to let it make me or break me.” (p. 101)

“It is difficult to describe Australian desert ranges as their beauty is not just visual. They have an awesome grandeur that can fill you with exaltation or dread, and usually a combination of both.” (p. 122)

“Besides, no amount of anthropological detail can begin to convey Aboriginal feeling for their land. It is everything -- their law, their ethics, their reason for existence.” (p. 167)

“And just as Aborigines seem to be in perfect rapport with themselves and their country, so the embryonic beginnings of that rapport were happening to me.” (p. 193)

Author Views and Values

Aboriginal rights and the intervention.

Like in any comparison, it is important to understand some of the key events that were occurring at the time of both the text and the film. While  Tracks  and  Charlie Country  are set more than 3 decades apart, the issue of Aboriginal rights is still equally as important in both settings.

In  Tracks , the 1970-80s saw many progressive milestones in Aboriginal history. Just years prior to Davidson’s departure, Australians voted for change in the constitution officially recognising Aboriginal people in the national census. Later, 1976 saw the Aboriginal Land Rights Act, which allowed the Indigenous people to assume ownership of land that was acknowledged to be rightly theirs. Many of these legislative changes were indicative of a larger-scale shift in attitudes towards the fairer treatment of Aborigines. While the oppression and racism continued, it was individuals like Robyn Davidson who pioneered the way for greater change and equality. Davidson ultimately intends to highlight the devastation that has occurred to the Aboriginal people following colonisation and aims to shine the light on the persisting issues these individuals face in an ostensibly ‘post-colonial’ Australia.

• Despite some advancements of Indigenous rights in the 1970s, Davidson is firmly opposed to the ongoing racist attitudes held by white Australians.
• Davidson sympathises with the deep hardship endured by the Aboriginal people, which was characteristic of the evolving attitudes towards racial equality in 1970s Australia.

In addition to this, was the 2007 ‘intervention’.  Charlie’s Country  is set some years following the introduction of the Northern Territory National Emergency Response. Following reports of child sexual abuse and neglect, the Howard Government unleashed national forces to remote Indigenous communities in the effort to act as law enforcement and impose alcohol and drug restrictions. De Heer examines the consequences of what was described as a ‘last-ditch’ attempt to maintain power; an act that was widely criticised and showed to further exacerbate the suffering of the Indigenous people. Hence, de Heer’s film provides a personal insight into the difficulty of navigating life for Indigenous citizens as a result of the Intervention, and how Charlie’s struggles are representative of the anguish of the wider Aboriginal community.

• Drawing parallels with the time of 2007 Northern Territory Intervention, de Heer intends to reveal the identity distortions that Indigenous individuals suffered due to the enforcement of westernised laws.
• De Heer’s depiction of Charlie’s alienation from Ramingining was indicative of the wider Aboriginal population in the time following the 2007 Intervention, which saw the introduction of new restrictions into rural communities in the Northern Territory.

Women's rights in Australia

The 1970s was a critical time for women's rights in Australia. At this point in time, after the first wave enabled women to vote, the second wave of feminism was moving through the nation. Women all across Australia were now fervently advocating for their own autonomy and freedom in the workplace and at home; their efforts directed more to dismantle the rigid social structures and expectations that were demanded from them. Davidson is an avid proponent for this cause and demonstrates a tactful and astute understanding of her image as a white, middle-class woman. She openly reiterates her distaste for the sexist remarks and misogynistic caricatures she faces and is determined to confound the restrictions placed on her sex of being a domesticated and weak female. Overall, Davidson is promoting the principles of breaking through societal expectations, however, also reveals the many challenges she encounters in doing so.

• Davidson’s defiance of the traditional female image is indicative of the progressive attitudes regarding women's rights in 1970s Australia.
• Davidson’s embodiment of feminist ideas was synonymous to the 1970s second wave of feminism, where women in Australia were fighting for more freedoms at work and at home.

Comparing metalanguage and film techniques

It can be a bit daunting trying to compare techniques in a novel to those in a film. In this instance, it is crucial to first look at the idea you are comparing. For example, we can observe that both  Tracks  and  Charlie’s Country  show the liberating and cathartic feeling that comes from escaping social pressures. Now, let's look at  how  Robyn Davidson and Rolf de Heer achieve this, albeit in different manners. In  Tracks , Davidson uses  imagery  to describe the desertland she meets, when she says, “It is like a vast unattended communal garden, the closest thing to earthly paradise I can imagine”. De Heer communicates this premise of freedom, however, does this by featuring a variety of  diegetic sounds  of the biodiversity in which Charlie finds himself.

Another example is how intimacy with protagonists is edified. De Heer uses sustained, intimate close up shots and at many times breaks the fourth wall by having Gulpilil look directly at the camera. On the other hand, Davidson employs colloquial language and is liberal with her use of expletives in order to convey a casual, conversational mood between herself and the reader.

Other aspects to consider:

Anthropomorphism  in  Tracks  is   the act of attributing human traits or behaviours to a god, animal or object. Davidson’s use of anthropomorphism to describe the animals around her (specifically the camels and her dog Diggety) is suggestive of the necessity for companionship for humans; the need to establish meaningful connections with others. For Davidson, companionship with animals comes easier than with humans (presuming this stems from her perception of society as problematic and grossly flawed).

• Davidson on camels: “They are haughty, ethnocentric, clearly believing they are god’s chosen race. But they are also cowards and their aristocratic demeanour hides delicate hearts. I was hooked.” (p. 14)
• “[The camels] hung around me like flies, shuffling their feet, looking embarrassedly at the ground or coyly through their elegant lashes, acting apologetic and loving and remorseful…” (p. 80)
• “Diggity had become a cherished friend rather than simply a pet.” (p. 227)
• “[Diggity] combined all the best qualities of god and human and was a great listener." (p. 207)

Cinematography, specifically types of cinematic shots  in  Charlie’s Country .   Those commonly seen in the film include wide shots (camera captures a wide view of the context or setting), close up shots (camera captures events from a short distance away; involves a character’s facial features and expressions), as well as panoramic shots (camera pans around horizontally, showing surroundings). Directors are intentional in the type of cinematography they employ; therefore it is crucial to observe the context in which these shots take place in order to enrich the analysis. 

• Several wide angle, landscape shots of nature, both at the beginning of the film and when Charlie first enters the Australian wilderness.
• Close up shots of Charlie sitting by the fire, and when he is in prison.
• Panoramic shots of Aboriginal art that Charlie discovers in the wild.
• Panoramic shot also in the courtroom where Charlie is on trial.

Remember! When analysing, you  must  consider where these occur in the context of the film’s narrative, and the effect they have on enhancing the events/themes/broader ideas being presented in the scene. (i.e. How are the characters portrayed compared to their surroundings? Compared to others? How are they interacting with these elements? Why has the director chosen this angle/shot?)

Sample Essay Plan

Compare how Tracks and Charlie’s Country present the importance of Individualism.

Sample Introduction:

Set amidst an era of significant social and political change, Robyn Davidson’s autobiographical memoir ‘ Tracks’  and Rolf de Heer’s film ‘ Charlie’s Country’  explores the plight of individuals who embrace individualism. Both Davidson and de Heer assert that individualism is necessary for the protagonists, who find themselves marginalised from the wider population. Through their respective journeys to independence, Robyn and Charlie achieve  a sense of empowerment through identity self-refashioning , as well as they express  their disapproval of   the toxic institutions of society . However, the text and the film also demonstrate how at times,  embracing individualism can present challenges to those who pursue it . Ultimately, Davidson and de Heer commend those who do not fully conform to society.

Paragraph 1: Charlie and Robyn gain empowerment through independently establishing their own identity.

Robyn sees the trip as a demonstration to herself of the shedding of the traditional image of white, middle class woman: 

• “Am I an individualist because I believe I can take control of my own life? If so, then yes, I was definitely that.” 
• “I had… been sick of carrying around the self-indulgent negativity which was so much the malaise of my generation, my sex and my class.”
• Describes the experience as a “gentle catharsis” and that “[She] was happy”.

Charlie’s abandonment of the Ramingining community is an attempt to resolve the identity ambiguity he feels as a result of the Government intervention.

• Charlie appears to receive government benefits only to have to give it away to family, later divulging that “I have no money left… or food. I’m hungry”. When he tries to source food by traditional means, he is punished. All this demonstrates his struggles in balancing two cultures.
• Going back into his “Motherland” he is joyful, dancing and eating again. Recognises a sense of security in going back -- “That’s what I want”, “now I’m home”.

Paragraph 2: Embracing individualism for the protagonists means resisting toxic societal constructs.

Robyn adamantly condemns the deeply entrenched racism of Australian culture and sympathises with the Aborigines and their hardship. Her determination to learn about the Aboriginal people is an attempt to overcome the wedge that has been driven between the two communities: 

• “Racism is a daily experience for blacks in Alice Springs. It reinforces their own feelings of worthlessness and self-hate.”
• “Large mining corporations… lusting after Aboriginal Reserve land.”
• The dependency of the Aboriginal people termed as a “handy PR stunt” for government and policies equated to “apartheid in South Africa”.

Charlie becomes increasingly resistant against the traditions and policies of the government institutions.

• Many times he is seen throwing cigarettes into the fire -- his resentment towards the introduction of white customs. "You come from far away and bring us alcohol, ganja, tobacco... all bad!"
• Charlie rejects the white lifestyle by refusing to eat the food in the community, recognising its detrimental properties. Charlie on illness: “It’s all that… white man junk food we eat."

Paragraph 3: Resisting conformity is challenging for Robyn and Charlie, particularly in an oppressive society.

Robyn is met with harsh opposition and derogatory depictions in the media: 

• Labelled “the next town rape case.” 
• Discovers feces on her pillow one night in Alice Springs -- “let my presence be known as if I were a trespasser.”
• “‘Camel lady’ had that nice patronising belittling ring to it.”

Charlie is constantly shut down when embracing the ways of his culture; ultimately submitting to individualism also unveils his dependency on white society.

• He is charged with ‘recreational shooting’, and his hunting spear is considered "a dangerous weapon."
• Charlie’s confession earlier about his false teeth: “I can’t eat with them… I can eat without them” alluding to this dependency on society.
• The irreversible damage of white intervention is evident in Charlie’s poor health as a consequence of going back to “the old way” -- must go to the hospital.

Additional essay topic and prompts:

‘Resistance to conformity is at the forefront of Tracks and Charlie’s Country ’. To what extent do you agree?

Discuss the ways in which the environment assists the protagonists in their journey for self-discovery.

‘The connection to the land is significant for the characters of both Charlie’s Country and Tracks ’. Discuss.

‘The stories of Charlie and Robyn represent the plight of many others’. To what extent do you agree?

Compare the ways in which characters in Tracks and Charlie’s Country seek to discover what really matters to them.

‘Despite their deep hardship, Charlie and Robyn find transformation in their journeys’. Discuss.

Useful Resources

How to Write a Killer Comparative

Reading and Comparing Tracks into the Wild

Bombshells and The Penelopiad are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

Bombshells is a collection of six monologues written by Joanna Murray-Smith, each featuring one female character who is symbolic of a specific stage in life and role. Together, they are a telling account of the struggles of being a woman in a modern world, and the monologue format allows the author to emphasise how they are simultaneously unique and universally relatable.

The Penelopiad is Margaret Atwood’s retelling of Homer’s Odyssey from Odysseus’ wife Penelope’s point of view. The story is narrated first-person by Penelope who resides in the underworld, but is also peppered with spoken, sung or chanted testimonies from the twelve dead maids of the story who act as a Chorus, a traditional part of ancient Greek theatre. Although the story is old and much-retold, the voice is modern and the author’s messages concerning women and their position in the world and their relationship with men are universal, regardless of the historical period.

3. Characters

The Penelopiad

4. Sample paragraphs

Prompt: How do Bombshells and The Penelopiad emphasise the subtleties of the male-female relationship dynamic?

Introduction

While the narratives of both Bombshells and The Penelopiad are firmly focused on the female perspective of issues relevant to them, the texts also address the male perspective and role in such issues. Like the women, the men created by the authors have instrumental roles in the way the stories play out, which interestingly are sometimes disproportionate to their actual involvement in the plot.

Body paragraph

One of the main differences between the texts, other than the literary format, is the level of dialogue and active participation afforded to the male characters. In The Penelopiad , the male characters arguably largely direct Penelope’s life, from her father essentially selling her into marriage to Odysseus’ life-disrupting departure, return and ‘lies…tricks and… thieving’, not to mention her ‘quite spoiled’ son Telemachus’ will to usurp and disobey his mother. Penelope’s narration gives them large amounts of dialogue and paints them as three-dimensional people in her life, whereas the male characters in Bombshells have barely any dialogue – most of them have none – and yet manage to cause a similar level of turmoil in the female characters. The marriage of Theresa McTerry to her fiancé Ted, for example, sends her into long, capitalised rants heavily punctuated with exclamation marks and profanities; Murray-Smith does not even give Ted a full description. Even without forming the male characters into rich, detailed personas, she still manages to fully showcase the chaos visited upon Theresa by her ill-considered marriage. She draws greater attention to her inner panic and desperation than we see in Penelope, whose voice retains a sense of shocked detachment even when crying or suffering. As such, the differing approaches of the authors both showcase the fact that men can wreak significant havoc with women’s lives, and that we do not actually need to know much about the particulars of the men or their acts to comprehend the women’s suffering.

The approaches of Atwood and Murray-Smith towards the level of engagement of their male characters differ significantly, yet both show the full impact of their actions on the lives of their female counterparts. Even when the men are given only cursory mentions, their presence as an agent of change within the story is sufficient for them to dramatically alter the courses of the characters they consort with.

More full sample A+ essays available in our Ultimate VCE English Study Guide Bundle.

It’s very hard to look past the overt feminist overtones of both try – even though these are some of the most interesting parts of the texts and you definitely should discuss them, there is more to them than messages about women. Maybe expand your view to more general ideas about human beings, how we live our lives and the ways we react to situations of duress.

Also consider that these texts are in two different formats; how does the live performance of Bombshells change the way it is perceived? How do the different media of these texts support or emphasise the authors’ messages? What can a monologue do better than a book in terms of transmitting an idea and vice versa?

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Updated 24/12/2020

• Themes, Motifs and Key Ideas
• Comparative Essay Prompt Example

The Crucible is a four-act play that portrays the atmosphere of the witch trials in Salem. As an allegory of McCarthyism, the play primarily focuses on criticising the ways in which innocent people are prosecuted without any founded evidence, reflecting the unjust nature of the corrupted authoritarian system that governs Salem. It starts off with the girls dancing in the woods and Betty’s unconsciousness, which causes the people of Salem to look for unnatural causes. People start scapegoating others to escape prosecution and falsely accuse others to gain power and land, facilitating mass hysteria which ultimately leads to the downfall of the Salem theocracy. The protagonist John Proctor is one of those that decides to defy the courts and sacrifices his life towards the end of the play, ending the play on a quiet note in contrast with its frenzied conflict throughout the acts.

The Dressmaker shows the audience the treatment towards Tilly Dunnage upon her return to fictional town Dungatar years after she was wrongly accused of being a murderess. Rosalie Ham critiques the impacts of rumours on Tilly and Molly, also establishing her condemnation of the societal stigma of this isolated town. Tilly starts making haute couture outfits to transform the lives of the women in the town and help them present themselves as more desirable and elevate their ranks. However, the townspeople still see Tilly negatively, except for some individuals who are able to look past the opinions of others and get to know Tilly themselves. Ham’s gothic novel garners the audience’s sympathy towards the outcasts of the town and antagonises those who find pleasure in creating drama and spreading rumours about others.  

2. Themes, Motifs and Key Ideas

Through discussing themes, motifs, and key ideas , we’ll gain a clearer understanding of some super important ideas to bring out in your essays. Remember, that when it comes to themes, there’s a whole host of ways you can express your ideas - but this is what I’d suggest as the most impressive method to blow away the VCAA examiners. Throughout this section, we'll be adhering to the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out How To Write A Killer Comparative . I use this strategy throughout this discussion of themes and in the next section, Comparative Essay Prompt Example.

Similarities and Differences (CONVERGENT and DIVERGENT Ideas)

Social class .

Both The Crucible and The Dressmaker talk extensively about class. By class, what I mean is the economic and social divisions which determine where people sit in society. For instance, we could say that the British Royals are ‘upper class’, whilst people living paycheck to paycheck and struggling to get by are ‘lower class’.

Ultimately, both The Crucible and The Dressmaker are set in classist societies where there is no opportunity for social advancement. Whilst Thomas Putnam steals the land of poor Salemites accused of witchcraft, the McSwineys are left to live in absolute poverty and never leave the ‘tip’ where they have lived for generations. Dungatar and Salem view this social division as a ‘given’ and reject the idea that there is anything wrong with certain people living a life of suffering so others can have lives of wealth and pleasure. As such, for both Salem and Dungatar, the very idea that anyone could move between the classes and make a better life for themselves is inherently dangerous. What we can see here is that class shapes the way communities deal with crisis. Anything that overturns class is dangerous because it challenges the social order – meaning that individuals such as Reverend Parris in The Crucible , or Councillor Pettyman in The Dressmaker may lose all their power and authority.

For The Crucible , that’s precisely why the witchcraft crisis is so threatening, as the Salemites are prepared to replace Reverend Parris and deny his authority. Although Abigail and the group of girls thus single-handedly overturn Salem’s class structures and replace it with their own tyranny, Parris’ original intention was to use their power to reinforce his authority. In The Dressmaker , Tilly is threatening because she doesn’t neatly fit in to Dungatar’s class structure. Having travelled the outside world, she represents a worldly mindset and breadth of experiences which the townspeople know they cannot match.

For this theme, there’s a DIVERGENCE of ideas too, and this is clear because the way that class is expressed and enforced in both texts is vastly different. For The Crucible , it’s all about religion – Reverend Parris’ assertion that all Christians must be loyal to him ensures the class structure remains intact. More than that, to challenge him would be to challenge God, which also guides Danforth in executing those who don’t follow his will. In the case of The Dressmaker , there’s no central authority who imposes class on Dungatar. Rather, the people do it themselves; putting people back in their place through rumour and suspicion. However, by creating extravagant, expensive dresses for the townspeople, Tilly inadvertently provides people with another way to express class.  

Isolated Communities

CONVERGENT:

The setting forms an essential thematic element of The Crucible and The Dressmaker . Both communities are thoroughly isolated and, in colloquial terms, live in the ‘middle of no-where’.

However, what is starkly different between the texts is how this isolation shapes the respective communities’ self-image. For Salem, its citizens adopt a mindset of religious and cultural superiority – believing that their faith, dedication to hard work and unity under God make them the most blessed people in the world. Individuals as diverse as Rebecca Nurse and Thomas Putnam perceive Salem to be a genuinely incredible place. They see Salem as the first battleground between God and the Devil in the Americas, and as such, construct a grand narrative in which they are God’s soldiers protecting his kingdom. Even the name ‘Salem’ references ‘Jerusalem’, revealing that the Salemites see themselves as the second coming of Christ, and the fulfilment of the Bible’s promises.

