PART 1 3
M YSTERY TEXT
U SE A S TOP S IGN TO S TART S OMETHING
C HANGE THE B URDEN
L ETTER FROM UN S ECRETARY G ENERAL TO THE P RIME M INISTER OF B ANGLADESH
N OBEL P RIZE ACCEPTANCE SPEECH
T HE M AN ON THE L EFT
W HAT T O D O I F Y OU ' RE S TOPPED B Y P OLICE
C OLONIAL M ENTALITY
R EDEMPTION S ONG
C HANGES
M Y P EOPLE D IED B ECAUSE OF THIS F LAG 12
W HAT DOES FLYING THIS FLAG SAY ABOUT OUR STATE ? О ШИБКА !
З АКЛАДКА НЕ ОПРЕДЕЛЕНА .
M ENU FROM THE K INGFISH C AFÉ
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M USLIM DESIGNERS MIX THE HIJAB WITH LATEST FASHIONS
F AMILY ’ S F IFTH G ENERATION IN C ARE OF S TATE
R ABBIT P ROOF F ENCE
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PART 4
B EAUTY
STATEMENT
U NTOUCHABLE
T HE G LORY OF W OMEN
T HE W IND ON THE D OWNS
T HE C OLLECTOR
ОШИБКА! ЗАКЛАДКА НЕ ОПРЕДЕЛЕНА.
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PART 2
W OMEN OF B RITAIN SAY GO!
T HE R ICH W ANT A T AX C UT
I H AVE A D REAM M ARTIN L UTHER K ING , 1963
S TATE OF THE U NION A DDRESS
V ICTORY SPEECH
F ACEBOOK PAGE OF B ARACK O BAMA
V OTE D IFFERENT
K ID P OLITICS
I NSIDE B ITAMA ’ S C AMP
5 P AINFUL Y EARS OF P ARLIAMENT
U GANDAN A NTI -AIDS AD
N IGERIAN A NTI -AIDS AD
HIV P OSITIVE
E XCERPT FROM A MERICA ’ S N EXT T OP M ODEL
10 REASONS WHY 'A MERICA ' S N EXT T OP M ODEL ' IS BAD FOR WOMEN , HUMANS
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PART 3
D ISGRACE
P ERSEPOLIS
M AUS
N INETEEN E IGHTY FOUR
D EATH OF A S ALESMAN
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In view of the difficulties that will have to be faced when catering in war-time it is more than ever essential to bear in mind the importance of well-balanced meals.
Good feeding means the provision of essential materials in the right proportion. The diet must supply;- 1. Protective material for the maintenance of health. 2. Building material for growth and repair of the body. 3. Fuel material to provide the energy required for muscular work, and for the production of heat.
Foods are made up of one or more of the following;- proteins, fat, carbohydrate, mineral matter, vitamins, roughage and water.
These constituents may be grouped according to their function as follows;- Protective material- vitamins, mineral matter, roughage, water. Building materials - protein, mineral matter. Fuel material - fat, carbohydrates (starches and sugars).
Vitamins. The most important of these from the point of view of diet planning are
A.D.B1. B2. and C.
Mineral matter. The most important of the forms of mineral matter, from the point of view of diet planning are calcium, phosphorus, iron and iodine.
Protein. Protein can be obtained from both animal and vegetable sources. That from animal sources is called first-class protein, that from vegetable sources second class protein. First class protein is of better quality. In "hard-times" it may be necessary to increase the quantity of vegetable protein in the diet and to reduce the quantity of animal protein. In the case of children, however, who have not only to repair worn-out tissue, but also to create new tissue, ie to grow, every effort must be made to maintain the necessary supply of animal protein. The following table shows the richest sources of the more important constituents of the diet.
PROTECTIVE CONSTITUENTS
VITAMINS
Vitamin A. Animal fats (except lard), fish roe, Dark green vegetables, e.g. Spinach, Dark cabbage leaves, Dark lettuce leaves, Dandelion leaves, Nettle leaves, carrots, tomatoes, halibut liver oil, cod liver oil.
Vitamin D. Animal fats (except lard), Halibut liver oil, cod liver oil.
Vitamin B1. Pulse vegetables, nuts, wholemeal flour, oatmeal, eggs, liver, heart, kidney, yeast products e.g. marmite, bemax.
Vitamin B2. Foods of animal origin, whole meal flour, yeast products, e.g. marmite, bemax.
Guiding questions
 What is the CONTEXT of COMPOSTITION? (who wrote this article and why?)
 CONTEXT OF RECEPTION - What kinds of readers would appreciate this text?
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Tata, 2008
Guiding questions
 How does this ad use a combination of words and images to capture your attention?
