“We are the architects, we are the designers,” a parallelism to the life of the dyslexics.

Benjamin Zephaniah, a dyslexic poet of Jamaican origin faced incredible discrimination for his condition
as well as his ethnicity during the early years of the British education system. The writer's struggles and
determination are reflected in his piece for The Guardian, “Young and Dyslexic? You’ve Got It Going On,”
an article that encapsulates a profound exploration of themes related to dyslexia, creativity, resilience,
education, and identity.

“Young and Dyslexic…” is a narrative that serves as a call to action, inspiring readers to challenge
prejudices and cultivate compassion. It is a powerful reminder that dyslexia, far from being a barrier, can
be a source of creativity and strength, urging individuals to reach their full potential regardless of the
expectations from others.

The title, a rhetorical question, suggests the author’s intended audience, the young and dyslexic people,
adopts an informal and conversational tone, fostering a sense of familiarity, and creating a stronger
connection in “You’ve Got It Going On.” It is his way of reaching out to young people through their
manner of speaking, fostering a sense of pride and empowerment.

The opening sentence sets a serious tone by acknowledging the author’s childhood struggles: “As a
child, I suffered,” which invokes sympathy to the reader. The writer’s sharing of his journey serves as a
testament to the resilience of the human spirit when faced with adversity. Nonetheless, the prompt
shift to a positive tone, “to turn dyslexia to my advantage” foreshadows Zephania’s positivity and focus
on his ability to reverse his difficulties.

The writer’s repetitive use of the inclusive pronoun “we,” in the phrase “We are the architects, we are
the designers” unites him and the reader, creating a sense of solidarity and community. A contrast to
his past being neglected and left out, deemed to be unworthy of their attention because of his dyslexia.

Negative language is constant in the extract, “no compassion, no understanding, and no humanity.” The
triplets or the successive “no” in this line impact the education system that is historically ignorant and
unaccepting to dyslexic people, it further delves into the backdrop of the author’s youth, a time when
dyslexia remained largely unknown and unsupported. Nonetheless, the metaphorical expression “The
past is a different kind of country” underscores the irrelevance of the past to the present, implying a
significant shift in attitudes and perceptions. The metaphor highly contributes to the emotive and
descriptive aspects of the narrative.

It is to be noted as well that the article is written in a first-person perspective, like an autobiography and
states the events in chronological order. The way Zephaniah recollects his memories engages the reader
in such a way that “we” are walking down memory lane with him.

Engaging dialogues and contrast are further explored in the succeeding lines, “Good people could do
one-third more good…” versus the response of the teacher, “…stupid boy. Bad people would do one-
third more bad," this is a clear reflection of their difference in ideas and opposition towards one
another. The juxtaposition of seeking help and being subtly mocked by a teacher adds depth to the
narrative; it emphasizes the need for more compassionate and supportive approaches.

The text takes a candid turn as the author recounts his expulsion from schools and brushes with the law;
the mention of "Borstal" as a youth detention system provides insight into the prevailing environment of
Benjamin’s upbringing and challenges the notion of “trouble” being a defining characteristic of dyslexic
individuals.

Statistics proving that a high percentage of Dyslexics are similar in both the prison and architect
populations underscore the societal biases and racial inequalities present. The author's journey is a
contrast against the expectations imposed on them due to their background, reinforcing their defiance
of societal norms and proving that potential can flourish despite adverse circumstances. It examines the
life choices of dyslexic individuals and non-dyslexics, utilizing tri-colon once more to reinforce the notion
that dyslexia does not define one’s future. This section concludes with the author exuding self-
confidence and a strong sense of worth, conveyed through short, assertive sentences.

By employing colloquialism and slang “took off,” in the article, and asking an ignorant question such as
“Do I need an operation?” share a casual and light-hearted feel and naivety which attracts its target
audience – students who have dyslexia or generally the young people who have suffered ignorance from
their teachers and peers.

Subsequently, humour is injected into the article to lift the mood in the genuinely depressing memories
that make up a majority of the extract, “Bloody non-dyslexics… who do they think they are?”. Again,
appealing to the target crowd the article is made for, the young people, who often have a sarcastic
sense of humour in their adolescence, and the dyslexics.

In conclusion, the author honours the growing awareness about dyslexia today-- a sincere
encouragement to embrace it proudly, closing it with a rhetorical question, prompting the readers to
introspect and challenge their assumptions about dyslexia. Reflecting on the article, it stands as a
lasting legacy of Benjamin Zephaniah, not only for dyslexic individuals but for society as a whole.