Not much of the same can be said for The Dressmaker . Dungatar lacks the same religious context, and the very name of ‘Dungatar’ references ‘dung’, or beetle poop. The next part of the name is 'tar', a sticky substance, creating the impression that Dungatar's people are stuck in their disgusting ways. The townspeople of Dungatar are acutely aware of their own inadequacy, and that is why they fight so hard to remain isolated from the outside world. Tilly is therefore a threat because she challenges their isolation and forces the men and women of Dungatar to reconsider why their community has shunned progress for so long. In short, she makes a once-isolated people realise that fear, paranoia, division and superstition are no way to run a town, and brings them to acknowledge the terribly harmful impacts of their own hatred.

On top of that, because Salem is literally the only Christian, European settlement for miles, it is simply impossible for them to even think about alternatives to their way of life. They are completely isolated and thus, all of their problems come from ‘within’ and are a result of their own division. For Dungatar, it’s a mix of societal issues on the inside being made worse by the arrival of people from the outside. The township is isolated, but unlike Salem, it at least has contact with the outside world. All Tilly does, therefore, is show the people of Dungatar an alternative to their way of life. But, for a community used to the way they have lived for decades, it ultimately contributes to its destruction.

By the way, to download a PDF version of this blog for printing or offline use, click here !

3. Comparative Essay Prompt Example

The following essay topic breakdown was written by Lindsey Dang. If you'd like to see a completed A+ essay based off this same essay topic, then check out LSG's A Killer Comparative Guide: The Crucible & The Dressmaker , written by 50 study scorer and LSG tutor, Jordan Bassilious!

[Modified Video Transcription]

Compare the ways in which outcasts are treated in The Crucible and The Dressmaker.

Before writing our topic sentences, we need to look at our key words first. The keywords in this prompt are outcasts and treated .

So, who are considered outcasts in the two texts? Outcasts can be those of traditionally lower classes, they can be characters with physical flaws, those that are different to others or those who do not abide by the standards of their respective societies.

• In The Crucible : Tituba, Abigail, John Proctor or even Martha Giles can be considered as outcasts.
• In The Dressmaker : We can consider Tilly, Molly, The McSwineys, etc.

We also need to look our second key word ‘treated’. How would we describe the treatment towards these characters? Are they treated nicely or are they mistreated and discriminated against? Do ALL members of that community have that same treatment towards those outcasts or are there exceptions? Remember this point because we might be able to use this to challenge the prompt.

We’re going to skip Step 2: Brainstorm today, but if you’re familiar with LSG teachings, including the THINK and EXECUTE strategy discussed in my How To Write A Killer Text Response ebook, then you’ll be good for this part.

Step 3: Create a Plan

Both texts portray outcasts as victims of relentless accusations or rumours, seeking to engage the pathos of the audience towards those who are marginalised.

• In The Crucible , Tituba the ‘Negro slave’ is the first person to be accused by witchcraft in Salem. Her ‘consequent low standing’ is also shown through her use of language ‘You beg me to conjure! She beg me make charm’ which is fraught with grammatical errors, compared to Judge Danforth who uses legal jargon and the Putnams who are much more well-spoken.
• Similarly, the McSwineys are also those of lower class and are seen as the outcasts of Dungatar. Their names show us their position in the social hierarchy because they are associated with swines which are pigs. This is confirmed by Sergeant Farrat who said ‘Teddy McSwiney was, by the natural order of the town, an outcast who lived by the tip’. Even when Teddy McSwiney died, the townspeople still did not reflect on the impacts that their prejudice and bigotry had on him, eventually forcing the McSwineys to leave the town because they could not find a sense of belonging living there.
• Tilly is also poorly treated due to the fact that she is fatherless, being bullied by the kids at school especially Stewart Pettyman and also used by William as a leverage to marry Gertrude, threatening Elsbeth that ‘it’s either her [Gertrude] or Tilly Dunnage’
• Also discuss Giles Corey’s death and the significance of his punishment as the stones that are laid on his chest can be argued to symbolise the weight of authority

Miller and Ham also denounce the ways in which outcasts are maltreated due to their position in the social hierarchy through his antagonisation of other townspeople.

• There’s also a quote on this by Molly ‘But you don’t matter – it’s open slather on outcasts'. Herein, she warns the audience of how quickly outcasts can become victims of rumours and accusations as the term ‘slather’ carries negative connotations.
• Similarly, the theocracy that governs Salem dictates the rights of their people and children. He specifically states 'children were anything but thankful for being permitted to walk straight, eyes slightly lowered, arms at sides, and mouths shut until bidden to speak', which explains the girls’ extreme fear of being whipped. Salem is very violent to children, slaves and helpers and it can be seen that this is the result of the social hierarchy and the Puritan ideology.
• For The Dressmaker , also discuss the ways in which they name others in this quote ‘daughter of Mad Molly is back – the murderess!’ Likewise discuss how Goody Osbourne the ‘drunkard half-witted’ and Sarah Good an old beggar woman are the first ones to be named. You can talk about Martha who is accused of being a witch just because she has been ‘reading strange books’, and Sarah Good due to the mere act of ‘mumbling’. The normality of these actions underlines the absurdity of the accusations made against these individuals, furthering Miller’s chastisement of the fictitious nature of the trials and also the ways in which outcasts are the first to be scapegoated.

However, there are still characters that are driven by their sense of morality or remorse instead of mistreating the outcasts of their community.

• Both Sergeant Farrat and Proctor are motivated by their remorse to make amends. Proctor’s evasion of ‘tearing the paper’ and finding ‘his goodness’ is motivated by his desire to atone for his sin (having committed adultery with Abigail), and Sergeant regretted sending Tilly away. He, in his eulogy, says ‘if you had included [Tilly], Teddy would have always been with us’, expressing his regret for the ways outcasts are treated in Dungatar. Similarly, Teddy McSwiney also has a pure relationship with Tilly and treats her differently instead of judging her based on the rumours about her being a ‘murderess’.
• While those who can sympathise with outcasts in The Dressmaker are either outcasts themselves or are remorseful (or both), there are those in The Crucible that are purely and solely motivated by their moral uprightness. Rebecca Nurse is neither an outcast (as she is highly respected for her wisdom) nor remorseful (as she has remained kind and pure from the beginning of the play). She is always the voice of reason in the play and tries to stop authoritative figures from convicting and prosecuting outcasts. A quote you can use would be ‘I think you best send Reverend Hale back as soon as he come. This will set us all to arguin’ again in the society, and we thought to have peace this year'.

4. Sample Essay Topics

1. 'I say—I say—God is dead.' —John Proctor, The Crucible . Explore how communities respond to crisis.

2. People must conform to societal expectations in The Crucible and The Dressmaker . Do you agree?

3. Discuss how The Crucible and The Dressmaker use textual features to convey the author’s perspective.

4. Gender repression is rife in both The Crucible and The Dressmaker . Discuss.

Now it's your turn! Give these essay topics a go. If you're interested in reading a 50 study scorer's completed essays based off these 4 essay topics, along with annotations so you can understand his thinking process, then I would highly recommend checking out LSG's A Killer Comparative Guide: The Crucible & The Dressmaker.

This blog has written contributions from Lindsey Dang.

Download a PDF version of this blog for printing or offline use

Understanding Context in The Crucible and The Dressmaker

1. What is an Oral Presentation? 2. What are you expected to cover? (Oral Presentation Criteria) 3. Choosing your Topic 4. Choosing your Contention 5. Writing your Speech 6. Presenting your Speech 7. Writing the Written Explanation 8. Resources to help you prepare for your Oral Presentation

What is an Oral Presentation?

For many VCE English students, the oral presentation is the scariest part of the course; it’s often also the first.

Doing a speech can indeed be daunting— you’re marked in real time, you can’t go back and edit mistakes, and the writing part itself is only half the battle. Nonetheless, the Oral SAC can also be one of the more dynamic and engaging tasks you complete in VCE English, and there’s plenty of ways to make it more interesting and also more manageable for yourself.

Keep reading for a comprehensive overview of what you need to know to succeed in your Oral Presentation. We’ve got you covered- from choosing your topic and contention, to writing and presenting your Speech.

We’ll also be suggesting useful resources, Study Guides and YouTube videos that will provide more detailed information and give you more confidence. Let’s get into it!

What are you expected to cover in an Oral Presentation? (Oral Presentation Rubric)

1. Your Oral Presentation SAC has two components. The first is the Oral Presentation itself (“a point of view presented in oral form”), and the second is a Written Explanation, also known as a Statement of Intention.

2. Your selected topic needs to be an issue that has appeared in the media since 1 September of the previous year

3. Your aim for this entire Oral Presentation SAC is to persuade your audience to agree with your contention (whatever that may be) based off the issue you’ve selected.

Here’s the raw version of VCAA’s expectations from you, taken from the VCAA website :

How to choose your Oral Presentation topic

1. select a topic that has appeared in the media since 1 september of the previous year.

This can be time consuming and tricky, especially if you want to choose something a bit more original or fresh.

Firstly, you need an event.  An event in the VCE English context is anything that happens which also generates opinionated media coverage—so, it’s not just an event but it has to be an event that people have published opinions about, and they have to have been published since September 1.

You might wonder why we don’t go to the issue straight away. Here’s a hypothetical to illustrate: if you asked me to name an issue, the best I could probably come up with off the top of my head is climate change. However, if you asked me to name an event, I’d pretty easily recall the Australian bushfires—something much more concrete which a) has generated specific and passionate opinions in the media; and b) can easily be linked to a wider issue such as climate change.

The ABC news archive is also really helpful for finding events since you can pick dates or periods of time and see a good mix of news events from then. Otherwise, Wikipedia has helpful pages of  events that happened in specific years in specific countries, so “2023 in Australia” might well be a starting point. 

When you have your event, you can then look for an issue. This will be a specific debate that comes out of the event, and can usually be framed as a “whether-or-not” question. The bushfires, for example, might generate debate around whether or not the Australian government is doing enough to combat climate change, whether or not Scott Morrison has fulfilled his duties as Prime Minister.

Most importantly, choose an issue from an event that’s interesting and important to you. After all, you’re going to be spending the time researching, writing and presenting!

2. Filter out the boring events/issues

Understand who your audience is.

Once you know who your audience is, ask yourself: Does this event and issue relate to my audience?

This question matters because “your aim of this entire Oral Presentation SAC is to persuade your audience to agree with your contention (whatever that may be) based off the issue you’ve selected.” This means that what you say to your audience and how they respond to your speech matters.

Even if your assessor isn’t counting exactly how many people are still listening to your speech at the end, everyone knows a powerful speech when they’re in the presence of one - it hooks the audience from start to end - and an assessor, consciously or subconsciously, cannot deny that the collective attentiveness of the room has an influence on their marking of your Oral Presentation.

That’s why you should choose a topic that your audience can relate to. Also, avoid topics that have too many unfamiliar words, because as soon as there’s something they don’t understand, it becomes much harder for them to follow your speech.

Now you may be asking yourself; what is the best topic for oral presentation?

Here are some example topics from previous years to give you inspiration:

VCE English Oral Presentation Topics 2014

VCE English Oral Presentation Topics 2015

VCE English Oral Presentation Topics 2016

VCE English Oral Presentation Topics 2017

VCE English Oral Presentation Topics 2018

VCE English Oral Presentation Topics 2019

VCE English Oral Presentation Topics 2020

VCE English Oral Presentation Topics 2021

VCE English Oral Presentation Topics 2022

VCE English Oral Presentation Topics 2023

For more detailed information on choosing a topic, read my blog Choosing a WOW topic for your VCE Oral Presentation ‍

How to choose your oral presentation contention

Once you've chosen an interesting topic and have researched all of its different viewpoints, it's time to formulate your contention.

Often, creating a killer contention is about avoiding some common traps that will make your overall presentation boring, bland and just like the rest of your cohorts'.

So, there are three things I like to AVOID:

1. Broad, Overarching statements

2. A Contention That Is Just Plain Obvious

3. Avoid A Contention That Is Generally Accepted As True In Today’s Age

For more information on writing a contention, read my blog Creating a Killer Contention for your Oral Presentation ‍

How to write your speech 

1. Have a CAPTIVATING introduction sentence; use a short, clear and powerful sentence.

2. RELATE to your audience so that it keeps them interested so they actually WANT to listen.

3. If you are taking on a persona, firstly study and UNDERSTAND your character.

4. Don’t forget your persuasive techniques. I usually use repetition in conjunction with the ‘rule of three’.

5. Remember that you are writing a SPEECH, not an essay. Instil your oral with emotion, varied tone and sentence lengths.

In fact, I've talked about a few of these in a 'Must Dos and Don'ts' video. If you haven't seen it yet, watch below before you read on.

4 tips on presenting your Speech

1. Body Language

Confidence is key. Stand with your feet shoulder width apart and, more importantly don’t move your legs. Especially if you’re nervous, swaying or shuffling will be noticeable and make you appear more nervous—when you practise, pay attention to the lower half of your body and train it to stay still if possible.

That being said, do use your arms for gestures. Those are more natural and will help engage the audience, though don’t overdo it either—usually, holding cue cards in one hand frees up the other but also stops you from going overboard.

2. Eye contact

Cue cards brings up another important consideration- eye contact. Hold cue cards in one hand as high as you can without it feeling uncomfortable. This means you don’t have to take your eyes away from the audience for too long or too noticeably to check your notes.

Eye contact increases your engagement with the audience. It also gives the impression of confidence and that you’ve been practicing and know your speech inside and out!

3. Rehearse, rehearse, rehearse

In a best case scenario, you won’t need to rely on your cue cards as you will have your speech basically memorised! Read your speech aloud and pretend that you’re actually delivering your speech. This means:

- Looking up ahead

- Holding the cue cards in the right spot; and

- Not just reading the words, but speaking as if to an audience

 It’s extremely helpful to also practice your speech to an actual audience! Practice in front of your family and friends. An alternative is to put a sticker next to your camera and record yourself. The sticker will help indicate where you should create eye contact. Look back at the video and give yourself some feedback, you might be surprised at your presentation!

4. Tone variation

Tone variation involves emphasising certain words, using pauses or slowing down for effect, or modifying volume. Incorporating some of these elements- even writing them into your notes by bolding/italicising/underlining will help you break out of monotony and make the speech more engaging.

Be sure to emphasise emotive language and any evidence you might use to illustrate your arguments. Most importantly, don’t speak too quickly!

5 things to keep in mind while writing the written explanation

For oral presentation based written explanations, the VCAA study design requests students write...

"A written statement of intention to accompany the student’s own oral presentation, articulating the intention of decisions made in the planning process, and how these demonstrate understanding of argument and persuasive language."

Using the topic, 'Why we need to stop crying 'cultural appropriation' when cultural exchange is far more important, ‘let’s see how this can be done with FLAPC with some examples below:

2. Language

3. Audience

For more information on writing a Written Explanation and a sample FLAPC compiled and rearranged for flow and fluency, read my blog How to Write a Stellar Written Explanation (Statement of Intention) .

Resources to help you prepare for your Oral Presentation

Doing this study all by yourself can be rather daunting, so we've got your back. We specialise in supporting VCE English by creating helpful videos, study guides and eBooks. Here are some just to get your started:

‍ A Three Part Guide to Nailing Your Oral Presentation

Advice for A+ Oral Presentations

How I Got A+ in My Oral Presentation | Live QnA With Lisa Tran

How To 'Overcome' Your Fear of Public Speaking

Oral Presentations | How To Do Speeches

5 Common Oral Presentation Mistakes

Our How to Write a Killer Oral Presentation Study Guide has all the information you need to succeed in your Oral Presentations. Sample A+ essays and written explanations are also included!

Picture this: you’re sitting down at your desk, fumbling your fingers, inspecting the new stationary that you convinced yourself you needed for year 12, resisting the urge to check your phone. Your text response SAC is in two weeks. You’re freaking out because you want, no, need an A+. You decide to write a practice essay for your English teacher. Practice makes perfect, right? You stay up for hours, pouring your heart and soul into this essay. The result? B+. Where did I go wrong?

That’s where I come in! Writing an A+ essay can be really tough without examples and specific advice. Before reading on, make sure you've read our Ultimate Guide to VCE Text Response and Golden Age blog so you are up to scratch.

In this article I will be explaining some basic dos and don’ts of writing an essay on The Golden Age , providing a model essay as an example. At the end of this blog is also a video based on another essay prompt to help you prepare for your Golden Age studies!

The following prompt will be referenced throughout the post;

‘The Golden Age’ shows that everyone needs love and recognition. Discuss.

Planning: the silent killer of A+ essays

I’m sure your teachers have emphasised the importance of planning. In case they haven’t, allow me to reiterate that great planning is compulsory for a great essay . However, flimsy arguments aren’t going to get you an A+. The examiners are looking for complex arguments , providing a variety of perspectives of the themes at hand. From the above prompt, the key word is, ‘discuss’. This means that you should be discussing the prompt, not blindly agreeing with it . Make sure you don’t write anything that wouldn’t sit right with London. ‍

Don’t plan out basic arguments that are one-dimensional. This may give you a pass in English, but won’t distinguish you as a top-scoring student.

For example:

• Paragraph 1: The children at TGA need love and recognition.
• Paragraph 2: Ida and Meyer need love and recognition
• Paragraph 3: Sister Penny needs love and recognition.

The above paragraphs merely agree with the statement, but don’t delve into the many aspects of the novel that could contribute to a sophisticated essay.

Do create complex arguments, or paragraphs with a twist! If you can justify your argument and it makes sense, include it in your essay. There are many ways that you could answer this question, but my plan looks like this:

• Paragraph 1: Frank Gold yearns for mature, adult love, not recognition from onlookers or outsiders
• Paragraph 2: Ida Gold does not seek recognition from Australia, but love and validation from herself
• Paragraph 3: Albert requires love from a specific kind of relationship – family, and Sullivan may view love from his father as pity which he rebukes

See the difference?

The introduction:

How to start your essay off with a bang.

Personally, I always struggled with starting an introduction. The examiners will be reading and marking thousands of essays, so if possible, starting your introduction with something other than Joan London’s ‘The Golden Age’… is a great way to make you stand out from the crowd. Having a strong start is essential to pave the way for a clear and concise essay. You could start with a quote/scene from the text! This is not essential, but it’s a great way to mix things up. This is my start:

Perhaps nothing exemplifies the power of love and recognition more than the bond between Albert Sutton and his older sister, Lizzie, in Joan London’s ‘The Golden Age’. Many of London’s characters exhibit suffering that requires compassion and support to heal and grow, to distinguish present from past. However, London explores the perspectives of such characters from different aspects of trauma, and emphasise that love and recognition do not always work to heal and mature. Frank Gold, the novel’s resident “sneaky” boy who adjusts to newfound life in the Golden Age Convalescent Home seeks love as an adult, rather than eliciting sympathy as a supposed victim. Here love and recognition are unsuccessful in amending Frank’s troubles when given from the perspective of an outsider, a judgemental onlooker. In a similar sense, Ida Gold seeks recognition not from Australia, who she views as a ‘backwater’, but validation in herself after having been ousted from her Hungarian identity. London, however, makes sure to emphasise the impact that Sullivan has on Frank Gold’s life. Sullivan, a boy only a few years older than Frank, seems content with his future, with his fate, despite his sacrifice of rugby and conventional life.  There is a lacking sense of urgency for love and recognition in Sullivan’s life, rather, it appears that Sullivan accepts his fate, regardless of his father’s sympathy or support. Thus, London explores a myriad of ways in which love and recognition may or may not heal wounds inflicted upon individuals.