 What kinds of persuasive language can you find?
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Tata Motors
Guiding questions
 What kinds of techniques does this ad use to appeal to its audience?
 How does this ad utilize structural conventions of ads?
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Kofi Anan, 2005
Guiding questions
 How is this text a typical or atypical letter?
 What is the register of the text and how is it developed?
6

Mohammad Yunus, 2006
Your Majesties, Your Royal Highnesses, Honorable Members of the Norwegian Nobel
Committee, Excellencies, Ladies and Gentlemen, Grameen Bank and I are deeply honoured to receive this most prestigious of awards. We are thrilled and overwhelmed by this honour. Since the Nobel Peace Prize was announced, I have received endless messages from around the world, but what moves me most are the calls I get almost daily, from the borrowers of Grameen Bank in remote Bangladeshi villages, who just want to say how proud they are to have received this recognition.
[…]
All borrowers of Grameen Bank are celebrating this day as the greatest day of their lives. They are gathering around the nearest television set in their villages all over
Bangladesh , along with other villagers, to watch the proceedings of this ceremony.
This years' prize gives highest honour and dignity to the hundreds of millions of women all around the world who struggle every day to make a living and bring hope for a better life for their children. This is a historic moment for them.
Poverty is a threat to peace
Ladies and Gentlemen: By giving us this prize, the Norwegian Nobel Committee has given important support to the proposition that peace is inextricably linked to poverty. Poverty is a threat to peace.
World's income distribution gives a very telling story. Ninety four percent of the world income goes to 40 percent of the population while sixty percent of people live on only 6 per cent of world income. Half of the world population lives on two dollars a day. Over one billion people live on less than a dollar a day. This is no formula for peace.
The new millennium began with a great global dream. World leaders gathered at the
United Nations in 2000 and adopted, among others, a historic goal to reduce poverty by half by 2015. Never in human history had such a bold goal been adopted by the entire world in one voice, one that specified time and size. But then came September
11 and the Iraq war, and suddenly the world became derailed from the pursuit of this dream, with the attention of world leaders shifting from the war on poverty to the war on terrorism. Till now over $ 530 billion has been spent on the war in Iraq by the USA alone.
I believe terrorism cannot be won over by military action. Terrorism must be condemned in the strongest language. We must stand solidly against it, and find all the means to end it. We must address the root causes of terrorism to end it for all time to come. I believe that putting resources into improving the lives of the poor people is a better strategy than spending it on guns.
Guiding question
 How does the speaker convince us of the importance of his cause?
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American Civil Liberties Union
Guiding questions
 How does this ad rely on the audience’s contextual/background knowledge?
 What structural conventions does this text make use of?
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Elon James White for the ACLU http://www.youtube.com/watch?v=ti2-NjnalFU&feature=player_embedded
Guiding questions
 How does the author create a light tone for a serious subject matter?
 What effect might this video have on its target audience?
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Fela Kuti, 1977
E be say you be colonial man
You don be slave from before
Dem don release you now but you never release yourself
Colomentality
E be so , E be so dem dey do, dem dey overdo all the things wey dem dey do e be so dem dey do, dem think say dem better pass dem brother.
No be so?
E be so
The thing wey black no good na foreign things dem dey like.
No be so?
*[CHORUS] EE BE SO/ I BE SO
Dem go turn Air Condition and close dem country away.
Na be so?
No be so?
E be so
Dem go proud of dem name and put dem slave name for head
No be so?
E be so
Colomentality now make you hear me now
*[CHORUS] COLO MENTALITY
Mr. Ransome you make you hear
Mr. Williams you make you hear
Mr. Alia you make you hear
Mr. Mohammed you make you hear
Mr. Anglican you make you hear
Mr. Bishop you make you hear
Mr. Catholic you make you hear
Mr. Muslim you make you hear
Na Africa we dey O make you hear
Na Africa we dey O make you hear
Colomentality hear
Colomentality! listen!
E be so
Dem judge him go put white wig and jail him brothers away
Mr. Ransome you make you hear
Na Africa we dey o make you hear this
Guiding questions
 How does the singer’s use of the English language reflect his identity?
 What does the singer wish to achieve through this song?
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Bob Marley, 1980
Old pirates, yes, they rob I;
Sold I to the merchant ships,
Minutes after they took I
From the bottomless pit.
But my hand was made strong
By the 'and of the Almighty.
We forward in this generation
Triumphantly.
Won't you help to sing
These songs of freedom
'Cause all I ever have:
Redemption songs;
Redemption songs.
Emancipate yourselves from mental slavery;
None but ourselves can free our minds.
Have no fear for atomic energy,
'Cause none of them can stop the time.
