Lorrine Sum Paper 1 practice

5G(17) You alon "Kinaesthetic"

In her poem “To my the real 16 -year-old self. Helen Dunmore presents readers with a nostalgic
account of the simplistic (beauty of childhood. As an adult longing for the persona Carefree life of a
young child, the attempts to communicate and reconnect with her nine-year-old self, only to realise
that she has changed so dramatically that longer possible. Through the antithetical characterisation
of a connection is no persona's The You Swe x past and present selves and the manipulation of the
point of view, Dunmore captures the population's shared shared images of childhood, Do not
overgenerative you views! resonate with her words. Firstly, the persona's nine allowing readers to -
year-old self charaterised as a carefree, Active, and adventurous thild through kinetic imagery,
similes and the careful use of painting a series of relatable images in the reader's mind diction. I. The
child's daring nature is eviclent from the beginning of the poem, where the speaker describes her to
be tightrope'. The kinetic imagery Th 75 balancing on [her] hands or on the The verb 6 balancing'
hints at the activeness of the child, but is also associated with the idea of instability, showing danger
behind the child's reckless acrobatic manoeuvres. The next two lines, would rather run than walk,
rather climb than run / rather than anything! To from a the 6 You height from Leap continues the
use of (kinetic imagery, while employing a parallel sentence structure of rather... than..." The actions
of the child -progress milder ones such as walking The riskier climbing and leaping from heights,
vividly inustrating the child's theense craving for moverment and adventure. So, Dunmore also uses
a simile to describe the imaginative and pure nature of the child, likening the freshness of the child's
dreams to the white paper to write it on'. While is commonly used, a symbol for innocence, allowing
readers to of the piece of white paper to the child's to the child's purity. A white the release piece of
paper is also emply, symbolising the unlimited potential that is in the Imagination and in the future.
waiting ahead of her. Thus, the simile portrays the child as a hopeful but naïve dreamer who is
unaware of the hardships. So, what Leve associate the child's Image AS of life. Moreover, Dunmore
applices diction related to childhood and nature throughout readers an 'a nature and in L the poem,
thustrating the simplicity of the child's life. For example, the child's attention is stolen by mundane
distractions such as a baby vole' and bag of sherbet lemons showing her Appreciation for the simple
beauty to her life. Along with more youthful diction. In ice-lolly" and "den", ice-lolly and "den', and
the nature-related diction of "wasp" and rosehips", Dunmore's choice of words portrays the
smallness and insignificance of the child's preoccupations from an adult's perspective, giving
impression of the carefree and simplistic nature of the child's everyday life, while further
emphasising her naïve nature. Hence, by using vivid Imagery and similes while carefully choosing
childhood-related diction, Dunmore characterises the child as an adventurais, daring, pure and naive
person. The detailed childhood-related imagery also evokes the youthful memories of readers,
creating a nostalgic and reminiscent mood. that what if the perpentie регранул there anting we
described at from kinetic Apart from characterising the child, Dunmore also describes the character
of the adult (the child's present self), who is careful, fearful and physically much weakened. She is in
many ways, the antichesis of her nine-year-old self, showcasing the extreme changes that occur
when one grows up. The adult speaker describes herself as someone who is careful of a bad back or
a bruised fort. The consonance in the repetition of the plosive 'b' sound creates a sense of
cacophony, emphasising the deterioration of the speaker's physical health and the care she has to
take in order to not get hurt. This stands in stark contrast to her childhood self's energeticness,
vividly portraying the physical differences between her present selves. As the speaker recounts her
childhood summers, she speaks with a linge of Trony when she describes her past self's creations as
[ambitious ]?. However, while these small projects to not seem impressive to adults, making the
description Fronte, they truly give a great sense I to the child, which justifies the use of the word
"ambition" This disparity highlights the differences in the point of view of the adult and the of
accomplishment A simple. Why in the singt. t past and Not ‫ ادل‬child, hinting at their inability to
understand cach other despics once having been the same person. Despite their differences, the
speaker, as an adult who has endured the, Is this prote them or resignation prote-thon thnocent
Thnocent past self, saying, 'I past self the hardships of reality, still shows the desire to protect her
thin I shan't cloud your morning. God knows / I have fears enough for us both - The hope, and
morning is associated with the rising of the sun, which is symbolic of light While clouds block out
light on a sunny day. Thus, it can be inferred that the Speaker wishes a happy, hopeful childhood for
her former self. On the other hand, her current self is plagued with "fears", as emphasised by the
evocation of "God" and the enjambment in the line, which both add weight to the speaker's
sentiments. The hopefulness In the child's world is juxtaposed with the darkness of the adult world,
and further underscoring the emotional distance between the Speaker's past precent selves. The
poem ends with the image of the child slowly peeling a ripe scab from [her] knee' and '[tasting ] re
on [her] congue, where kinetic and gustatory imagery employed portrays her desire to find out more
about her cut. The child's curiousity towards Injury creates a stark contrast with the adult speaker's
careful and wary attitude, once more highlighting the gap between childhood and adulthood. Hence
enjoymented by characterising the cantions and practical adule speaker/ as the antithesis of her past
self, Dunmore suggests that one undergoes such a complete change longer be possible. growing up
that understanding your childhood self might You bet read there I lines the literally! → still young
→ /// No the no When Finally, Dunmore wellises a unique second person point of view and the
change Railed attempt person In the speaker's use of pronouns to showcase the adult speaker's at
reconnecting with her past self. The poem is written in the second and is directly addressed to 'you',
the speaker's nine-year-old self. However, past Though the speaker's adult self can directly speak to
her past self, her cannot, or does not reply. Despite this, the speaker begins the poem by saying, เ •
You must forgive me, imploring her childhood self for forgiveness through the powerful short
servience and the strony model "must". She also confesses her self 2 direct statement he once
shared", poem, mistakes to her past self in the I have spoiled the body Though adults typically hold
more power than children, Dunmore seems to have Subverted the roles of the adult and child in this
poem. letting the adult seek Why forgiveness from the child instead. However, the child is silent
throughout porn bitter from aghalt have, the withholding peace of mind from the speaker despite
her sincerity. Thus, the one- Sided, Theffective communication between the adult and child is
established, suggesting that any attempt at forming any attempt at forming a connection between
them is futile. Towards the middle of the poem, Dunmore switches from using the pronouns "I" and
"you" to the collective pronoun 'we", merging the perspectives of the adult and child together. One
example is the rhetorical question • Do you remember how, three minutes after waking / we'd jump
straight out of the ground floor window / this the summer By combining the collective pronoun with
the rhetorical question, the speaker attempts to appeal to her childhood self's emotions via their
shared of waking up on a bright mer day; trying to establish a connection with her. However, the
speaker Soon realises the impossibility of reconnecting with someone one is completely different
from, uttering the lines, Is it Comment What the of fucility, morning I'd like to ‫ י‬experience say 6
further emphasising the distance between the speaker and the child In the line, that we could be
friends / but the truth is we have nothing in common. While the first half of the sentence offers
some hope of a connection, the conditional modal "could" adds an under cone and the second half
of the line completely dismantles the hope with the finality In the word "nothing", A. Moreover, the
speaker switches back to The personal pronous. "I" and "you" 'I won't keep you then, splitzing The
perspectives back apart. The caesures before the sentence adds a dramatica pause, emphasising the
neight of the speaker's decision to let go of her childhood self and give up on the reconnection.
Thus, combining the one-sided speech of the adult speaker with the short-lived use of collective
pronours, Dunmore presents the idea that the child and adult selves of the same person are so
drastically different that the reconnection between them is impossible. of The impossibility re-
experiencing readers, creating a nostalgro nostalgio the moal really witalpe? wstalgic. life as a child
ovokes feelings of Gorrow, amongst moode In conclusion, through the antithetical characterisation
of the adult and the child, Dunmore emphasises the extreme differences between the persona's past
and present selves, while the manipulation of the point of view and pronouns highlights how such
differences has rendered a connection between the speaker and past Dunmore also evokes the self
Impossible. Through revisiting the speaker's lost childhood, reader's memories of their own
childhood, allowing readers to relate to speaker's experiences. poem 2 the