Remember, there are many other ways you could start your essay.

The body paragraphs: To TEEL or not to TEEL?

I’m sure you’ve heard of TEEL countless times since year 7. Topic sentence, evidence, explanation, link. The truth is that these elements are all very important in a body paragraph. However, following a rigid structure will render your essay bland and repetitive. It is also extremely important to note that you should be using evidence from multiple points in the text , and you should be making sure that your paragraphs are directly answering the question . Write what feels natural to you, and most importantly, don’t abuse a thesaurus . If you can’t read your essay without rummaging for a dictionary every second sentence, you should rewrite it.  If vocabulary isn’t your strong point (it definitely isn’t mine!), focus on clean sentence structure and solid arguments. There’s nothing worse than you using a fancy word incorrectly.

Don’t overuse your thesaurus in an attempt to sound sophisticated, and don’t use the same structure for every sentence. For example:

Prematurely in the paperback London makes an allusion to Norm White, the denizen horticulturalist of The Golden Age Convalescent Home…

That was an exaggerated example generated by searching for synonyms. As you can see, it sounds silly, and some of the words don’t even make sense. I mean, “denizen horticulturalist”…really?

Do mix up your paragraph structure! If vocabulary is your weak point, focus on clean language.

Here’s mine:

Early in the novel, London makes reference to Norm White, the resident groundskeeper of The Golden Age Convalescent Home. Norm White hands Frank Gold a cigarette, “as if to say a man has the right to smoke in peace”. Here, there is a complete disregard for rule and convention, an idea that London emphasises throughout the text. This feature provides a counter-cultural experience for Frank, pushing him to realise that he is a strong human being rather than a mere victim. This is a clear contrast to the “babyishness” of the home, and is used as evidence of true humanity in an era where society judged upon the unconventional. Frank yearns for a traditional Australian life after his trauma in Hungary; “his own memory…lodged like an attic in the front part of his brain”. Hedwiga and Julia Marai’s caring of him pushed him towards fear and reluctance to trust, yet also pressured him to seek acceptance in a world that ostracises him for his Jewish heritage and polio diagnosis. This here is why Frank desires a mature, adult connection – love that regards him as an equal human being. Frank seeks Elsa’s love and company as she too loathes being reduced to a victim, an object of pity. Frank thereafter uses humour to joke of his wounds; “we Jews have to be on the lookout”. Elsa sees “a look in his eyes that she recognised”, thus their bond enables both characters to heal. London alludes that Frank requires love and recognition not from the perspective of a sorrowful onlooker, rather he longs to be recognised as a mature adult.

To learn more about using the right vocabulary, read 'Why using big words in VCE essays can make you look dumber'.

The conclusion: closing the deal

I firmly believe in short and sharp conclusions. Your body paragraphs should be thoroughly explaining your paragraphs, so don’t include any new information here. A few sentences is enough. Once again, write what feels natural, and what flows well.

Don’t drag out your conclusion. Short and concise is the key to finishing well.

Do write a sharp finish! Sentence starters such as, “Ultimately…” or “Thus, London…” are great.

Although trauma is often treated with love and compassion, London details different perspectives on this idea. Whilst Frank Gold requires a specific kind of recognition, Ida and Meyer seek validation in themselves and their relationship, whilst Sullivan is at ease with his fate and does not yearn sympathy from his father.

‍ To learn more about A+ essays, you should also have a read of 10 easy English points you're missing out on .

I'll finish off by giving you an exercise: brainstorm and write up a plan for the essay topic shown in the video below. I'd recommend you do this before watching Lisa's brainstorm and plan. That way, you can see which of your ideas overlapped, but also potentially see which ideas you may have missed out on. Good luck!

1. List of Listening Resources That You Can Access For Free 2. How To Use These Free Resources (a Step-by-Step Guide) 3. Let Me Walk You Through How I approach These Listening Exercises 4. Time to Test Your Listening Skills

For an overview of the EAL study design plus tips and tricks for reading comprehension, time management and more, check out The Ultimate Guide to EAL .

The listening tasks of the EAL exam are worth 20% of the total exam marks.  Since this section was introduced to the exam fairly recently, limited past exam questions are available for students to practice. In this blog, you will find a comprehensive list of external resources that are accessible for free. Although they are not designed specifically for the purpose of VCAA exams, they can still boost your marks if used wisely. I will offer some advice that helped me receive a perfect study score in EAL and give you a step-by-step guide on how to use these listening resources to better prepare for EAL listening.

1. List of Listening Resources That You Can Access For Free:

ABC Radio National

• ‍ The art of 'adulting' - Mornings - ABC Radio
• ‍ Our future shaped and changed by Covid 19 - Big Ideas - ABC Radio National
• ‍ The New Laws of Robotics and what they might mean for AI - Future Tense - ABC Radio National
• ‍ Urban pandemic – isolation and inequality - Future Tense - ABC Radio National
• ‍ Will this new vaccine be a game changer? - 7.30 (abc.net.au)
• ‍ Borders starting to open up across the country - 7.30 (abc.net.au) ‍

Randall’s Listening Lab

• ‍ General Listening Quizzes
• ‍ Summer Camp | Randall's ESL Cyber Listening Lab (esl-lab.com)
• ‍ Check out this inspiration speech from Lisa Tran, our founder of Lisa’s Study Guide
• ‍ Inside the mind of a master procrastinator | Tim Urban - YouTube
• ‍ Intermediate English Listening - Nelson Mandela (esolcourses.com)
• ‍ Online English - Martin Luther King Jr Video Listening Quiz (esolcourses.com)

ABC 5 minutes more (this is super fun and easy one to listen to, perfect for times when we feel a bit lazy)

• ‍ Umbrellas Up! Umbrellas Down! : ABC iview
• ‍ The Friendly Caterpillar : ABC iview

BBC The Newsroom

• ‍ How to Vaccinate the World - Episode 3 - BBC Sounds
• ‍ Steve Jobs' 2005 Stanford Commencement Address - YouTube
• ‍ Bill Gates Harvard Commencement Address 2007 - YouTube
• ‍ In case you missed my Tulane speech, watch it here! - YouTube
• ‍ Natalie Portman Harvard Commencement Speech | Harvard Commencement 2015 - YouTube

And for my fellow Chinese friends, I recommend 可可英语 . It pretty much includes all major news sources worldwide including the Voice of America, CNN, ABC, National Public Radio, NBC News, BBC, The Economist and National Geography. I particularly love the fact that both the website and its free app offer English transcription and Chinese translation side by side.

2. How To Use These Free Resources (a Step-by-Step Guide)

I recommend you listen to the audio three times. Below, I have broken down what you should pay attention to during each listening exercise.

1st Time Listening

Step 1: read and annotate background information  .

• Read the background information if available. This mimics the ‘Background Information’ given at the very start of each question in the VCAA exam. In most cases, it provides a general introduction to the speakers and gives you a brief idea of what to expect in the upcoming audio. 
• Highlight the name of the speakers.
• Underline important information.

Step 2:  Read and Annotate the Questions

• Familiarise yourself with the questions during reading time and annotate them. 
• Develop an annotation system that works well for you personally.

1. I usually underline key information that gives me information on  ‘what’, ‘why’, ‘how’, ‘where’ and ‘when’ (refer to the table in Step 4 below for definitions for these ‘W’ words).

2. Highlight the main person/subject that the question is referring to. This will help you during note taking and formulating your answer. Under the stress of exams, we might lose track of which speaker is talking, especially when the two speakers sound similar. By highlighting the name of the speaker in the question, it reminds us which speaker to pay attention to when answering the question.

• If you are playing the audio clips by yourself for practice, make sure you give yourself time to analyse the questions before hitting play! If you have a friend or family member who can act as your ‘exam facilitator’, as soon as reading time ends, highlight or underline the keywords before your exam facilitator plays the audio clips! 

Step 3:  Listen to the Audio Only (Without the Visual)

This is pretty self-explanatory!

Step 4: Write Down Side Notes

• Write down as much information as you can to practice speed writing
• Some ‘W’ words (see table below) may not apply to all audio clips so free feel to only use the ‘W’ words that are relevant

2nd Time Listening 

Step 1: Fill in the blanks and try to be aware of words you don’t quite ‘get’.

Step 2: Note down how the speakers convey their attitude, feeling, ideas, etc.

Step 3: Interaction between speakers. 

There will typically be a question that asks you to describe the interaction between the speakers, such as , ‘Suggest 2 words to describe the interaction between A and B’. The answer you need to provide will typically be a two-word answer. I would encourage you to learn the adjectives used to describe a range of interactions, for example: 

Words to describe positive interactions include:

• Friendly, respectful
• Professional, formal, polite
• Relaxed, warm
• Amicable, sanguine

Words to describe negative interactions include:

• Embarrassed
• Teasing, childish
• Tense, unpleasant, disappointed
• Confrontational

3rd Time Listening  

Listen to the audio while you read the transcript if available.

3. Let Me Walk You Through How I approach These Listening Exercises

Now that you know the steps, let’s see them in action. Below, I will demonstrate the step-by-step process of how you can make full use of the listening resources above.  

We’ll use this video clip from ABC Life Matters as an example: Is the internet becoming more 'ethical'?

Download this worksheet so that you can work through this listening task on your own too!

Step 1: Read and Annotate Background Information

Step 3: Listen to the Audio (Without the Visual)

Step 4 : write down side notes.

For practice, I recommend taking notes in a table format, using the ‘W’ words I mentioned above. We are going to designate a separate table for each speaker in the audio.

2nd Time Listening   

This is where you have the opportunity to fill in the blanks for the challenging words that you did not pick up in the first round. For example: Ubiquitous, monopolists, admirable, immersed, sophisticated and algorithm 

I will use ‘friendly’ and ‘polite’ to describe the interaction between the interviewer and Jocelyn Brewer. As you listen, see if you can identify why I have chosen these two words to describe the interaction. Keep in mind that there is no right or wrong answer here as long as your choice of descriptive words suit the audio clip.

3rd Time Listening   

Usually I would read the transcript in this third and final step, however, since there is no transcript available for this piece, I will skip this step.

4. Time to Test Your Listening Skills

Using the same audio clip and worksheet , have a go at these VCAA-style questions that I wrote up, and then check out my sample answers to see how your own answers compare. You will probably notice that a lot of the information you gather from the  ‘W’ words actually provides you with the answers to the majority of the questions here.

Sample Questions:

• What are the problems with internet use today? (2 marks)
• What is it that can draw people in and what example does Brewer use in relation to this? (2 marks)
• What is Beverley Wang’s opinion on some apps showing many ‘likes’? Support your answer with an example of word choice and language. (3 marks)
• What are the costs people have to pay, as Brewer suggests, for the use of Internet? (2 marks)
• What does Ecosia try to recognise? (2 marks)
• Give the word that the company officer of Ecosia uses to describe Google’s dominant power over the search engine. (1 mark)
• What are the two adjectives Beverely Wang uses to praise Ecosia? (2 marks)
• What are the challenges faced by companies like Ecosia, according to Brewer? (2 marks)

Sample Answers: 

• The problems of internet use lie in its prevalence in society and how powerful the technology is. The apps are designed to mimic the best psychological behaviours and maintain our interest. 
• Users are drawn in by a range of psychological hacks employed by the app designers. For example, Facebook has adjusted the size of the font to keep us engaged and immersed. 
• Beverley Wang expresses her opinions that some apps can foster addictive behaviours and can be scary by using a frustrated and alarmed tone. Additionally, by repeating the term ‘consuming’ four times in a row, delivered in a fast pace, Wang affirms the unethical and addictive nature of the apps.
• Brewer suggests people have to pay with time and attention.
• Firstly, Ecosia aims to be an ethically-orientated company by planting one tree for every 45 web searches. Secondly, it promises to be a ‘privacy-friendly’ platform and endeavours to expose the shameful motives of some search engines such as Google. 
• ‘monopolists’
• ‘noble’ and ‘admirable’
• Since using Ecosia requires ‘people-poser’, the public need to be more aware of the benefits of switching from an ‘automatically-preferred’ search engine to Ecosia. Ecosia receives ‘56 enquiries every minute’ compared to ‘40 thousand’ enquiries on their competitor’s web engine. 

For further tips and tricks on tackling the EAL Listening Exam, check out How To ACE the EAL Listening Exam . For more advice and samples about listening practice, see EAL Listening Practice , Tips on EAL Listening and How To Take Speedy Notes During Listening Component of VCE EAL Exam .

‍ This blog was updated on 05/10/2020.

6. Sample Essay Topics

7. A+ Essay Topic Breakdown

Pride and Prejudice is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Jane Austen’s 1813 novel, Pride and Prejudice , follows the titular character of Elizabeth Bennet as she and her family navigate love, loyalty and wealth.

When Mrs. Bennet hears that a wealthy, young and eligible bachelor, Mr. Bingley, has moved into the manor of Netherfield Park nearby, she hopes to see one of her daughters marry him. Of the five daughters born to Mr. and Mrs. Bennet, Jane, Elizabeth, Mary, Kitty and Lydia, Jane takes an early liking to Mr. Bingley despite his friend, Mr. Darcy, initial coldness and apathy towards her younger sister Elizabeth. Though Mr. Darcy’s distaste soon grows to attraction and love.

While Jane and Mr. Bingley begin to fall for each other, Elizabeth receives and declines a marriage proposal from her supercilious cousin Mr. Collins, who eventually comes to marry Elizabeth’s dear friend Charlotte. While Mr. Darcy is in residence at Netherfield Park, Elizabeth finds and enjoys the company of a young officer named Mr. Wickham who too has a strong disliking for Mr. Darcy. Mr. Wickham claims it was Mr. Darcy who cheated him out of his fortune, which then deepens Elizabeth's initial ill impression of the arrogant man.

After a ball is held at Netherfield Park, the wealthy family quits the estate, leaving Jane heartbroken. Jane is then invited to London by her Aunt and Uncle Gardiner, which Mr. Darcy fails to tell Mr. Bingley as he has persuaded him not to court Jane because of her lesser status.

When Elizabeth visits her newly married friend Charlotte, she meets Lady Catherine de Bourgh’s (Mr. Darcy’s Aunt) other nephew, Colonel Fitzwilliam. While there, Mr. Darcy appears and proposes to Elizabeth unexpectedly claiming he loves and admires her. To Mr. Darcy’s surprise, Elizabeth refuses as she blames him for ruining Mr. Wickam’s hopes of success and for keeping Jane and Mr. Bingley apart. Mr. Darcy later apologies in a letter and admits to persuading Mr. Bingley not to pursue Jane, but argues that her love for him was not obvious. In the letter, he also denies Wickam’s accusations and explains that Wickham had intended to elope with his sister for her fortune.

Elizabeth joins her Aunt and Uncle in visiting Mr. Darcy’s great estate of Pemberley under the impression he would be absent. It is there that Elizabeth learns from the housekeeper that Mr. Darcy is a generous landlord. Elizabeth and Mr. Darcy then have a chance encounter after he returns home ahead of schedule. Following her previous rejection of him, Mr. Darcy has attempted to reform his character and presents himself amiably to Elizabeth’s Aunt and Uncle as she begins to warm up to him.

Mr Darcy happens upon Elizabeth as she receives the terrible news that Lydia has run off with Wickam in an event that could ruin her family. Mr. Darcy then going out in search for Wickham and Lydia to hurry their nuptials. When Mr. Bingley and Mr. Darcy return to Netherfield Park, Elizabeth is pleased to see him though Darcy shows no sign of his regard for her. Jane and Mr. Bingley soon become engaged.

Soon thereafter, Lady Catherine visits the Bennets and insists that Elizabth never agree to marry her nephew. Darcy hears of Elizabeth's refusal, and when he next comes, he proposes a second time which she accepts, his pride then humbled and her prejudices overturned.

• Elizabeth Bennet
• Mr. Fitzwilliam Darcy
• Jane Bennet
• Mr. Charles Bingley
• Mrs. Bennet
• George Wickham
• Lydia Bennet
• Mr. Collins
• Miss Bingley
• Lady Catherine De Bourgh
• Mr. and Mrs. Gardiner
• Charlotte Lucas
• Georgiana Darcy
• Mary Bennet
• Catherine Bennet

Within the text the theme of pride is ever present as it plays a major role in how Austen’s characters present themselves, their attitudes and how they treat each other. For much of the novel pride blinds both Mr. Darcy and Elizabeth of their true feelings and hence becomes something both characters must overcome. While Darcy’s pride makes him look down upon those not immediately within his social circle, Elizabeth takes so much pride in her ability to judge the character of others that she refuses to amend her opinions even when her initial judgements are proven wrong. Indeed, this is why Elizabeth despises the benign Darcy early on in the text, but initially takes a liking to the mendacious Wickham. By the denouement of the novel, both Datcy and Elizabeth have overcome their pride by encouraging and supporting each others own personal evolution. Indeed, as Darcy sheds his elitism Elizabeth comes to realise the importance of revaluation.

The tendency of others to judge one another based on perceptions, rather than who they are and what they value becomes a point of prolific discussion within Pride and Prejudice . Indeed, the title of the text clearly implies the related nature of pride and prejudice as both Darcy and Elizabeth are often shown to make the wrong assumptions; Darcy’s assumptions grounded in his social prejudice whereas Elizabeth’s is rooted in her discernment led astray by her excessive pride. As Austen subtly mocks the two lovers biases, she gives the impression that while such flaws are common faulting someone else for the prejudice is easy while recognising it in yourself is hard. While Austen’s representation of prejudice is aligned with personal development and moral growth as she wittingly condemns those who refuse to set aside their prejudices like Lady Catherine and Caroline.

The family unit that Austen displays with Pride and Prejudice becomes the social and domestic sphere as it forms the emotional center of the novel in which she grounds her analysis and discussion. Not only does the family determine the social hierarchy and standing of its members but provides the intellectual and moral support for its children. In the case of the Bennet family, Austen reveals how the individuals identity and sense of self is molded within the family as she presents Jane and Elizabeth as mature, intelligent and witty and lydia as a luckless fool. Not only this, Austen reveals the emotional spectrum that lives within every family as shown through Elizabeth’s varying relationship with her parents; the tense relationship with her mother and sympathy she shares with her father.

At the center of its plot, Pride and Prejudice examines the complex inequality that governs the relationships between men and women and the limited options that women have in regards to marriage. Austen portrays a world in which the socio-economic relationship between security and love limits the woman and her choices as it based exclusively on a family’s social rank and connections. Indeed, the expectations of the Bennet sisters, as members of the upper class is to marry well instead of work. As women can not inherit their families estate nor money, their only option is to marry well in the hope of attaining wealth and social standing. Through this, Austen explains Mrs. Bennet’s hysteria about marrying off her daughters. Yet Austen is also shown to be critical of those who marry purely for security, thereby offering Elizabth as the ideal, who initially refuses marriage as she refutes financial comfort but ends up marrying for love.

Class and Wealth

As Austen focuses much of her novel on the impacts of class and wealth, she makes clear of the system that favours the rich and powerful and often punishes the weak and poor. Characters like Lady Catherine, whose enforcement of rigid hierarchical positions often leads her to mistreatment of others. Other characters like Mr. Collins and Caroline are depicted as void of genuine connection as they are unable to live and love outside the perimeter of their social standing. In contrast, characters such as Bingley and the Gardiners offer a respectable embodiment of wealth and class through their kindness and manners. Indeed, Austen does not criticise the entire class system as she offers examples that serve to demonstrate the decency and respectability. Darcy embodies all that a high-class gentleman should as though he is initially presented as flawed and arrogant, it becomes clear as the novel progresses that he is capable of change. Always generous and compassionate, his involvement with Elizabeth helps to brings his nurturing nature to the foreground, evident in his attempts to help the foolish lydia. Ultimately, Austen suggest through Darcy’s and Elizabeth's union that though class and wealth are restrictive, they do not determine one’s character nor who one is capable of loving.

• Symbolism, imagery and allegories
• Writing style
• Three Act plot

Important Quotes

• “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” (ch.1)

When writing on any text in Text Response, it is essential to use quotes and analyse them.

Let’s take this quote, for example.

“it is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife”

This is the opening line of the novel. It is satirical, ironic and mocking in tone. Austen makes fun of the notion that wealthy bachelors must be wanting to marry in order to be valued in society. By using this tone, she subverts this “truth universally acknowledged” and encourages readers to question this societal presumption of wealth and marriage.

Have a look at the following quotes and ask yourself, ‘how would I analyse this quote?’:

• “She is tolerable; but not handsome enough to tempt me; and I am in no humour at present to give consequence to young ladies who are slighted by other men.” (ch.3)
• "An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do." (ch.20)
• “In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.” (ch.34)
• “They were all of them warm in her admiration; and at that moment she felt that to be mistress of Pemberley might be something!” (ch.43)
• “You are too generous to trifle with me. If your feelings are still what they were last April, tell me so at once. My affections and wishes are unchanged, but one word from you will silence me on this subject forever.” (ch.58)

Essay Topics

1. What do the various relationships shown in Pride and Prejudice tell us about love, marriage and society?

2. Austen shows that even those of the best moral character can be blinded by their pride and prejudice . To what extent do you agree?

3. Elizabeth Bennet holds a radical view of marriage for her time . What impact does this attitude have on the other characters' lives and relationships ? Discuss.

For more sample essay topics, head over to our Pride and Prejudice Study Guid e to practice writing essays using the analysis you've learnt in this blog!

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because it’ll dramatically enhance how much you can take away from the following essays and more importantly, to then be able to apply these in your own writing.

Step 3: C reate a Plan  

Character-based Prompt: Elizabeth Bennet holds a radical view of marriage for her time. What impact could this attitude have on the other characters' lives and relationships? Discuss. 

The following comes essay topic breakdown comes from our Pride and Prejudice Study Guide:

Step 1: Analyse 

Elizabeth Bennet holds a radical view of marriage for her time . What impact could this attitude have on the other characters' lives and relationships ? Discuss.

A character based essay prompt is pretty self-explanatory as the prompt will have a specific focus on one character or a group of characters. While they may look relatively simple and straightforward, a lot of students struggle with character based questions as they find it is hard to discuss ideas in a lot of depth. With that in mind, it's important that we strive for what the author is saying; what is the author trying to convey through this specific character? What do they represent? Do they advocate for specific ideas or does the author use this character to condemn a certain idea and action?  

This question is looking at the attitude Elizabeth Bennet has in regard to the expectation and institution of marriage and how her view could impact the lives of the people around her. As always, we want to make sure that we not only identify our key words but define them. I started by first defining/ exploring the attitude Elizabeth holds towards the institution of marriage ; as marriage was not only an expectation in the times of regency England but a means to secure future financial security , Elizabeth’s outlook that an individual should marry only for the purpose of happiness and love was not only radical but dangerous . Her outlook, while noble, could and did put her family at jeopardy of being cast out from their estate as without a union between one of the Bennet daughters and Mr. Collins, Mr. Collins would have every right to do so as the only male inherent. I also looked at the wider implications Elizabeth’s outlook could have on the lives of the other characters such as Charlotte , Darcy and Bingley .

Step 3: Plan

Contention : Your contention relates to your interpretation of the essay prompt and the stance you’re going to take – i.e. are you in agreement, disagreement, or both to an extent.

While radical for her time, Elizabeth's progressive view of marriage can be seen to advocate for the rights of women and love and happiness but also, can jeopardise the livelihoods of those around her as Elizabeth is guided by selfish motives. 

P1: The radical view of marriage Elizabeth holds can be viewed as selfish and guided by her own self interest which is shown to negatively impact the lives of her family. 

P2: As Elizabeth diverts from the traditional approach to marriage, she encourages her friends and loved ones to follow their own hearts and morals rather than society's expectations. 

P3: Because Elizabeth is depicted as a bold and beautiful woman, she is unable to recognise that her radical view is a luxury that not all characters have access to. 

If you'd like to see an A+ essay on the essay topic above, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then you'll definitely want to check out our Pride and Prejudice Study Guide: A Killer Text Guide! In it, we also cover themes, characters, views and values, metalanguage and have 4 other sample A+ essays completely annotated so you can kill your next SAC or exam! Check it out here ."

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

‍ Station Eleven is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Breaking Down a Station Eleven Essay Prompt

We've explored themes, characters, symbols and provided a summary of the text over on our Station Eleven by Emily St John Mandel blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

Here, we’ll be breaking down a Station Eleven essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Without further ado, let’s get into it!

The Prompt: ' The distortion of memories can be harmful.' Do you agree?

The first thing to note about this prompt is that it's a theme-based prompt, focussing specifically on the theme of memory, which plays a significant role throughout the novel! But more specifically, it's asking directly about the impacts distorted (i.e. misrepresentative/twisted/warped) memories have on individuals, and whether this is harmful or not. So ultimately, you have to look at which memories are distorted throughout the novel, and evaluate whether this process is ultimately helpful to the characters or not.

Not sure what we mean by ‘theme-based prompt’? Then, you’ll want to learn more about the 5 types of essay prompts here .

‍ Step 2: Brainstorm

• Many characters' memories are altered significantly from what actually occurred - this is especially relevant for the characters living after the pandemic, as memories naturally distort over a 20-year period
• The two main characters we see whose memories are altered the most are Tyler and Kirsten - both of whom were children during the collapse of civilisation
• For Tyler, his recollections of the past are all dominated by violence and this has a significant impact on his worldview. One could very easily argue that it is this distorted view of reality that ultimately leads to the formation of his cult and the subsequent harm he inflicts
• Thus, in the case of Tyler, it is quite clear that the distortion of memories has been quite harmful
• However, on the other hand, Kirsten has had to commit unspeakable acts, (as implied by her being unable to remember her past/childhood), but this is seen as a coping mechanism, allowing her to move forward in life
• Thus, for Kirsten, the manipulation of her memories through her forgetting is ultimately rather positive!
• Memory distortion doesn't just relate to these two characters - it also affects Clark quite severely
• He is shown to be quite unhappy in the pre-apocalyptic world, which is a stark contrast to his fulfilment by the end of the novel. What causes this?
• This can be attributed to his distortion of memories which allows him to view the old world in a far more positive manner, with significant nostalgia
• Thus, like Kirsten, Clark's distortion of memories is also presented as largely beneficial
• So ultimately, while there are downsides to manipulating one's memories (Tyler), Mandel shows that distorting memories is largely a positive coping mechanism for many characters!

From my brainstorming, I'll be approaching the essay with the following contention: 

Distorting memories can be harmful but more often is beneficial.

Now it's time to work out our paragraph ideas.

P1: Tyler's distortion of memories is largely detrimental and therefore harmful because they are tainted with violence and thus exacerbate his suffering.

P2: However, Kirsten uses this as a coping mechanism, enabling her to move forward from the trauma associated with the collapse of society and therefore the distortion of memories is necessary in her case.

P3: Further, Clark's rose-tinted view of the past world allows him to come to terms with the collapse of society and again is beneficial.

While Emily St. John Mandel's post-apocalyptic novel Station Eleven illustrates the harm which can be associated with the distortion of memories, it ultimately expounds on the benefits which can be garnered by those who alter their perceptions of reality given how this can serve as an invaluable coping mechanism to process trauma. The non-linear structure of her novel, achieved through the interweaving of pre- and post-lapsarian scenes (1) , allows her to sculpt parallels between her characters who are able to accurately recall both the positives and the negatives of the 'modern world'. She thus advocates that whilst the distortion of memories can perpetuate and enable violence, it can alternatively result in tangible benefits when utilised in a positive manner, thus exposing Mandel's credence in how this can actually serve to benefit individuals and entire communities as a whole.

Annotations (1) It is really useful to show an understanding of how the novel has been constructed and why - so through Station Eleven not following a traditional model of time, this allows Mandel to really contrast between her characters - namely Kirsten and Tyler.

Mandel expounds (2) how the distortion of memories can ultimately exacerbate the suffering experienced by vast sectors of the community, arguing that it is this which actively perpetuates harm due to the inability of humans to adequately process trauma, particularly trauma which stems from one's childhood given the loss of innocence which accompanies this. Indeed, Tyler, who was characterised as a young boy during the 'neutron bomb' of the Georgia Flu and the subsequent destruction of civilisation 'had the misfortune of remembering everything', ultimately resulting in dire consequences for the majority of characters who interact with him. Mandel condemns Tyler's innate desire to justify the pandemic, arguing his inability to forget, process and fully comprehend ‘the blood drenched years of the collapse’ drives the creation of his cult which eventually perpetuates great suffering. This ultimately results in significant consequences, thus allowing her to denounce how the distortion of memories (with Tyler's recollections largely being defined by extreme violence and gore) can be extremely harmful. Indeed, 'ruling with a combination of charisma, violence and cherry-picked verses from the Book of Revelations', Tyler damages the overwhelming majority of people he comes into contact with, from having numerous 'child brides' to rendering the town of St. Deborah by the Water 'unsafe' to his cult containing only a few 'true believers', (3) serving as the embodiment of humanity's insatiable lust for power. Through his reciting of only phrases from the Book of Revelations, labelled the most exclusionary and brutal book of the New Testament (4) , Mandel condemns the selectivity of Tyler's beliefs, advocating that his internalisation of only the most harmful and violent phrases exemplifies the lack of benefits associated with violently distorting memories given the inability of humans to process such immense trauma and suffering. Whilst Mandel explains Tyler's actions as stemming from the violence underpinning his childhood, particularly given that he was raised by a 'lunatic' whom others deemed 'unsaveable', she dispels the notion that this excuses them, arguing the degree of hardships inflicted by Tyler himself are unjustifiable, thus further exposing her credence in the necessity of being able to forget harmful memories in order to overcome them. Ultimately, through her portrayal of Tyler's inability to forget his childhood as 'a boy adrift on the road', Mandel reveals the potential for harm to be imposed due to the distortion of memories so that they are marked by violence, arguing that this can indeed be overwhelmingly dangerous.

Annotations (2) It is great to use action words such as 'expounds' instead of the basic 'shows’ as this demonstrates a more in-depth understanding of the author’s views and values (ensuring you meet VCAA Criteria 2: Views and Values ).

(3) When making claims such as that Tyler harms 'the majority of people he comes into contact with', it is great to show multiple examples, so that your claims are properly backed up with appropriate evidence!

(4) This is a really great point to draw out that other students may not consider - Tyler never references any other components of the New Testament and only focuses on the most violent sections of one particular book.

However, Mandel also displays a belief in the positives which can be gleaned by those who inherently distort their memories as a mechanism to process traumatic times in their lives, arguing this can provoke significant, tangible benefits. Conveyed through the non-linear structure of her novel, Mandel sculpts parallels between Tyler and Kristen given their similar ages and respective connections to protagonist Arthur through him serving as their father and father figure respectively, with the significant difference being that only the latter was able to forget 'the year [she] spent on the road…the worst of it' (5) . As such, only Kirsten is able to adequately move on from this extremely traumatic period in her life, exemplifying Mandel's credence in how the distortion of memories can truly serve as an invaluable coping mechanism allowing individuals to overcome significant harm, with Kirsten experiencing a large degree of post-lapsarian fulfilment given her 'friendships' with her fellow members of the Travelling Symphony, her 'only home'. Despite Kirsten's past being underpinned by significant violence, with her having three 'knife tattoos' to commemorate those she has had to kill in order to survive, her continued ability to adapt her memories into less traumatic ones is applauded, with her murders having been portrayed as occurring 'slowly…sound drained from the earth' as a way for her to process 'these men [which she] will carry with [her] for the rest of [her] life', thereby exposing Mandel's credence in the necessity of being able to overcome trauma through distorting memories. As such, she ironically went on to perform Romeo and Juliet following one such event which, given Mandel's depiction of the unparalleled significance of artistic forms of expressionism facilitating human wellbeing as Kirsten 'never feels more alive' than when she performs, exposes Mandel's illumination of how altering false realities (6) can ultimately provoke tangible benefits given Kirsten's ability to simply move on despite the traumatising nature of the truth. Ultimately, through the juxtaposition between Tyler and Kirstens' distortion (7) of memories, Mandel expounds how distorting memories can wield both consequences and benefits, with the latter occurring when employed subconsciously by individuals to process harmful memories.

Annotations (5) It is quite sophisticated to go back to the construction of the novel throughout the essay (as opposed to just briefly mentioning it in the introduction!). This shows you truly understand why the author structured the novel the way she did, which in this case is to highlight the similarities and differences between Kristen and Tyler.

(6) Try to avoid repeating 'distortion of memories' every single time - it is great to use synonyms such as 'false realities', but make sure you're using the right words (see annotation 2 for more information).

(7) Note how this links back to paragraph 1 (given that these two points are so similar and go off of one another) which makes the essay flow better. We are showing that our argument is well-structured and follows logical patterns.

Furthermore, Mandel similarly explores the benefits of utilising the distortion of memories as a coping mechanism and how, especially when this is done through the lens of nostalgia, it can facilitate unprecedented satisfaction. Indeed, Clark is depicted to be the literal embodiment of post-lapsarian fulfilment (8) given his ability to, albeit through rose-tinted glasses, appreciate the 'taken-for-granted miracles' of the 'former world' through his position as the 'Curator' at the 'Museum of Civilisation'. Subsequently, he serves to expose Mandel's belief in the benefits of altering one's recollections in an overwhelmingly positive manner. As such, Clark 'spend[s] more time in the past…letting his memories overtake him' as he maintains integral cultural artefacts which 'had no practical use but that people wanted to preserve'. This ultimately eventuates into a significant degree of fulfilment for not only Clark himself, but also the other residents of the Severn City Airport, the children of whom 'like all educated children everywhere….memorise abstractions' of the pre-lapsarian society, with the entire Airport community revelling in the everyday 'beauty' of objects not typically appreciated by the general populace. In doing so Mandel highlights her belief regarding the significance underpinning the benefits which can be gained from those whose memories are distorted to cope with losses in a positive manner, arguing this can enable a substantial increase in wellbeing. This is exacerbated through the juxtaposition in Clark's pre- and post-lapsarian fulfilment, for in the former he is denigrated as merely an unhappy 'minimally present...high functioning sleepwalker' (9) . Overall, through her portrayal of Clark's satisfaction despite his elderly status and the loss of everyone dear to him, Mandel exposes her belief in the value of distorting one's memories in an overwhelmingly positive manner, advocating this can facilitate the forming of one's intrinsic purpose and thus fulfilment.

Annotations (8) You want to show how characters correlate to specific themes, and if one embodies a particular idea, then you should clearly state that! It shows examiners you really know your stuff. See this blog for more about the themes and characters in Station Eleven . 

(9) Again, you want to clearly highlight how Clark is distorting his memories, including by providing evidence to back up your claim.

Ultimately, Emily St. John Mandel’s Station Eleven exemplifies the limitations of the human psyche when affected by trauma, arguing that the distortion of memories can have either a positive or negative impact upon the individual. Whilst she cautions her audience against the dangers of adhering to selective recollections, she simultaneously presents the benefits which can be garnered from this, alongside the ability to liberate oneself from such harmful memories.

For more Station Eleven writing samples, check out this blog post , which compares three different paragraphs and analyses how they improve upon one another.

If you found this essay breakdown helpful, then you might want to check out our Station Eleven Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals!

We've curated essay prompts based off our The Golden Age Study Guide which explores themes, characters, and quotes.

Before getting started on your own essay writing using our essay topics, feel free to watch the video below where Lisa brainstorms and breaks down the topic:

"The Golden Age is primarily a tragic tale of isolation. Discuss"

If you're looking for more support, including a sample The Golden Age essay, Vindhya (English study score of 46) offers her take on how to write an essay in Dissecting an A+ Essay .

LSG-curated The Golden Age essay topics

1.     “Being close made them stronger.” In The Golden Age , adversities are tempered by camaraderie. Do you agree?

2.     Despite the grim context, The Golden Age highlights and celebrates the potential of life. Discuss.

3.     Memories of past successes and failures have significant lingering effects on characters in The Golden Age . Is this an accurate assessment?

4.     “[I would be] a fox, following a Palomino.” How do animals such as these contribute symbolically to The Golden Age ?

5.     It is largely loneliness which defines the struggles of the children in The Golden Age . Discuss.

6.     In what ways is The Golden Age a novel of displacement?

7.     Fear of the unknown is something which permeates The Golden Age . Is this true?

8.     What is the role of family in Joan London’s The Golden Age ?

9.     Isolation in The Golden Age exists in many oppressive forms. Discuss.

10.  Throughout The Golden Age , London draws attention to beauty rather than to suffering. Discuss.

11.  In spite of their youth, it is the children of The Golden Age who understand best what it means to be an individual in the world. Do you agree?

12.  How do characters from The Golden Age learn, grow and mature as the novel takes its course?

13.  Due to the range of different onset stories, each of the children and their families in The Golden Age face a different struggle with their identity. Discuss.

14.  “Home. She hadn’t called Hungary that for years.” In spite of all their struggle, the Golds never truly feel any sense of belonging in Australia. To what extent do you agree?

15.  Explore the factors which drive Joan London’s characters to persevere.

The Golden Age is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

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An Ultimate Guide to Comparing I am Malala and Pride

Until very recently, there was a lack of resources available for those who needed to compare and contrast Yousafzai’s memoir “I am Malala” with Warchus’ film “Pride” . Even though the internet is full of information, it can still be a challenge even for the most experienced writer. To help you prepare for the end of year, we have written a sample essay to illustrate how ideas about the two texts can be organised and articulated. We really hope you find this helpful for your studies!