You have a general widestanding of the an adult addering her younger self and appreciate of the
different perpethes y the selves. You may wish to discuss the youge use of the adult vice Leg. at the
end stanzes 4.+5). It is good that you able to discuss the use no the po po different pronoms ht You
la are explore in depth the imagery and how it count contract between the the poem ? Is it native of
the I selves. What about the mood really simple and 'happy in the youger self as warthored by you. It
is complex mood that may show childhood in less than idyllic mood and in fact it more fact it may be
slightly ominous throughout. Comment in depth on the Stmeture of the poemsley. the sentare
Sitmature, the effect of the short last stanza.

A-4 B-3 C-3 D-4 13/20

ANSWER BOOKLET

revisits

In Lisel Mueller's Immortality"

Immortally, she man wanting

the man classic fairy tale

Right.

to scene Th

moment time unfreezes in the castle after a

Sleeping Beauty

-
the

of stillness.

goud

adult's

perspective

сейчику while recounting

her

Looking at the scene from an childhood experience with the story, Mueller explores the
transcendental niture of human desires and emotions w

Pagingphilored Through juxtaposing toy stillness and movement, th

aptly using structural elements, and her description of her childhood

on the fly, Mueller emphasises

lack of impact

on

the

passage

of time and

thoughts its may seeming

the characters, showing the immortality of mushing feelings and emotions. despite the fragility of
lifey while emphasising the fluid nature of the passage of line.