Sample Essay 1: Identity and Honesty

“sometimes it’s better to tell your own story.” how do i am malala and pride demonstrate that is important to be honest about who you are, even when it is difficult, introduction:.

Malala Yousafzai’s memoir I Am Malala and Matthew Warchus’ film Pride documents the lives of individuals who suffer due to the marginalization of their identities. Although Yousafzai defines being honest about who you are as being outspoken about your principles, while for Warchus it is defined as being open about sexual identity, both texts provoke reflection on how certain societies punish individuality and identity. Nonetheless, both texts also show the importance of being true to oneself to become a role model for those inhibited by fear, and to benefit society at large.

• Clearly outline your arguments to improve the flow and coherence of your essay.
• Focus on what the authors are doing, rather than what happened in the texts.

Body Paragraph 1:

Yousafzai and Warchus both aim to educate their readership and audience on the painful ostracization of individuals who wish to express themselves truthfully.  In I Am Malala this not only means that women are marginalized for their womanhood but also for their outspokenness and expression of identity. Yousafzai provides the anecdote of Shabana, a young dancer who is killed by extremists, to illustrate this. The auditory imagery of the “shots” and the “screaming” evokes to the reader the brutal reality of living in an authoritarian environment where freedom of expression, such as the act of dancing, is punished. The onomatopoeia of the “chop chop” and “drip drip” of the chicken heads also alludes to the Taliban’s practices of beheading and foreshadows Yousafzai’s own assassination attempt for speaking out. This illustration of a harsh, punishing society is also evident in Pride, where the director visualizes the LGBT community’s suffering in 1980s Britain. The mise-en-scene of the word ‘queer’ spray painted the bookshop window epitomizes this. In addition to the slur, the red paint evokes connotations of blood, and symbolizes the physical violence faced by people such as Gethin, who is later assaulted for his sexual identity. The harshness of the homophobic British society is also heavily implied in the wide-angle shots of the cold, winter landscape Gethin travels through to reach his mother, with the journey itself symbolic of the struggle to remain true to oneself in a society which prejudices against sexual minorities. While Warchus focuses on sexual identity, and Yousafzai on women’s freedom of expression, both Pride and I Am Malala thus emphasise the difficulty of revealing one’s true self to the world.

Most 9-10/10 essays will focus on linguistic features and literary devices rather than the plot and characters. Some language techniques discussed here include:

• Auditory Imagery
• Onomatopoeia
• Foreshadowing
• Mise-En-Scene
• Wide-angle shots

Body Paragraph 2:

Nonetheless, both texts demonstrate the importance of being open about who you are so as to become a role model for others. Malala’s act of writing her own speech, stating that “sometimes it’s better to tell your own story, from the heart rather than from a piece of paper” allows her to give voice to her own experiences, and thus inspire other women to do the same. Her refusal to let a male figure like her father write her speech according to tradition likewise allows her to educate her audience in the memoir on the female experience. This is perhaps why she states “I don’t feel it’s a story about me at all” in regards to her memoir, as by giving voice to her experiences the biography strives to empower women globally. Likewise, the personal actions of the LGSM within Onllwyn give courage and hope to those around them. The mise-en-scene of the gay couple kissing on the couch, with Cliff foregrounded and in the focal point, foreshadow his own coming out to Hefina. By remaining honest about their identities even in the initially hostile mining community, the members of LGSM unintentionally become role models for men like Cliff as he begins to see possibilities of his own acceptance within Gethin’ triumphant polysyndeton “I’m home. And I’m gay. And I’m Welsh!” Thus, Mark’s insistence on being “unapologetic” mirrors Malala’s sentiment in her belief that “it’s better to tell your own story,” as both tests illustrate how truthfulness in presentation can inspire those around you.

Body Paragraph 3:

At the macro level, both texts also suggest that being honest about one’s principles and identity benefits society at large; while in Pride these benefits consist of others overcoming their prejudices, in I Am Malala these benefits consist of supporting the powerless. Ziauddin’s characterization is central to illustrating this, as he educates Malala and her readership on the value of speaking out against others’ injustices. His literary allusion to the poem by Martin Niemoller “and then they came for me, and there was no one left to speak for me,” warns the reader of the dangers of remaining silent in times of others’ suffering. Similarly, he proclaims that “a state is like a mother, and a mother never deserts or cheats her children.” Here, the simile evokes a sense of responsibility, and the diction of “cheats” connotes a sense of dishonesty and betrayal. While the implied ‘deserter’ is the Pakistani government, the metaphor also calls on Pashtun activists around Ziauddin to not abandon their principles for fear of retribution. In contrast, the benefits of openness in Pride concretise in the miners’ overcoming of heteronormative values and prejudices. The mise-en-scene of Jonathan dancing at the Welfare illustrates the positive influence he leaves on the community by refusing to compromise his individuality. Whilst initially, his flamboyance and pride, juxtaposed with the lyrics “Shame Shame Shame” is met by disapproval, the reaction shots of the miners soon shift towards a more positive tone, and Gary’s statement “I want to learn how to dance” symbolizes his gradual abandonment of heteronormative values and prejudice towards the lesbian and gay community. Pride thus demonstrates that being open about one’s inherent identity leads to the positive normalization of such identities, and thus the overcoming of prejudice, whilst I Am Malala demonstrates that remaining honest and outspoken about one’s individual principles is key to eliminating injustice.

Conclusion:

In conclusion, while I Am Malala and Pride define being honest about who one is in different ways, both texts similarly emphasise the importance of doing so. Despite the intense difficulty of being visible in a discriminatory society, Warchus and Yousafzai call on their audiences and readership to recognize how one must often accept this sacrifice to create positive change in society, whether that be overcoming prejudice in the case of Pride, or empowering the powerless in the case of I Am Malala.

Sample Essay 2: Social Expectations

Compare the ways in which characters in i am malala and pride defy societal expectations..

Matthew Warhcus’ film Pride and Malala Yousafzai’s memoir I Am Malala both present narratives of individuals who strive for change by defying societal expectations. Despite the different social contexts, Britain in the 1980s and present-day Pakistan, both texts depict the ways in which individuals break free from tradition with the aid of their families. Furthermore, both Yousafzai and Warchus illustrate women defying patriarchal expectations by challenging notions of male dominance. However, whilst in ‘Pride’ expectations are overcome as a community, Yousafzai must take a more individual approach to challenging tradition, lacking widespread support from a community ridden by fear.

The Anatomy of an A+ Introduction:

• Central themes
• Social/historical contexts
• Clear arguments (written in the forms of similarities and differences)
• Articulate writing (create a balance between sophistication and simplicity)
• Coherent structure

Both texts demonstrate that family may act as a support network and equip individuals with the courage to challenge traditions, albeit in different ways. Yousafzai emphasises her family’s role in shaping her views of society, specifically against patriarchal values. As Ziauddin’s daughter, Malala is given a “usual breakfast of sugar tea and…fried eggs,” whereby the “eggs” allude to Ziauddin’s own experiences as a child, as his sisters were given “only tea” and the sons “eggs.” In addition to elucidating Ziauddin’s egalitarian philosophy, the “eggs” also emblematise Malala’s access to opportunities such as education, which allow her to defy the patriarchal expectation of staying at home “hidden behind a curtain.” The notion of family as a source of encouragement to defy tradition also appears in Pride, although Warchus emphasises the importance of ‘found family’ in the absence of a biological one. Gethin is inhibited by his past trauma in a homophobic family and gains the courage to go to Dulais Valley only after Hevina’s comforting wishes of “Nadolig Llawen.” The Welsh saying for ‘Merry Christmas,’ coupled with a close-up shot of Hefina in her warm, decorated home, underscores the sense of belonging and family acceptance which in turn inspires Gethin to return to Wales and challenge the mining region’s prevalent conservative values. Likewise, Joe is able to abandon his biological family and openly defy heteronormative expectations with the help of the LGSM and Sian; the tracking shot of him leaving his home triumphantly symbolises the liberation is able to achieve through his support network, similarly to how Malala Yousafzai finds “courage again” through her father’s presence and guidance.

Annotations:

• Diverse use of verbs (e.g. allude, emblematise, inhibit, emphasise, underscore, challenge, symbolise)
• Demonstrate a great understanding of the “world of the text” and the messages the writer is presenting (e.g. egalitarian philosophy, homophobia, prevalent conservative values, heteronomative expectations)
• Discussion of metalanguage (e.g. symbolism)

Furthermore, the women in both texts defy the patriarchal expectations prevalent in their societies by amplifying their own voices and challenging forces which suppress them. Madam Mayam in I Am Malala defies Fazullah’s ban on older girls’ education, stating “the secret school is our silent protest.” Despite the possibility of being “slaughtered,” a term which evokes to the reader the brutality engendered by an extreme patriarchal society, Malala’s classmates challenge privileged male access to education by continuing to go to school. Similarly, Sian in Pride is prompted by Jonathan to reject her predetermined role as a “mother” and “wife” by gaining an education and utilising her “first class mind.” Warchus also illustrates the women’s struggle towards inclusion in 1980s Britain through the diegetically sung feminist anthem “Bread and Roses.” The mise-en-scene of the women singing “give us bread but give us roses,” showcases to contemporary audiences how the Women Against Pit Closures defied the image of a silent, powerless wife by demanding “roses,” metaphorically representing female empowerment. Comparably, Yousafzai rewrites a “tapa” to state “whether or not the men are winning, the women will bring you honor.” The tapeys embody ancient and unchanged tradition, which Yousafzai directly challenges through the action of rewriting. Furthermore, like the song “Bread and Roses,” Yousafzai’s tapa is utilised to defend women’s place in the public sphere and in political movements.

• Insightful analysis of film techniques (e.g. diegetic music, mise-en-scene, metaphors)
• Discussion of key metaphors and symbols (e.g. roses, tapa, etc)
• Quotes embedded within the writing
• A focus on authorial intent

However, the texts diverge in their approach to social change, as Pride overcomes traditional expectations as a community, while I Am Malala does so through individual action. The recurring motif of the clasped hands in Pride, symbolic of both political solidarity and personal friendship, communicate to audiences the importance of forging a community to achieve change. The miners’ arrival to the London Pride March of 1985 with the banner “Miners Support Lesbian and Gay” symbolises their reciprocity and their overcoming of homophobic prejudice thanks to their interactions with the LGSM, whose acronym is reversed in the banner to emphasise this relationship. In strong contrast, the extreme violence which characterises Pakistani society at the time of the Taliban inhibits Malala from mobilising her whole community against authority. This violence is portrayed by the “chop chop” of the chicken heads, where the onomatopoeia alludes to the beheadings by the Taliban against those who defy their extremist religious doctrine, the Sharia law. Yousafzai also diverges from Warchus’ emphasis on collective action and claim that no “force is weaker than the feeble strength of one” by stating that “one child, one teacher, one book and one pen can change the world.” The anaphora of “one” reinforces to the reader the belief that individuals can defy social expectations by becoming role models. Thus, Yousafzai and Warchus present different perspectives on defying tradition through collective and individual means.

In conclusion, I Am Malala and Pride portray marginalised individuals who reject their predetermined roles in society. Support from family, although defined in different ways by Warchus and Yousafzai, is presented as vital in inspiring defiance for the protagonists. Patriarchal duty is also challenged outspokenly in both texts, by women who reject their second-class status and diligently occupy the public sphere. Nonetheless, a key difference emerges due to the different contexts, as while Yousafzai stresses the power of individual rebellion, Warchus emphasizes the power of solidarity and collective action in battling prejudice.

Opening Sequence - Pride by Matthew Warchus

Based on the historical strike in 1984, Matthew Warchus’s comedy-drama “Pride” depicts the uneasy coalition between the British coal miners and the gay and lesbian activists. The director primarily aims to subvert the divisions of identity politics and cultural segregation, showing the audience how the clash between the Thatcher Government and the National Union of Mineworkers may bring two seemingly polar-opposite social demographics together. The film also foregrounds the unquestioned ideal of cross-cultural solidarity and criticises the deployment of police brutality and the homophobia that still exists within Britain. The story is told from a retrospective angle, wherein the narrative focuses on the character development of Joe. His period of liminality mirrors society’s progress; the progress of transitioning from a society pervaded by ubiquitous anti-gay sentiments to one of acceptance.

Historical montage

The anthem “solidarity forever” introduces the audience to the events taking place at the time with the historical montage contextualising the ideological clash between the miners and the Thatcher government, represented by the police dressed in uniform. From the outset of the film, the political conflict between these two groups is displayed through the director’s use of mise-en-scene placing them both into one frame . In putting the police in the background and the miners in the foreground, bunched up in a group, Warchus immediately presents the power dynamic between the them and how this balance seems to shift from frame to frame. In the screen-cap above, the brick wall seems to insulate the miners from the stern-looking policemen, though such barriers do not exist in the next frames which are dominated by the policemen instead, implying that they still hold greater power over the activists. This, coupled with the lyrics of the anthem, establishes the miners’ vulnerability to police harassment and thereby the need for “solidarity forever” since the mineworkers themselves will not be able to go against the government.

• Montage : film editing technique in which a series of short shots are sequenced to condense space, time, and information
• Mise-en-scene: the arrangement of the scenery, props, etc. on the stage of a theatrical production or on the set of a film.
• Frame: A frame is a single image of film or video

The characters’ mutual dislike for Thatcher’s government and the mine closure policy is established from the outset through both the wide-shot and close-up of the red banner captioned “Thatcher Out!”, standing prominent on the exterior of social housing flats. Here, the striking red colour of the banner helps display the bold and rebellious nature of the activists but also vilifies the Prime Minister for her purportedly unconscionable policies, compelling the audience to side with the activists from the beginning of the film. Compounding this with the diegetic sounds coming from Mark’s television discussing the authority’s “unprecedented violence” towards the miners, the director expresses his disdain for the ruling authority, establishing them as the antagonists of the film.

• Wide-shot: a shot that typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings
• Close-up : a type of shot that tightly frames a person or object
• Diegetic sounds: Diegetic sound is any sound that emanates from the story (or narrative) world of a film

Thatcher’s interview:

To further exemplify his position against Margaret Thatcher’s “firm leadership”, Warchus uses a (quite unflattering) close-up shot of her facial expression to emphasise her gleaming eyes and feral smile as she rationalises the harm resulted from her policies.  That she also associates the consideration of her people’s needs with being “a softie” also demonstrates her frigidity and dogmatism, further highlighting her complete disregard of the job losses and hardships the marginalised groups of Britain have to experience.

Introduction of Mark

As the news are being broadcasted, Mark’s eyes seem fixated on his television, rendering him completely unaware and unresponsive to the questions of the young man who appears to be his romantic partner. His appearance outside of his apartment complex is accompanied by fast-paced upbeat background music — perfectly aligns with the portrayal of him as a confident and charismatic leader. The communication he has with his neighbours further cements this, highlighting his dynamic personalities and his ability to form meaningful rapports with people around him.

• Background music: music to accompany the dialogue or action of a motion picture or radio or television drama

Introduction of Joe

While Mark is presented to live a free independent life in communal housing, Joe lives a completely different life in an archetypal suburban household. Through the wide-angle shot of the three almost identical adjacent houses, Marchus presents Joe’s familial setting as the microcosm of British community — seemingly detached and disconnected. The distance between Joe and his parents, especially his dad, is evident through the cutting between Joe’s appreciative but repressed “Thanks Dad” and his dad’s hand-wave and physical distance from Joe. Joe’s rushing out of the house is also contrasted with the image Mark’s calmly walking past a wall showing the letters to the film title “Pride”. Here, the stark juxtaposition between Joe and Mark depicts how a universal plight against someone may bind dissimilar characters together, fortifying the strength of unity and solidarity.

• Wide-angle shot : a shot that typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings
• Microcosm: a community, place, or situation regarded as encapsulating in miniature the characteristics of something much larger.
• Juxtaposition : a literary technique in which two or more ideas, places, characters, and their actions are placed side by side in a narrative or a poem, for the purpose of developing comparisons and contrasts.

Joe is a character that the audience can relate to. He embodies the struggles of disorientation and the difficulty of having to conceal his identity those around him. The film centralises around his transition from a repressed character to an openly gay young man who is able to break free from the fear of being judge and the toxic social stigmas.

The protests wherein the activists chant in unison also symbolise the unity between the activists, those who are brought together through a common goal. It is a symbol of communion. In dichotomising between the behaviour exhibited by the group of frustrated homophobic men on the pavement and how inclusive the activists are in greeting Joe, the director further demonstrates the strength of solidarity, insinuating that the only way they can combat against toxic social prejudice is through unity while also fostering the audience’s awareness of intersectionality . The participants’ inclusivity is also showcased through their assignment of “Bromley,” taken from the name of Joe’s hometown, as a new made-up nickname for Joe, signifying their acceptance of the protagonist and also the natural sense of camaraderie engendered between them.

The director denounces any forms of discrimination and prejudice, including violent homophobic confrontation and verbal harassment, though he does not completely demonise them. These instances are introduced through the perspectives of Joe, as the camera mimics his view and briefly pans through the reactions of bystanders. The men throwing rocks, the woman saying “Disgusting” directed at the protestors, and the stern-looking woman holding the “Burn in Hell” signage are all captured by the camera, but by opting to not grant them the close-up shots , the director portrays them as peripheral, undermining their bigoted views and shifting the audience’s focus to the parade and the messages on their banners instead. The naysayers are all framed as the enemy, but the director abstains from delving too much into their behaviour and instead propounds that their behaviours are the manifestation of society’s normalisation of ignorance and bigotry.

• Symbol : a literary device that contains several layers of meaning, often concealed at first sight, and is representative of several other aspects, concepts or traits than those that are visible in the literal translation alone.
• Dichotomise: divide into two opposing groups or kinds
• Intersectionality : The interconnected nature of social categorisations such as race, class, and gender as they apply to a given individual or group, regarded as creating overlapping and interdependent systems of discrimination or disadvantage
• Panning : filming while rotating a camera on its vertical or horizontal axis in order to keep a moving person or object in view or allow the film to record a panorama.

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I Am Malala (Young Readers Edition)

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I Am Malala: How One Girl Stood Up for Education and Changed the World (Young Readers Edition)

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Chapter Summaries & Analyses

Prologue-Part 1, Chapter 5

Part 2, Chapters 6-10

Part 3, Chapters 11-15

Part 3, Chapters 16-19

Part 4, Chapters 20-23

Part 5, Chapters 24-29

Part 5, Chapter 30-Epilogue

Key Figures

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

Consider Malala’s relationship with her parents. How does her father inspire Malala to become a champion of girls’ educational rights? In what ways is Malala similar to her father? What character traits do they share? Characterize Malala’s relationship with her mother. In what ways does her mother influence Malala? Does Malala have a closer bond to one parent over the other? Discuss.

Malala believes she—and everyone—has a basic right to education. Why is girls’ education so important to Malala? What are some of the benefits of education? In contrast, the Taliban believe that girls’ education is un-Islamic. Why do you think the Taliban want to suppress girls’ education?