BK!

The Juxtaposition between the stillness and movement mom por

when the castle comes

kinaesthetic and andil

етте ты к

alive after 100

years,

illustrated through

auditory imagery, highlights how the

passage of

unnoticeable to the characters in the fairy tale

yet we made evident to readers, making their action

transcend

-eyes?, despite having

on with what

carrying on

'don't even rub their

through

time.

The servants.

Rhyfoon

been frozen for a

century, merely

they

have been

dong

The verb

6 rubs

don't",

ok!

xm

Aplliben

While they themselves.

which denotes movement, is coupled with

forcing readers to imagine an time of me negative

wenty twt of stillness

af stillness Instead of morement

paint

-2-

Yes! What is the

Sigmp came

00
good

diservationg

・rom through

might feel that their movements were continuous, the contrast between stillness and movement,
readers see that this The cook also completes his action from is evidently not the case.

a century ago [ completing ]' his human lifted

N N N A LA Z

paineet

The static

Image of

night hand's 'downn and are",

right

Apa lifted

of completing

hand is th with the kinaesthetic Imagery an are, once again juxtaposing stillness and movement.
Movers Ming Moreover, the kitchen boy's Marble mony vocal chords leased, another static state,
but are able to

"Let

once

Are

time unfreezes on the

castle. This is another example of my the contrastive expression of stillness and movements the
auditory imagery

trapped, enduring who adds to the

โท
เ

bringing

whimper

the sense of movement,

a sense of life back into the castle. Through the juxtaposition of humor stillness and movement,
Mueller creates a
for stark sease of by sepanel

the castle frozen

tion between

9 yet emphasises

unaffected

in time and the unfrozen castle

how its inhabitant's actions are

seemingly

by

such

a fonclure in time allowing readers to experience how such bctions transcend. Through

time.

ex!

Structural elements en such as enjambment and the peems overall structure also play a key role in
expressing how they the -passinge of lime affects life. The poem begins by introducing

readers to the key sing fairy tale of Sleeping Beasily,

childhood,

classic Inle

the moment. Yet, a

the

This first stanza of the

poem

a staple of

recounts the

through present tense, immersing readers who

when the speaker

temporal

shift occurs

transports us by into her childhood sour experience with

story, hay uniting in past tense, in the second stanza, buy recolinting her
Mama ho thoughts as a child, she allows such thoughts to

transcend the barriers of time, mirroring the man transcendence

-3-

good

posht!

What d

You can

Lie

Why is

of the characters actions and emotions.

Additionally,

the use

The

of enjambament also enhances the sense of flow of time. kommng break in the like

my the girl in the lover the world' shows how time Boy separates

returns 20

her At from the rest of the world, yet also signifies how

of time allows her to reconnect with it, showing the passage

The fluidity of of time.

papan in the line

<

Moncover, epistrophe is applied from how fear persists, and how the

anger

that causes fear persists", with the repetition of the nod

persists' at the end of the clauses.

The

This emphasises

continuous effect of emotions on the ferry tale characters

years, showing the Crosscendence

m the
Vom through

of emotions through time. Thus, structural elements highlight the a fluid nature of time and how
they allows the immortality of envotions.

TE

The fly is also a key element of the

дост poem. Through descrising its fragility and Juxtaposing to its technically long

and. Konon life and actual short lifespan, Mueller once again emphasises the plasmaan flexibility of
the passage of time. The A fly is described in the second staza y as the speaker's childhood thoughts

imagery is used in

a recount of

Vinal

unting the desemptions 'slight body' and thy transparent wings, deze with the adjective slight"

colour Magery

the mention

creating "transparent" highlighting its fleeting nature by

of the thy's short lifespan day', ongigably shot to reeders logether to create 444 However, this is
Juxtaposed to

sense of smallness and the

An

This is echoest

one human

of the

Such descriptions work Kane Thage of a fragile creature inplantin Juxtaposed to the fact that it has
been frozen in time for Ama century, thus technically having lived an entire century, such an absurd
Yolem Am

Cher

Have?

- 4-

a sense of dissonance to readers, allowing them to her consider the wonders of such fluidity the the
passage of time. Mence, through the descriptions of the fly, Mueller reveals

This paragraph way the flexible nature of time.

need

explaine hinnat elebratio

рит

In conclusion, through the poem Immortality? Lisel Mueller Thuites readers to reconsider come as -
properly, thanggan (Develop your couching move

is too shot?) and lack duth!).

-You Love made some

understanding of the

poem.

роне

a fluid

conglitely! This

rather insightful interpretation showing

need to further However, you way need

and develop you poive on the flexibility of the nature of time'

you

discussion is rather

You may

who look at the other they vague, element like the tome and also discuss the idea is mentioned in
the and Stanze. What

ad You

are

fear which

in the pect's intention here ? resomes is appropriate ad textual andying of some features evident!
What about the title of the poen.

A-3

B3

C2 4

D- 4

14120

2.
fairy

take (through

adult voice)

passage of

time TS

unnoticed in

chars.

BUT

noticeable чо

readers

10

exposition

Immortality

In Sleeping Beauty's castle

the clock strikes one hundred years and the girl in the tower returns to the world.

So do the servants in the kitchen, who don't even rub their eyes. The cook's right hand, lifted an
exact century ago, completes its downward arc to the kitchen boy's left ear;

the boy's tensed vocal cords

finally let go

To enjambment

movement

Stillness

VS

juxtaposition

(kinaesthetic

auditory

Thagery)

the trapped, enduring whimper, magery

and the fly, arrested mid-plunge.

15
above the strawberry pie,

fulfills its abiding mission

emotions- transcendence through time

froze, doesn't

mave

20

and dives into the sweet, red glaze.

As a child I had a book

with a picture of that scene.

Cemporal shift

retrospective;

present

part tease

25

30

I was too young to notice

how fear persists, and how

the anger that causes fear persists, that its trajectory can't be changed or broken, only interrupted.
My attention was on the fly; that this slight body

with its transparent wings

and lifespan of one human day still craved its particular share of sweetness, a century later.

epistrophe

enjambrent

adult VS child

fragility

persp.

-)

jux.

-
living roo years. despite living I day

Lisel Mueller (1992)

Limmortality)

How is the passage of time explored in the poem? transcendence of emotions

(D jux. btwn stilless & movement (imagery)

Structure elements (engarts.)

1 fly (fragility, Thx. END OF PAPER

boun 100 year lifespan & I day

experience)

through time

lime changes things yet some things remain unchanged.

Write a guided analysis of one text. Use the guiding question or propose an alternative technical or
formal aspect of the text to focus your analysis.

1. The following is an extract from a novel; two characters, independently, record their

thoughts on their relationship.

March, 1994 (Clare is 22, Henry is 30)

10

15

20

25

25

Claire: And so we are married.

At first we live in a two-bedroom apartment in Ravenswood. It's sunny, with butter-coloured

hardwood floors and a kitchen full of antique cabinets and antiquated appliances. We buy things,
spend Sunday afternoons in stores exchanging wedding presents, order a sofa that can't fit through
the doors of the apartment and has to be sent back. The apartment is a laboratory in which we
conduct experiments, perform research on each other. We discover that Henry hates it when I
absentmindedly click my spoon against my teeth while reading the paper at breakfast. We agree that
it is okay for me to listen to Joni Mitchell and it is okay for Henry to listen to punk as long as the
other person isn't around. We figure out that Henry should do all the cooking and I should be in
charge of laundry and neither of us is willing to vacuum so we hire a cleaning service. We fall into a
routine. Henry works Tuesdays through Saturdays. He gets up at 7:30 and starts the coffee, then
throws on his running clothes and goes for a run. When he gets back he showers and dresses, and I
stagger out of bed and chat with him while he fixes breakfast. After we eat, he brushes his teeth and
speeds out the door and I go back to bed and doze for an hour or so. When I get up again the
apartment is quiet. I pour myself another cup of coffee, and I walk into the back bedroom which is
my studio, and I close the door. I am having a hard

time, in my tiny back bedroom studio, in the beginning of my married life. The

space that I can call mine, that isn't full of Henry, is so small that my ideas have

become small. I am like a caterpillar in a cocoon of paper; all around me are

sketches for sculptures, small drawings that seem like moths fluttering against

the windows, beating their wings to escape from this tiny space. Every day the

ideas come more reluctantly, as though they know I will starve them and stunt their growth.

30

35

Henry: When you live with a woman you learn something every day. So far I have learned that long
hair will clog up the shower drain; that it is not advisable to clip

something out of the newspaper before your wife has read it, even if the newspaper in question is a
week old; that I am the only person in our two-person household who can eat that same thing for
dinner three nights in a row without pouting; and that headphones were invented to preserve
spouses from each other's musical excesses. The hardest lesson is Clare's solitude. Sometimes I
come home and Clare seems kind of irritated; I've interrupted some train of thought, broken into the
dreamy silence of her day. Sometimes I see an expression on Clare's face that is like a closed door.
She has gone inside the room of her mind and is sitting there knitting or something. I've discovered
that Clare likes to be alone.

Adapted from The Time Traveller's Wife, Audrey Niffeneger (2003)

How is the relationship between the characters shown in the extract?