Although Malala wins the Nobel Prize and receives international support and recognition for her advocacy work, she is still a teenager when she begins writing her memoir . In what ways does Malala show she is a regular teenager? What does Malala have in common with young adult readers, even those from other cultures? What narrative strategies does Malala use to connect to other teens?

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• Essay Prompts

I am Malala - Pride

I am malala.

I Am Malala is a memoir written by Malala Yousafzai, with the assistance of British journalist and author Christina Lamb, and published in 2013. The story follows a young Malala living in Swat, Pakistan, whose outspoken advocacy for girls’ rights to education makes her a target for the Taliban, an Islamic fundamentalist political and military organisation who gradually take over the area, and whose limits on the role of women becomes increasingly more fanatical.

Malala’s childhood is portrayed as a happy one, and despite being raised in a society which limits the role of women, is raised by her parents to believe the opposite. When she is born, her father, Ziauddin, places her name on the family tree, a position usually reserved for the men in the family, and nicknames her Jani Mun, or soulmate. Malala is named after Malalai of Maiwand, an Afghan folk hero who rallied local Pashtun fighters against the British troops in the 1880 Battle of Maiwand.

Ziauddin and Malala’s grandfather are both teachers, and Malala attends the school her father builds and, alongside other female students, aspires for greater participation in society. This is despite the very real and restrictive context within which the girls and women live; women are not permitted to be outdoors without a male relative and girls are not encouraged to attend school. Ziauddin is vocal about his beliefs on educational equality, as well as the environment and the government, and desires to bring positive change to his country, all of which make him a target of the Taliban. Malala’s mother is uneducated, unable to read or write, but helps her husband in his goal to make education accessible to all young people, and eventually takes lessons herself.

Malala and the people of the Swat Valley face many challenges over the course of the book, including an earthquake, the Taliban takeover, a military operation, and severe flooding which culminates in widespread loss of human life as well as the destruction of infrastructure and culture. The beliefs for which Malala and her family advocate on women’s rights and education not only place them in a precarious situation with the Taliban but with the community, who increasingly pressure them to stop their advocacy out of fears for community safety.

On the way home from school one day, Malala is shot in the head but survives and, after initial emergency treatment in her own country, is flown to a British hospital for aftercare and rehabilitation. Malala’s parents and her two younger brothers join Malala in England shortly after, having had to remain behind to secure their travel documents. The family are yet to return to their beloved home for safety reasons. Responsibility for the attack on Malala was claimed by the Taliban, who also left two of her classmates injured, and the man responsible for the attack has never been held to justice.

I am Malala received positive critical reception outside of Pakistan and was translated into more than 40 languages. It was a 2013 New York Times Best Seller and the recipient of several awards including Popular Non-Fiction Book of the Year in the British National Book Awards for 2013. In Pakistan, the book has been banned in many schools and resulted in a Taliban death threat against Malala and the targeting of stores that sell her book.

The 1980s in Britain was a decade of government under British Prime Minister Margaret Thatcher, yuppies, chunky mobile phones and BMX bikes. It was also a tumultuous time for two distinctly separate communities that would unexpectedly find common ground. The miners of Wales and the gay community of London formed an alliance in their common struggle against government, police and public pressure.

The miners would go on strike after the Thatcher government, through the National Coal Board, announced it would close 20 pits and essentially cut 20,000 jobs. In solidarity, the coal miners began a bitter and hard fought strike called for by Arthur Scargill, on behalf of the National Union of Mineworkers (NUM). The strike would last the best part of a year and see local townships suffer much hardship as the mining industry was the financial and social lifeblood of many towns and had been for generations. Police were called to break the picket lines, that is, the lines of striking workers protesting and blocking non-union members (scabs) from entering the pit to work. As the miners went without pay and work, any support they had would come from the sympathetic public. First, support came from their own families and communities, especially the women who formed support groups to raise money and distribute food and clothing to struggling households. Unpredictably, support also come from a small group in London, which positively impacted both groups and the wider community.

The London group was a handful of gay and lesbian activists who formed Lesbians and Gays Support the Miners (LGSM). Seeing similarities between the heavy-handed nature of the government and police response to the miners and that which faced the gay community, LGSM reached out to a small mining community in the Dulais Valley of Wales and offered financial and moral support. The British gay community had initiated activist groups after seeing the riots in New York in 1969 and, in 1972, held its first Pride march which would become an annual event. The gay community of Britain faced struggles on many sides; government legislation reflected inequalities in laws regarding homosexual relationships, community attitudes were still essentially homophobic and added to the ongoing violence and hostility the gay community faced, a health crisis known as HIV/AIDS emerged with first cases being understood medically in the first two years of the 1980s. Not fully understood at the time, the disease was spreading through gay communities in the USA and Europe and claimed many lives.

Out of the struggles emerged an activist, Mark Ashton, secretary of the Young Communist League, who in 1984 founded Lesbians and Gays Support the Miners (LGSM). LGSM would get together for meetings at the Gay’s the Word bookshop in London, where Ashton would rally community support for the mining communities in South Wales who were dealing with pit closures and were consequently living in near-poverty. Along with the members of LGSM, Ashton carried out bucket collections in London’s gay and lesbian bars and clubs, raising around £20,000 for Welsh mining communities. He passed away only three years later of AIDS-related complications at the age of 26.

While the events of Pride focus on the alliance between the miners and LGSM, the film manages to highlight the governmental attitude at the time, led by Margaret Thatcher, who was known as the ‘iron lady’, a tough and unrelenting head of state. The film depicts the abuse of police powers regarding the two groups and the public’s response to efforts by the groups in seeking rights and equality. Based on true events, the groups have met since the 1980s and all of the characters’ lives may be followed online, except for Joe who is an amalgam of people.

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• Apr 22, 2020

Comparing Matthew Warchus’ Pride and Malala Yousafzai & Chrstina Lamb’s I Am Malala

Updated: Jul 10, 2022

This post is a great read for anybody, but it will be especially intriguing for:

Teachers of Unit Four VCE English, Area of Study One

Students studying these texts as a part of VCE Reading and Comparing Texts

Those who enjoy either of the texts and would like to read something new.

Finding the courage to lead others and to fight against injustice and inequality lies at the core of these two inspiring texts. Students will be given an insight into how adversity can mould a person to find a voice they didn’t know they had as both Pride and I Am Malala find a glimmer of hope and humanity in what appear to be times of great division, struggle and despair.

Whilst the contextual details differ, the principles of a struggle against a stronger force hell-bent on impinging on one’s freedom shine through in these two texts which are both recollections of real events. Malala Yousafzai’s story tells of a country divided through inequality and the constant disagreement of the role of religion in the lives of its citizens. Readers are exposed to the realities of Pakistan in the early part of the century as the protagonist moves from a lively and innocent childhood into the realities of life under the Taliban regime. The inadequacy of education provided, particularly for the “hilly children” leads to a country plagued by ignorance and fear. Malala’s struggle, initially not understood by the girl herself, becomes apparent as her father fights for her right to an education amongst a climate of fear and aggravation. Yousafzai describes a country where it is a “gloomy day” when a daughter is born, and her mother stands as a symbol of such inequality given her limited education. This inequality reaches its climax for Malala as she is shot, identified by the Taliban as “the only girl with [her] face not covered.” As she recalls this event and how it has shaped her, the reader begins to see the immense courage of this young woman as she is motivated to use her profile to improve the lives of children around the globe.

In a similar vein, Pride throws the viewer into Thatcher’s United Kingdom of the1980s in a pocket of time which saw two unlikely groups come to support each other in their quest for recognition and fight against a powerful force. The film is bookended by the pride marches of 1984 and 1985 and the audience are witness to the everyday harassment faced by the gay and lesbian community. It is telling that marches and rallies are organised as a means for people to be proud of their identity and to not be ashamed of who they are, yet that identity is persecuted by some and used as the basis for intimidation and ridicule. Similarities begin to shine through as one considers the cost of being proud of your nationality, gender, religious outlook or sexuality. In the worlds put forward by the text’s creators, for some it takes great courage to present themselves to the world as they are. Further to this, it becomes apparent that it is more than just a struggle against the people that may harass and condemn the characters, it is a battle against the ignorance that breeds such hateful and divisive ideals. The confusion and aggravation simmering in Pakistan culminates in the shooting of Malala, exposing the true horrors of extremism and a group rooted in ignorance. The gay characters of Pride experience beatings and a brick thrown through their window - a constant reminder of a society that for the most part shuns them. However, the ignorance of some is able to be brought out in a comedic manner and the Welsh miners provide some comic relief as the members of LGSM expose them to a world of new understanding. That the experience of police harassment, which Mark could “set to music” is shared amongst the miners and the gay community opens the door for this shared experience to become the basis of a friendship and union that overcomes such ignorance. However, it is telling that, just as in Malala’s story where many “kept hoping something would happen and schools would stay open”, many stay silent and refrain from “rock[ing] the boat” which allows injustice and ignorance to continue unabated. Thus, the texts find more common ground in their promotion of the courage taken by individuals to garner support in order to fight ignorance and inequality. It is how the people find that voice that opens these texts for further comparison.

Once students have worked their way through the environments of either text and explored how ignorance, hatred and fear are so easily perpetuated, their focus can turn to the individuals within these environments and how they show strength and courage to fight against all that they see as unjust. Malala Yousafzai obviously takes centre stage in her novel as she recounts the lead up to her shooting and the world that she finds herself in after the event. Her father plays a pivotal role in moulding her sense of self as a young woman and this support can act as a basis for comparison when contemplating the support given to characters in Pride. It is astonishing to read of Malala in the early days of her time in England as she seems to mature almost immediately. The “fragile and sensitive” girl from Pakistan is so rapidly transformed into a young woman who moves beyond fear to think of others and to inspire equality and access to education for all children. It is this ability to take her own experience and use it to improve the lives of others that paints her in a similar light to the characters of Pride. However, the impetus behind this move from school girl to world renowned leader differs from the journey undertaken by the characters of the film.

To take the experiences of the characters of Pride and compare them to Malala allows us to begin with the common values they share before moving to the features that show them in contrast to each other. Malala’s journey from innocent child to experienced campaigner is mirrored by Joe who moves to a point where he is happy to be “visible” amongst his contemporaries and is seen as a “hero” amongst the miners despite his family’s inability to accept him. The fight for the miner’s cause provides him with an experience in which he learns about the struggle faced by the homosexual community also, eventually finding himself with a voice and an identity within the group. In a similar manner, Sian is also shaped by the hardship and also finds her voice, eventually becoming the first female minister to represent her electorate. Thus, similarities can be found in the manner in which hardships can be the moulding of character and bring out a voice in people who weren’t aware that they had one. When looking for differences to examine, students can look at the differences of Malala and Mark. One initially timid and the other charismatic and enigmatic from the beginning. The megaphone is an instrument used by Mark that seems a mere extension of his personality - one that is “unapologetic” and will stand firm in the face of adversity. That such a platform is eventually granted to Malala is compelling in that much of her life has been lived in a conservative and reserved fashion. Therefore, many comparisons can be examined as students ponder what it is that makes a leader and how people can best make an impact upon the world. A rich source for comparison can be the discussion of whether aggression or compromise is more effective in changing people and their behaviours. That Mark aims to “attack to move forward” whilst Malala aims to change minds through education, “the pen” and inspiration is compelling, as one must wonder which is superior in leading to lasting change.

Ultimately, there is much to be considered when examining these texts as a pair. The humanity that many characters search for proves to be the prominent feature of both, as the people struggle for a world with equal access to justice, education and rights for all. Students will need to be sharp in their thinking when considering more than just the similarities in persecution and the finding of a voice, for the most insightful comparison will lie in the analysis of what leads people to deny others of their rights and what leads people to successfully change a world that has allowed this denial to continue.

Ben Taylor - The English Lab

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Comentários

I Am Malala

By malala yousafzai, i am malala essay questions.

Malala's father said he believed that lack of education was the root of all Pakistan's problems. How might this be true?

Educating a nation's children is one of the most direct ways to provide for its prosperous future. As a relatively new developing nation in a region of the world that is ripe with strife, Pakistan has not had the resources to institute widespread schooling. Ignorance breeds both hatred and intolerance, as evidenced by Taliban supporters in Pakistan. It also prevents people from having the knowledge and courage they need to stand up for the causes they believe in. As education is the only thing that can counter ignorance, education is a necessary component of any effort to build up Pakistan and eliminate many of its problems.

How does Malala mature over the course of her life in this memoir? Was this maturity forced, or voluntary?

The beginning of the memoir detailed Malala's life as a carefree child, happily living and learning in what she considers the most beautiful place in the world. When she was ten years old, however, the Taliban came into her valley, and this occupation marked the beginning of Malala's loss of innocence and her growth from a child into a mature, confident young woman. In many ways, this transformation was involuntary—the Taliban's presence in her valley forced her to become an adult much earlier than most children, after all—but the way she rose to the challenges facing her and became a true advocate was certainly of her own volition.

How does Malala question the idea that the most effective weapons are things like guns, bombs, and knives?

Malala's enemies—the increasingly destructive Taliban and its sympathizers—fight their wars with conventional weapons like Kalashnikovs and grenades, killing in order to make their point. Malala fights as well, but instead she uses words as her weapon. Malala's words, whether written like the diary of Gul Makai or spoken in her speeches and television interviews, powerfully rally people against the Taliban and in favor of the cause she most supports: girls' education. She shows that words can be far more powerful than guns or bombs. Because of how globalized the world has become, words can spread rapidly and affect far more people, alerting the world to injustices so someone can subsequently do something to fix them.

How does Malala's perspective on education differ from an American (or Western) perspective on education?

Living in a nation where many young girls like her do not receive an education, Malala grows up viewing school as the ultimate privilege. She values each day spent in the classroom, and sees education as a tool she can use to empower herself and the people around her to speak out against oppression. Conversely, in much of the Western world where education is a given for the majority of children, we view schooling as more of a means to an end, a way to get a good job in order to live comfortably. It is seen as much less of an inherently remarkable experience.

Despite the terrible things that happened in Swat during the latter half of her childhood, Malala still loves her home. Why is this important?

Even though her last five years spent in Swat Valley were largely spent suffering under the watchful eye of the Taliban, the memories of the Swat that came before are still imprinted on Malala's mind. The most formative years of her life were spent in relative happiness in Swat, reveling in its natural beauty, running freely with her friends, and attending a school she loved. The Taliban were unable to erase these happy memories of her home, even after she was forced to leave. This is a reminder that no matter where someone ends up in life, the place where she spent her childhood will always be central to her identity.

How does this memoir counter the potentially negative perceptions of Islam held by many Westerners because of terrorism and the media?

Malala's memoir indeed presents the corrupted form of Islam claimed by fundamentalist organizations like the Taliban. However, Malala herself is Muslim, and she and her family rely on themselves for peace, healing, and guidance, believing that the Taliban's actions do not truly represent Islam. Since Westerners' perceptions of Islam are tainted by constant media stories of terrorism, this perspective from an insider whose Islamic faith pushes her in positive directions can be especially eye-opening.

Why does Malala believe in the power of politics to change the world?

In the face of worldwide corruption and secrecy, it can be difficult to trust politicians or believe in their power to elicit real change. This is especially true of Pakistan, a nation that suffered immense poetical corruption during the time when Malala Yousafzai was growing up. Despite that, though, Malala believes in the political process, because she has seen the way political activism—even at the grassroots level, like her and her father's efforts—can make a difference. A good politician has the power to rally many to his or her side, as evidenced by leaders like Benazir Bhutto. There is strength in numbers, as Malala knows very well, and with a strong leader and a strong following, change can truly happen.

Why might a group like the Taliban be able to attract and retain followers?

The Taliban capitalizes on fear, dissatisfaction, and ignorance. A charismatic leader like Fazlullah is able to appeal to people's dissatisfaction with the status quo, and in addition, scare them into thinking that following them is the only way that they will be able to avoid some terrible fate. An example of this can be seen in the reaction to the earthquake that struck Swat shortly before the Taliban took over. People were hurt, impoverished, and afraid, worried that something like this could happen again and they would not be able to recover. The Taliban came in and insisted that this was the wrath of God against infidels, and many frightened people heeded their message, believing that following them was the only way to avoid destruction.

How does Malala handle the culture shock that comes with awakening from trauma in an entirely new culture?

Until she is airlifted to the UK for treatment, Malala had never left Pakistan. Once she awakes, she is struck with immense culture shock: not only is she injured, but she is also without her family for support. Though this is overwhelming, Malala handles herself with grace, and in her typical fashion asks many questions in order to gain a full understanding of the situation. Though Birmingham is different, she tries to maintain as much a sense of normalcy as possible, returning to school as soon as she can and taking comfort from her family once they do arrive.

Does having Malalai of Maiwand as a namesake prime Malala for success? Why or why not?

Malala's name is one of the many things that empower her to speak up and make a difference. Malalai of Maiwand, her namesake, is a Pashtun heroine who showed similar courage and command over words, and, in choosing this name for her, her father displayed his intent to support and empower his daughter regardless of her gender. Having this sort of support certainly played a role in priming Malala for success.

I Am Malala Questions and Answers

The Question and Answer section for I Am Malala is a great resource to ask questions, find answers, and discuss the novel.

Explain the following quote: “Inside the Khushal School, we flew on the wings of knowledge.”

Malala cherishes the memories of her father's school. Many girls were not given the opportunity of an education and even fewer were given the liberal education that Malala received inside Khushal School. To Malala, education was a liberating...

how does starting the story with this prologue help support the memoir

We get a sense of context before the story begins. The prologue acts as an exposition to the narrative.

provided a private jet for Malala’s transport to England

United Arab Emirates

Study Guide for I Am Malala

I Am Malala study guide contains a biography of Malala Yousafzai, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About I Am Malala
• I Am Malala Summary
• Character List

Lesson Plan for I Am Malala

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to I Am Malala
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• I Am Malala Bibliography

Wikipedia Entries for I Am Malala

• Introduction
• Murder attempt
• Continuing activism

Home — Essay Samples — Government & Politics — Political Activists — Malala

Essays on Malala

Prompt examples for malala essays, malala's advocacy for girls' education.

Analyze Malala's tireless advocacy for girls' education, her motivations, and the impact of her work on global awareness of the issue.

The Power of Education

Discuss the theme of the transformative power of education in Malala's life and the lives of girls around the world, as portrayed in her memoir "I Am Malala."

Malala's Resilience and Courage

Examine Malala's remarkable resilience and courage in the face of adversity, including the attack on her life by the Taliban, and how she continues to inspire others.

The Role of Family in Malala's Journey

Discuss the role of Malala's family, particularly her father Ziauddin, in shaping her values, beliefs, and determination to fight for education and women's rights.

Malala as a Symbol of Hope

Analyze Malala's status as a symbol of hope and empowerment for girls and women worldwide, and how she has become an international icon for education and peace.

The Global Impact of Malala's Nobel Prize

Discuss the significance of Malala receiving the Nobel Peace Prize and how it has elevated her advocacy and amplified the message of girls' education.

Malala's Influence on Policy and Change

Examine the concrete policy changes and initiatives that have been influenced by Malala's activism and the broader impact on girls' access to education.

Comparative Analysis with Other Activists

Compare Malala's activism and impact to other prominent activists in the field of education, women's rights, or youth empowerment, highlighting similarities and differences.

Malala's Writing and Storytelling

Analyze Malala's skills as a writer and storyteller, particularly in her memoir "I Am Malala," and how her narrative contributes to her advocacy work.

Challenges Faced by Young Activists

Discuss the unique challenges and opportunities faced by young activists like Malala and the ways in which they can effect change on a global scale.

I Am Malala Rhetorical Analysis

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An Essay on I Am Malala Yousafzai

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An Analysis of Two Scenes in I Am Malala, a Book by Christina Lamb and Malala Yousafzai

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July 12, 1997 (age 24), Pakistan

Malala Yousafzai is a Pakistani activist for female education and the 2014 Nobel Peace Prize laureate.

Malala Yousafzai has made a huge impact on the lives of young girls, particularly with respect to education. She has proven to the world that anyone can be an advocate for change. Even in the face of violent opposition, she has helped young girls deprived of education to receive the learning they need to become future professionals and leaders. Almost a year after a statement she gave regarding Muslims and education progress, we catch up on her efforts and how her movement has improved the education landscape worldwide.

“We realize the importance of our voices only when we are silenced.” “One child, one teacher, one book, one pen can change the world.” “If one man can destroy everything, why can't one girl change it?” “Let us pick up our books and our pens, they are the most powerful weapons.” “With guns you can kill terrorists, with education you can kill terrorism.”

Malala was the youngest person to receive the Nobel Peace Prize. The United Nations named July 12th as "World Malala Day." In 2015 an asteroid was named in honor of Malala. On October 9, 2012, Malala boarded a bus to advocate for Pakistani girls' education when the Taliban shot her in the head and neck. She was 15.

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I Am Malala

Table of contents, introduction, religion, freedom, and religious extremism : islam, the talibanand sharia law, the power of education, girl’s rights, analysis of the character, essay 1 : ’malala demonstrates that there is power in unity and persistence.’ discuss..

• Essay 2 : ’Although Malala is an inspirational example to others, she cannot achieve change on her own.’ Discuss.
• Essay 3 : In the memoir ‘I Am Malala’ religious extremism is to blame for the restrictions that are forced upon Malala’s life. Discuss.
• Essay 4 : Discuss the ways that relationship is shown to have a significant impact on Malala and her fight for justice in I am Malala.
• Essay 5 : How does the author of I am Malala explore the role of sacrifice when campaigning for a cause? Discuss.
• Essay 6 : ’The memoir I Am Malala illustrates that it is our moral responsibility to speak up against injustice, regardless of personal risk.’ Discuss.
• Essay 7 : ’I began to see that the pen and the words that come from it can be much more powerful than machine guns, tanks or helicopters.’ How does the memoir I Am Malala demonstrate that words can be more powerful than any other weapon? Discuss.
• Essay 8 : “One child, one teacher, one book and one pen can change the world.” The memoir I Am Malala demonstrates that education is powerful. Discuss.

Brief Historical background

In her memoir ‘I Am Malala’, Malala Yousafzai relays the story of her experiences as a young girl in Pakistan, which lead to her being targeted and shot by the Taliban. Malala, who describes herself as a devout Muslim, talks at length in her memoir about the disconnection between the Taliban and their activities, and the true meaning of Islam. Malala states that she is “proud that our country was created as the world’s first Muslim homeland.” (75) However, she also observes that the people of Pakistan do not agree on what this actually means. Her sense that the true meaning of Islam has been lost or distorted appears frequently in the text. It is especially prominent when Malala reflects upon the impact of religious extremism on both the outside and inside perceptions of what Islam is. She blames the influence of the extremist views enforced on the people of Pakistan by the Taliban as the cause of this distortion. Malala quotes the speech that the founding father of Pakistan, Muhammed Ali Jinnah, gave when Pakistan was created, using his words to express that Pakistan was not created as a safe haven for religious extremism. “You are free to go to your temples, you are free to go to your mosques or to any other place of worship in this State of Pakistan. You may belong to any religion or caste or creed- that has nothing to do with the business of the state.” (75)

ANALYSIS OF THE THEME

Religion and Freedom

Malala is aware early in her life that religion shapes her existence in almost every way. As a Muslim living in an Islamic country, Malala knows that there are religious laws which are imposed upon both men and women. These laws reflect Malala’s Sunni Muslim heritage. As a small child these laws do not seem important, however as she becomes older Malala is more aware of the restrictive and unfair ways in which her religion seeks to control over her as an individual, but also as a female. In Chapter 4 Malala becomes aware that women were obligated to cover their faces whenever they went away from their house, or ‘purdah quarters’. Further, women were not allowed to talk to meet or talk to men who were not their close relatives (54). For Malala this was just another part of her cultural landscape, however, as a young teenager exploring her identity she was determined not to cover her face. She recalls a time when a male relative angrily asked her father “Why isn’t she covered?” Malala’s father’s response was to defend her. “She’s my daughter. Look after your own affairs.” (54) Malala states that “I am very proud to be a Pashtun but sometimes I think our code of conduct has a lot to answer for, particularly where the treatment of women is concerned.” (54) Malala’s growing awareness of the inequality that exists in her society causes her to question her own place in it, and as such she is very privileged to have a father who is determined to protect her freedom. Malala’s father talks to her about the difficulty of life for women in Afghanistan under the Taliban, and of the ways in which the Taliban sought to control and restrict their personal rights and freedoms of women. Malala shudders when her father tells her “…the Taliban had even banned women from laughing out loud or wearing white shoes as white was a ‘colour that belonged to men.’ Women were being locked up and beaten just for wearing nail varnish.” For Malala, freedom is very important, and she has been raised by her father to believe in her own freedom, regardless of their religious traditions. “I read my books…and trusted in my father’s words: ‘Malala is free as a bird.’” (55) Without Malala’s father value of his daughter’s freedom, Malala’s life would have been quite different. He reassures her that “I will protect your freedom, Malala. Carry on with your dreams.” (55) Malala is not forced to confront the idea of a life without her freedom until the Taliban move in to Swat and impose their own brand of Islam upon them. “When I heard the stories of the atrocities in Afghanistan I felt proud to be in Swat. ‘Here a girl can go to school’, I used to say…For me the valley was a sunny place and I couldn’t see the clouds gathering behind the mountains.” (55)

The word Sharia means “a well-trodden path to water,” and therefore represents the path to Allahi. In Islam, Sharia is Islamic law which should not be confused with civil law. This means that it sets out the elements and principles of the Islamic religion based on the teachings in the Quran, dictating what each individual Muslim must perform and abide by in order to reach Allah (God). Sharia law also sets out the patterns that believers must follow in worshipping Allah: prayers, charity, fasting and pilgrimageii. All religions use organising principles to guide and instruct. In this sense Sharia is no different. Within Sharia, there are five tenants that must be preserved: life, learning, family, property and honouriii. There are also five categories to organise the actions of the congregation of Islam: obligatory, recommended, permitted, disliked or forbiddeniv. Malala uses the word haram to describe things that are forbidden by Sharia law. The word halal is used to describe the things that are permitted. Interestingly Sharia law does not state that women should be completely covered from head to toe (including the face). The choice of cover is specific to certain areas in the world and dictated by cultural and political influences rather than stipulated by Sharia law, which requests only modest dress. Sharia law also commands specific punishments for specific crimes.

Unlike the form of Sharia law enforced by the Taliban, women and men are described as equals in original Sharia and are seen as partners in promoting the common goodv. Western politicians and media have interpreted Sharia law as presented by the Taliban to be its true meaning, something that has caused a significant increase in Islamophobia and a general misunderstanding of the principles and intentions of Islam. Many of the extreme reactions to Sharia law around the world stem from a misinterpretation of Islam because of the actions of a

minor few: namely, the Taliban and its supporters.

The Taliban and Religious Extremism

Following the September 11, 2001 attacks on New York, the Taliban eventually comes to Swat Valley. In the memoir I Am Malala, the Taliban arrive in Swat in Chapter 9 when Malala is ten years old, bringing with them their special brand of religious extremism. Malala describes them as “strange-looking men with long straggly hair and beards and camouflage vests over their shalwar kamiz…” (91) The name Taliban describes a movement of religious students (or, talibs ) from the Pashtun areas of Afghanistan. Malala’s father Ziauddin was himself a talib when he was a young man. He received instruction from a senior talib and was only able to eventually see through the religious zeal because of his questioning mind, however this was not the case for many other young men in his situation.

In 1994, five years after the withdrawal of Russia from Afghanistan, the Taliban (which is Pashto for ‘seekers of knowledge’vi) emerged in Afghanistan as a small, clerical movement which sought to provide protection to residents from opportunistic criminals that were capitalizing on the chaos occurring at the timevii. They formed a government in Afghanistan in 1996, ruling as the Islamic Emirate of Afghanistan until 2001. Over time, the Taliban magnetically attracted other like- minded talibs; generally co-ethnic Pashtuns who had been educated in traditional, Islamic schools or madrassas along the western frontier of Pakistan. The madrassas schooled their students in the tradition of the Deobandi movement, originally created by Indian Muslim scholars who felt that British colonialism in India was corrupting Islamviii. One of the hallmarks of the Taliban was its extreme interpretation and enforcement of Sharia Law, which saw women in Afghanistan and then Pakistan deprived of basic human rights, such as an education. When the Taliban perverts the religious laws of Islam in this way, they do so as a way of exerting power and control over people.

In Chapter Nine the political climate in Pakistan merges with a national disaster in the shape of a severe earthquake to create the perfect entry point for the Taliban to enter the Swat Valley. The earthquake measured 7.6 on the Richter Scale and was felt as far away as Delhi and Kabul. Malala notes that “When the TV news began to show the devastation we saw that entire villages had been turned to dust.” (85) The remote location of the Swat Valley, along with the destruction of the roads around meant that officials were not able to enter to give much needed aid. Although the Pakistan army set up a task force to assist, Malala states that the majority of volunteers that made it through to the valley were from Islamic charities or organisations. In Chapter Eight Malala observes, “Earthquake victims praised the activists who had trudged up and down mountains and through shattered valleys carrying medical help to remote regions no one else had bothered with. They helped clear and rebuild destroyed villages as well as leading prayers and burying bodies.” (87/88) This is how the Taliban comes to the Swat Valley, initially presenting themselves as helpful allies, devout but peaceful.

Disillusioned by the corruption rampant within the Pakistani government, the earthquake of 2005 was a turning point for the people of Swat. Caught in a difficult position, the people of Swat welcomed the Maulana Fazlullah and his people. “People thought he was a good interpreter of the Holy Quran and admired his charisma. They liked his talk of bringing back Islamic law as everyone was frustrated with the Pakistani justice system which had replaced ours when we were merged into the country.” (93) However, these groups used the frustration of the people against them and wasted no time in preaching that the earthquake was “a warning from God…caused by women’s freedom and obscenity.” (88) The people of Swat were warned: “If we did not mend our ways and introduce sharia or Islamic law…more severe punishment would come.” (88) Within six months after the earthquake, Fazlullah was exerting his power over the people of Swat and exploiting their ignorance of the Qur’an (which must be interpreted by a special scholar because it is written in Arabic) with warnings that “if the people didn’t stop, they would again invite the wrath of God.” (92)

Malala and the people of Swat were rapidly engulfed by the regime of the Taliban. In Chapter 10 Malala states “First the Taliban took our music, then our Buddhas, then our history.” (102) Aside from forbidding citizens to listen to foreign music or watch television, the Taliban also destroyed any object or edifice that was not a part of the Islamic culture. This included the precious Buddhist statues and stupas that were over 1000 years old and stemmed from the time of the Kushan kings. The Taliban “believed that any statue or painting was haram , sinful and therefore prohibited.” (102) Malala states “The Taliban became the enemy of fine arts, culture and our history. They destroyed everything old and brought nothing new.” (103) Malala is rightly angry and upset by what she sees as the Taliban’s attempts to control them like “little dolls” (103). What upsets both Malala and her father the most is the fact that nobody speaks out or tries to stop the Taliban. People were either too afraid or in agreement with them. Malala’s father tries to speak against them but is warned not to. “Someone came up to him and whispered, “Don’t speak any more in this way-it’s risky.” (104) Malala is also dejected that the authorities do nothing to intervene. The lives of the people of Swat, already devout Muslims, are negatively changed by the religious extremism enforced by the Taliban.

Another major theme of I Am Malala is her conviction regarding the importance and power of education. Throughout the text Malala makes many references to her love of learning, and also of her father’s passion for education. The two are intertwined as Malala is very influenced by her father and his views. The struggle that they share when Malala is forced to stop going to school and is then shot by the Taliban for being outspoken against them, highlights the way in which father and daughter are connected by their love of learning. Further, the eventual forced closure of Ziauddin’s school, along with the bombing and closure of most of the schools around them, brings into focus the importance of education within society, and what it represents symbolically. Malala and Ziauddin are united in their mission to fight for what is important, not only to them but also for the sake of their country and the other women and girls within it.

From a very early age Malala looked up to her father, Ziauddin, as an example of someone who had worked hard to attain his goals in life. Despite the fact that Ziauddin’s father had wanted him to become a doctor, he desired most to become a teacher. This was a point of conflict in his life because in his early years Ziauddin struggled with a stutter, something that his domineering and brusque father berated him for. “‘Spit it out, son!’ he’d roar whenever my father got stuck in the middle of a sentence.” (21) Despite this, Ziauddin loved words and poetry and was determined to master his stutter and gain his father’s respect. His strength of character is shown in his effort to become a confident orator, something that his father was already well known for. He also demonstrates immense strength of character in the way he overcomes the harshness of his father’s treatment of him and is determined to be a different kind of father to his own children. Regardless of his struggles with his father, as an adult Ziauddin remembers him most for the love of learning that he instilled in him. “ Baba also gave him a deep love of learning and knowledge as well as a keen awareness of people’s rights, which my father has passed on to me.” (30) Although it is Malala’s story, Ziauddin’s character and passionate belief in education is central to the memoir and its message.

Malala directly benefits from her father’s education and beliefs while growing up, as aside from being a well-educated man, Ziauddin also demonstrates a healthy perspective and sense of fairness in his thinking, which is informed by his open- mindedness and belief in the power and importance of knowledge. A good example of this can be found in the chapter where a local mufti tries to close her father’s school. When someone warns Ziauddin that this is happening, he responds with: ‘Just as we say, “Nim hakim khatrai jan” – “Half a doctor is a danger to one’s life,” so, “Nim mullah khatrai iman” – “A mullah who is not fully learned is a danger to faith”,’ he said.” Through his response to the Taliban, and his approach to his own daughter, Ziauddin expresses ideas that are clearly progressive and more balanced than those of the extremists around him. This is interesting as Malala explains that during his teen years, when Russia was stuck in Afghanistan, Ziauddin wanted to become a jihadi. “It was, he says, a kind of brainwashing. He believes he might even have thought of becoming a suicide bomber had there been such a thing in those days.” Despite this, Ziauddin’s natural intelligence and tendency to question things meant that he was able to steer away from this path. Ziauddin’s own views are shaped by the tension he experienced while existing between extremes: secularism and socialism on one side, and militant Islam on the other side. “I guess he ended up somewhere in the middle.”

Malala’s own appreciation and passion for education, while shaped and encouraged by her father, is very much a part of who she innately is. Through her father’s connections and political figures such as Benazir Bhutto, she finds examples of strong and well-educated women who become her role models. Even as a young girl Malala is aware that she must study hard if she wants to fulfil her future dreams of becoming a politician like Benazir Bhutto and help the people of Pakistan. She is competitive with her friends at school and works hard to remain the top student in her class. Her anecdotes about school and her rivalry with Malka e-Noor and her best friend, Moniba for top marks are entertaining as well as revealing of the happiness and joy she felt in this environment. “It was school that kept me going in those dark days.” (112) School is a haven for Malala, somewhere that she is able to dream about her bright future despite the violent attempts of the Taliban to take that away from her and all the other girls in Pakistan. “Our school was a haven from the horrors outside.” (114) Malala’s love of learning and love of her school life forms a large aspect of her belief in the power of her education to make a difference in her life, and Ziauddin uses the example of Nazi Germany to encourage her to use her knowledge of history to speak out against what was happening. “I knew he was right. If people were silent nothing would change.” (117)

Malala’s self-worth as an individual is innately connected to her worth as a young, intelligent woman who, among many other things, wants to fulfil her academic potential. This is something that cannot be split up or compartmentalised and is also something that makes her outspokenness so threatening to the Taliban. At the end of her memoir, Malala again asserts that in her culture, education is the basic right of every girl and boy. “Islam says every girl and every boy should go to school. In the Quran it is written, God wants us to have knowledge.” (263) Although Malala’s passion for education was ignited by her father, by the end of her memoir it is clear that she has found her own voice, along with her life-long vocation. “I don’t want to be thought of as ‘the girl who was shot by the Taliban’ but ‘the girl who fought for education.’ This is the cause to which I want to devote my life.” (261) By the end of her story it is clear that despite the trauma of her near-death experience, or maybe even because of it, Malala’s belief in the power of education and a child’s right to receive it grows stronger and extends further than her own country to encompass the whole world. When Malala deliver’s her speech to the United Nations in New York on her sixteenth birthday, her message powerfully reflects the strength of this belief. “I wore one of Benazir Bhutto’s white shawls…and I called on the world leaders to provide free education ‘Let us pick our books and our pens,’ I said. ‘They are our most powerful weapons. One child, one teacher, one book and one pen can change the world.’” (262)

Girl’s rights, or the rights of girls and women within a society, is a central theme of the text. It overlaps with the theme ‘The Power of Education’ because Malala as a girl cannot separate the two issues, and because the Taliban tries to stop her and all other girls in Pakistan from attending school. Consequently, it also intersects with the theme ‘Religion, Freedom, and Religious Extremism: Islam, the Taliban and Sharia Law’ because of the Taliban’s extreme religious agenda. Malala’s story represents one of the most discussed human rights issues of the 21st Century: that of a girl’s and a woman’s right to be treated as equal to a boy or a man. While many would say that girls and boys or men and women around the world in the 21st Century enjoy equal rights the truth is that this is not the case.

Women and girls in the 21st Century are still fighting for their basic human rights in many countries around the globe. In Pakistan alone, women and girls still face alarming conditions. Aside from the Taliban’s attempts in Swat, Pakistan, to ban girls like Malala from getting an education, women and girls in Pakistan also suffered and still suffer from the injustice of honour killings, arranged child marriages, illiteracy and confinement to the family home under the Sharia law of purdah (conduct and seclusion from the world for the purpose of modesty). Malala was very fortunate to have a father like Ziauddin. He treated her with balance, respect and equality, encouraging her to reach her full intellectual potential through her education. Sadly, this is not the case with most women in Pakistan, as under Sharia law a female’s entire life is controlled by her male relatives. Examples of this can be found in the

text where Malala’s friends are pulled out of school by their fathers or brothers once they reach puberty (the age girls enter the state of purdah ), and under direct

pressure from the Taliban. Malala’s own mother never went to school. “My mother started school when she was six and stopped the same term.” (32) She is illiterate, having considered education as something she would not need as a wife and mother. She later tries to learn to read and write and is at her first lesson when Malala is shot. Malala reflects upon how her mother felt that there was no point in getting an education. “There seemed no point in going to school just to end up cooking, cleaning and bringing up children.” (32) Unfortunately, Malala’s mother is one of many in this position in Pakistan, and in many under developed countries around the world today.

Malala’s own story of being shot because she believed she had the right to receive an education is not only generally tied to the issue of women’s and girl’s rights, it is specifically tied to the rights of women and girls in Islamic countries ruled by Sharia law. Ziauddin talks to her about the women in Afghanistan, and of how their rights under the Taliban are affected. “He said that the Taliban had even banned women from laughing out loud or wearing white shoes as white was ‘a colour that belonged to men.’ Women were being locked up and beaten just for wearing nail varnish. I shivered when he told me such things.” (55) Malala is aware that when the Taliban took over Afghanistan a year before she was born, they burnt down girl’s schools. Their sinister agenda was aimed at restricting women in their everyday life to the point where they no longer had the ability to make any choices for themselves. Malala is blunt in her assessment of this. “We felt like the Taliban saw us as little dolls to control, telling us what to do and how to dress. I thought if God wanted us to be like that He wouldn’t have made us all different.” (103) When the girls of the Red Mosque madrasa begin terrorising the streets of Islamabad, Malala makes note of the Taliban’s hypocrisy. “When it suits the Taliban, women can be vocal and visible.” (105)

For Malala, a young girl brimming with ambition and potential, the opportunity to broadcast the struggles of girls in Pakistan under the Taliban to the rest of the world is something that very quickly becomes her mission. She becomes aware when she gives an interview on television with a group of girls in her school that she has the ability to speak out where so many girls in Pakistan did not. “Afterwards I thought, ‘The media needs interviews. They want to interview a small girl, but the girls are scared, and even if they’re not, their parents won’t allow it. I have a father who isn’t scared, who stands by me. He said, ‘You are a child and it’s your right to speak.’ ” (117) Malala refuses to be defined by the Taliban and has the courage and the ability to speak out. Her story is as much about her rights as a girl as it is a story about the power of education, the impact of religious extremism, and of her courage

as an individual.

Both Malala and her father Ziauddin show incredible courage in the way they are prepared to speak out against the Taliban regardless of the danger. Ziauddin is Malala’s role model for many things, but he is especially inspiring in the way he encourages her to find the courage she needs to defend her right to go to school. In the memoir, the majority of did as they were told by the Taliban out of fear for their own safety. “It seemed that people had decided the Taliban were here to stay and they had better get along with them. ‘When you are in the Taliban you have 100 percent life security,’ people would say.” (125) Ziauddin, however, refuses to be intimidated. Despite the fact that he receives threats for speaking out against the Taliban, he does not waiver in his courage. He uses the example of Nazi Germany to illustrate to Malala the grievous outcome when people are too afraid to speak out against what is wrong. “He hated the fact that most people would not speak up. In his pocket he kept a poem written by Martin Niemoller, who had lived in Nazi Germany…I knew he was right. If people were silent nothing would change.” (116/117) Ziauddin demonstrates the kind of moral courage that is rarely seen in difficult and life-threatening situations, and Malala is inspired by him. “My father said we common people were like chaff caught between the two stones of a water mill. But he still wasn’t afraid. He said we should continue to speak out.” (128)

Malala is determined to do what she can to protect her right to an education. Following her father’s lead, she uses an opportunity to give a group interview on television about girls dropping out of school due to militancy to speak out against what was happening in Swat. She is aware that as she gets older, the friends that she once did group interviews with are no longer permitted to do so by their fathers and brothers because they had reached the age where they were required to observe purdah. Malala is able to see that she is in the position to use her voice where her friends are not, and she leans on her devout faith in order to find the strength to be courageous. “In my heart was the belief that God would protect me. If I am speaking for my rights, for the rights of girls, I am not doing anything wrong. It’s my duty to do so. God wants to see how we behave in such situations. There is a

saying in the Quran, ‘The falsehood has to go and the truth will prevail.’” (117)

Both Malala and Ziauddin did everything they could to speak out against the increasingly violence tactics embarked upon by the Taliban in order to stop girls from going to school. As schools were targeted with more frequency, Ziauddin gave media interviews to renounce what was happening, all the while speaking out about the value and importance of girls. “Once he spoke at a big gathering and held up an audience member’s baby girl and said, ‘This girl is our future. Do we want her to be ignorant?’ The crowd agreed that they would sacrifice themselves before giving up their daughters’ education.” (119) At the end of 2008 the Taliban decreed that girls must stop going to school in January 2009, and Malala comes to realise the true value of education. “We hadn’t realised how important education was until the Taliban tried to stop us. Going to school, reading and doing our homework wasn’t just a way of passing time. It was our future.” (121/122)

Although those around her lose heart, Malala shows that she is determined to fight through her fear just as her father would. As the situation in Swat grows worse, Malala finds new ways to bring her story to the world. One of these opportunities is given to her through a friend of Ziauddin’s. Abdul Hai Kakur, a BBC correspondent comes to Ziauddin looking for a female teacher or schoolgirl to write a diary about life under the Taliban. Malala overhears them talking and offers herself as the writer. “Why not me? I wanted people to know what was happening.” (129) The parallels are drawn between Malala’s life and the life of Anne Frank, the 13-year-old Jewish girl who had hidden from the Nazi’s in World War Two and who kept a diary which survived and was published years after her death in a concentration camp. The sense of secrecy, danger and authentic experience, present in both, is expressed in their youthful words, and in the impact of their stories. The popularity of Malala’s diary entries demonstrates to her the power she holds in her own hands. “The BBC even made a recording of it using another girl’s voice, and I began to see that the pen and the words that come from it can be much more powerful than machine guns, tanks or helicopters. We were learning how to struggle. And we were learning how powerful we are when we speak.” (131) The violence inflicted upon the people of Swat during the Taliban occupation was brutal, and Malala regularly speaks about how this affected her. When a suicide bombing occurs in a nearby high school in Mingora, killing more than 55 people, 10 of whom were relatives of Malala’s friend Moniba, Malala asks her father if he is finally scared. “‘At night our fear is strong, Jani,’ he told me, ‘but in the morning, in the light, we find our courage again.’ And this is true for my family. We were scared, but our fear was not as strong as our courage.” This courage, which enables Malala and her family to confront the danger of speaking out against the tyranny of the Taliban, stemmed from their strong belief in the idea that it was their responsibility to do so. Regardless of the danger, Ziauddin and Malala both feel passionately about standing up not only for their own rights, but also for the rights of those around them. Ziauddin receives many death threats, but it is not until later when Malala’s life is also threatened that her father responds with fear, taking the threat seriously. Even when he is suggests to Malala that they should stop campaigning she displays courage, reminding him of the reasons why they must continue. “‘How can we do that?’ I replied. ‘You were the one who said if we believe in something greater than our lives, then our voices will only multiply even if we are dead. We can’t disown our campaign!’” Regardless of the threat to her own life, Malala shows the strength and courage to continue campaigning against the Taliban.

Malala Yousafzai Malala is the central figure of the memoir. She is named after a Pashtun poet named Malalai of Maiwand, a great heroine of the Pashtun culture who Malala describes as being their very own Joan of Arc. However, Malala’s grandfather tells her that her name means ‘grief-stricken’ and is considered unlucky. The memoir is told through Malala’s eyes, using her voice, and spans across her childhood and into her teenage years. Malala grows up in Pakistan, surrounded by her family and friends. As a member of the tribal Pashtun culture, Malala’s heritage is one of great pride and close kinship as well as poverty and archaic customs. As a Muslim, Malala is raised with a strong sense of religious and spiritual purpose. However, she is also very influenced by her educated father who teaches her to think for herself and to believe in her right to be educated. This is in strong contrast to the general population where girls are controlled and restricted by their male relatives and must observe the rule of purdah at the age of puberty. Malala was only 10 when the Taliban comes to Swat Valley and was 15 when an assassination attempt was made on her life for being outspoken against them. Malala survived the shooting, but was airlifted to Birmingham, England, where she remained with her family. In October 2017 she became the youngest person to win the Nobel Peace Prize at the age of 17 for her efforts in standing up to the Taliban and for and raising awareness of girl’s rights in Pakistan.

Ziauddin Yousafzai Ziauddin is Malala’s father, and one of the most positive influences in her life. Ziauddin’s father wanted him to become a doctor, which is the most respected profession in Pakistan. However, Ziauddin had a passion for education and wanted to become a teacher and one day open his own school. He realises his dream, although he is not the greatest business man, and things are not always financially easy for his family. Ziauddin had a stutter as a child and is bullied by his own father who was a respected teacher and orator. Ziauddin learns to give speeches in public in order to impress his father and overcome his speech impediment. Unlike many men in Pakistan and the Pashtun culture, Ziauddin values the opinions of his wife, Tor Pekai and is thrilled to have a daughter. He raises Malala to be courageous and to speak out when things are not right, and he supports her fight against the Taliban and their ban on girl’s education. Ziauddin’s values and ideals are a beacon of light in her memoir, and illustrate the importance of having positive role models to look up to.

Tor Pekai Yousafzai Tor Pekai is Malala’s mother. She is described by Malala as a devoutly religious, practical and hard-working woman who loves her family and community. As a Pashtun Muslim woman, Tor Pekai strictly observes the religious law of purdah, or modesty. This means remaining secluded in the home unless accompanied outside by a male relative and staying covered from head to foot. Tor Pekai did not receive a formal education, although Malala states that she was unusal for her village as her father and brothers encouraged her to go to school. Tor Pekai was illiterate for most of Malala’s childhood, however Malala describes her as a strong and intelligent person. Tor Pekai has a very close relationship with her husband, Ziauddin who seeks her opinion on most matters, another thing that Malala describes as unusual in the Pashtun culture. At the time that Malala was shot by the Taliban, Tor Pekai was taking her first literacy class.

Khushal Yousafzai Khushal, named after a famous Afghan poet, is Malala’s younger brother. Khushal and Malala fight like all siblings, and Malala makes frequent, dryly humorous references to their sibling rivalry. When they are both older, Khushal goes away to boarding school in another town. He complains about having to go to school when Malala is faced with not being able to go because of the ban the Taliban place on girl’s education, causing Malala to become angry with him. • Atal Yousafzai Atal is the youngest of the three children, and another brother for Malala. He is also called Atal the Squirrel, because of his agility in jumping and climbing. As the youngest child he is 7 years younger than Malala, the eldest child. Atal is seen to be more interested in games than anything else.

Rohul Amin Rohul Amin is Malala’s Grandfather and Ziauddin’s father. He is described as a brilliant orater, teacher and scholar, but also a difficult and impatient father. He bullies his son Ziauddin for having a stutter when he is a child and makes Ziauddin determined not to be like him when he has children of his own. Despite this, Ziauddin appreciates the fact that Rohul has given him a love of learning and sees that his influence has not been all bad.

Moniba Moniba is Malala’s best friend in Mingora, and they go to school together. Moniba traditionally comes second to Malala in their exam standing, and she regularly quarrels with Malala about her friendships with other girls. Moniba shares a passion for learning and politics with Moniba.

Malka e-Noor When Malka e-Noor comes to Malala’s school, she quickly overtakes Malala as the top student. Because Malala has held the number one position for so long she is shocked and becomes very competitive, striving to win back her position as the best student in the school. Eventually, Malala and Malka also become friends.

Hidayatullah Hidayatullah is the college friend with whom Ziauddin sets up his school. After much stress the friends part ways and Ziauddin keeps the school. • Malauna Fazlullah Malauna Fazlullah is the leader of the Taliban in Pakistan. He married Maulana Sufi Mohammad’s daughter and became his successor when the latter was imprisoned after a round up of militant leaders. Fazlullah sets up an illegal radio station to begin transmitting the ideas of the Taliban, initially prefaced as the ideas of Islamic reform. HE is initially considered by the people of Swat to be wise and devout, however his mask soon slips, and his true agenda is revealed. They gain a foothold in Swat during the aftermath of a terrible earthquake as they are among the only organisations who come to deliver aid and assistance. One of the ways they put pressure on the people to support them was by telling them that natural disasters were punishment from God for not adhering to their strict interpretation of Sharia law. Fazlullah is responsible for ordering the assassination attempt on Malala, as well as the many violent deaths via suicide bombings and beheadings that occurred leading up to it.

Benazir Bhutto Benazir Bhutto was born into a wealthy family, and her father was elected as the Prime Minister of Pakistan in 1973. She became the first female Prime Minister of Pakistan, as well as the first democratically elected female leader in a Muslim country in 1988, and her political career endured many dramas and scandals. She was assassinated in 2007. Benazir Bhutto is one of Malala’s role models.

Mohammed Ali Jinnah Mohammed Ali Jinnah was the first Prime Minister of the newly created Islamic state of Pakistan, which split off from India in 1947. Jinnah is one of Malala’s role models, and she talks about his original hope for Pakistan that it be a place where people of all religions could be free. Jinnah’s ideological example has a strong influence for Malala, and she reflects on it frequently when talking about Pakistan and its corruption and strife.

Madam Maryam Madam Maryam is the principal of the Khushal school and another role model for Malala. She is the person who goes with Malala to hospital because her mother cannot go. She is very kind and caring and Malala describes her as a second

Dr Fiona Reynolds Dr Fiona Reynolds is a British doctor specialising in intensive care for children. She was in Pakistan advising the army on how to set up the first liver transplant program when Malala is shot. She and fellow doctor Javid Kayani travel to Peshawar to report back to General Kayani before they leave Pakistan, who then asks them to see Malala. She is instrumental in saving Malala’s life from a post- surgery infection, and Malala is eventually transferred to Birmingham Childrens Hospital where Dr. Reynolds is a staff member.

Dr Javid Kayani Dr Kayani is travelling in Pakistan with Dr Reynolds. He is an emergency care consultant at Queen Elizabeth Hospital in the UK. He is asked by General Kayani to consult on Malala’s case, however as Dr Reynolds was a specialist in children’s intensive care he recommends that he talk to her first.

Colonel Junaid Colonel Junaid is the young army surgeon who performs life-saving surgery on Malala.

Ataullah Khan The Taliban soldier who claims responsibility on behalf of the Taliban for shooting Malala.

Usman Bai Jan Usman Bai Jan is the driver of the school bus that Malala is on when she is shot.

Kainat Riaz and Shazia The other girls shot and injured in the attack. Both girls survive.

P6. “I was the only girl with my face not covered.”

P9.’When I was born, people in our village commiserated with my mother and nobody congratulated my father.’ (start of chapter 1)

P11. “my father told the story of malalai to anyone who came to our house.”

P17. ‘My mother is very pious and prays five times a day’ … ‘she disproves of dancing because she says God would not like it’

P20. ‘Malala will be free as a bird.’

P24. ‘No struggle can ever succeed without women participating side by side with men.’

P33. ’Ziauddin believed schooling should be available for all, rich and poor, boys and girls’.

P57. “I felt a terrible sinking feeling in my stomach.” P58. “since that day I have never lied or stolen.”

P66. ’Though my mother was not educated, she was the practical one in the family, the doer while my father was the talker. She was always helping people.’

P72. “Rubbish-dump children” “we should help” & “God, give me strength and courage and make me perfect because I want to make this world perfect”

P91. “The Quran teaches us sabar—patience—but often it feels that we have forgotten the word and think Islam means women sitting at home in purdah or wearing burqas while men do jihad.”

P92. “[Fazlullah] warned people to stop listening to music, watching movies and dancing. Sinful acts like these had caused the earthquake, Fazlullah thundered, and if people didn’t stop they would again invite the wrath of God.”

P95. “Pashtun women are very powerful and strong”. Malala

P100. “Ziauddin, you have charisma, you can speak up and organise against them. Hidayatullah.”

P103. “My father said people had been seduced by Fazlullah.” Malala P117. “I have a father who isn’t scared, who stands by me.” Malala.

P117. “If one man, Fazlullah can destroy everything, why can’t one girl change it? I wondered.” Malala.

P117. “If people were silent nothing would change.” Ziauddin.

P117. “In My hearts was the belief that God would protect me…” Malala

P122. (Malala) “We don’t have any option. We are dependent on these mullahs to learn the Quran,” he said. “But you just use him to learn the literal meanings of the words; don’t follow his explanations and interpretations. Only learn what God says. His words are divine messages, which you are free to interpret.”

P128. “Sometimes I was very afraid but I said nothing, and it didn’t mean I would stop going to school.” Malala.

P131. “ I began to see that the pen and words that come from it can be much more powerful than machine guns, tanks or helicopters.” Malala

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I Am Malala / Pride – Comparative Sample Essay

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I Am Malala

Malala yousafzai, ask litcharts ai: the answer to your questions.

Women’s Rights

Perhaps the central theme of I Am Malala —even more important than the power of education—is the theme of women’s rights. Malala Yousafzai , the young Pakistani girl who narrates the book, is passionate about the equality of the sexes, and often quotes the founder of Pakistan, Mohammed Ali Jinnah , regarding this issue: “No struggle can succeed without women participating side by side with men. There are two powers in the world; one is…

The Power of Education

From the first scene—in which Malala is shot by the Taliban for riding a bus to school—to the final chapter—in which Malala lobbies for a UN resolution in favor of universal education— I Am Malala celebrates the importance of education. It could be said that education determines the way Malala comes of age: the more she learns, the more she recognizes the value of learning, and the more mature she becomes.

Education empowers people, not…

Islam and Its Interpretations

Malala makes it clear that she is a devout Muslim—a follower of the faith of Islam. Islam is one of the three Abrahamic religions (the other two are Judaism and Christianity): monotheistic religions that believe that God revealed himself to the prophet Abraham. Islam was founded by Mohammed, a man who lived in the Middle East during the 6th century. Mohammed claimed to have been visited by the angel Gabriel, who dictated to him the…

Since her rise to global fame in 2013, Malala Yousafzai has become almost universally renowned for her selfless devotion to helping the people of her country. She’s the youngest person ever to win the Nobel Peace Prize, the world’s most prestigious award for helping other people. There are even those who think of her as a “living saint”—incapable of doing any wrong. In light of Malala’s reputation as a highly, or even perfectly, moral young…

Fame, Power, and the Importance of Role Models

Malala is an icon, renowned for her support for education and women’s rights. As a result, one of the most prominent themes in I Am Malala is the theme of fame itself: how heroes and role models, known by millions of people they’ve never met, can contribute to change or distract from it.

From a young age, Malala is surrounded by good role models. Her paternal grandfather, Rohul Amin , is a famously brilliant speaker…