How long shall they kill our prophets,
While we stand aside and look? Ooh!
Some say it's just a part of it:
We've got to fulfill the book.
Won't you help to sing
This songs of freedom-
'Cause all I ever have:
Redemption songs;
Redemption songs;
Redemption songs.
Guiding questions
 In this song how does Bob Marley create a sense of hope for the people of
Jamaica?
 How does contextual understanding help you interpret the text?
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Tupac Shakur, 1998
Come on come on
I see no changes wake up in the morning and I ask myself is life worth living should I blast myself?
I'm tired of bein' poor & even worse I'm black my stomach hurts so I'm lookin' for a purse to snatch
Cops give a damn about a negro pull the trigger kill a nigga he's a hero
Give the crack to the kids who the hell cares one less hungry mouth on the welfare
First ship 'em dope & let 'em deal the brothers give 'em guns step back watch 'em kill each other
It's time to fight back that's what Huey said
2 shots in the dark now Huey's dead
I got love for my brother but we can never go nowhere unless we share with each other
We gotta start makin' changes learn to see me as a brother instead of 2 distant strangers and that's how it's supposed to be
How can the Devil take a brother if he's close to me?
I'd love to go back to when we played as kids but things changed, and that's the way it is
I see no changes all I see is racist faces misplaced hate makes disgrace to races
We under I wonder what it takes to make this one better place, let's erase the wasted
Take the evil out the people they'll be acting right
'cause both black and white is smokin' crack tonight and only time we chill is when we kill each other it takes skill to be real, time to heal each other
And although it seems heaven sent
We ain't ready, to see a black President, uhh
It ain't a secret don't conceal the fact the penitentiary's packed, and it's filled with blacks
But some things will never change try to show another way but you stayin' in the dope game
Now tell me what's a mother to do bein' real don't appeal to the brother in you
You gotta operate the easy way
"I made a G today" But you made it in a sleazy way sellin' crack to the kid. " I gotta get paid,"
Well hey, well that's the way it is
Guiding question
 What is Tupac’s message and how does he convey this?
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Handelsman, 2000
Guiding questions
 How does contextual/background information about the USA help you understand this text?
 How does the humor of this text depend on ambiguous language?
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SALADS & STARTERS
Percy’s Plate for Sharin’ – a trio of Wonderful Dips $10.75
A fresh smoked catfish spread with herbs and a touch of mustard a creamy cool artichoke and roasted garlic dip, and our spicy black-eye pea spread served with a jumble of toasted bread and crackers.
Citrus jerk wings $10.75
Sweet, Caribbean, cool spices added to our classic jerk paste with a hint of orange, just enough to jump start your tongue.
Sho’Nuff Fried green Tomatoes $8.50
We brought out this southern tradition for ya to try topped with a cornmeal dredge fulla spices. We brown’em on the griddle and top’em with our house garlic and chipotle sauces. These tasty tomatoes share the plate with our hot out of the kitchen hushpuppies. Let the sky rain tomatoes.
ENTREES
Miss Choo Choo’s Company’s Commin’ New York Steak $22.00*
A hand trimmed 10 oz. NY strip napped with fresh herbs, garlic, worcestershire and a handful of Miss Choo Choos’ Secret spices… and cuz you’re company we gonna top this tender cut with thick slices of portabella mushrooms, onions and roasted garlic, served with a side of collard greens and seasoned yam fries.
Jazz it Slow Gumbo $18.50
Down in the cellar and back to the street, listening to Ma Rainey and her Georgia beat – some gumbo and cornbread is what you wanna eat… cooked down with tasso, prawns, chicken, fish, and okra, served with a piece of cornbread.
My Way or the Highway Buttermilk Fried Chicken $16.45
We aren’t gonna tell you what’s in it but we will say you’ve got to be one early bird to get you one! And we will bring it on with our mashed potatoes, and collard greens.
Simply Griddled Catfish $13.75
Fresh southern farm raised catfish, marinated overnight, rolled in seasoned cornmeal and fried on a hot griddle until crispy, served with herbed grits and slow cooked greens.
Guiding questions
 What is the tone of this text and how is it established?
 How does this text meet or break the structural conventions for this type of text?
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Shaimaa Khalil, BBC World Service, 14 May 2010
How do you combine Western fashion with a Muslim dress code?
Fashion is a form of self-expression. It's all about experimenting with looks and, in many cases, attracting attention. The Islamic headscarf, or hijab, is exactly the opposite. It's about modesty and attracting as little attention as possible.
However, a growing number of Muslim women are successfully blending the two.
They get inspiration from the catwalk, the high street and fashion magazines, and they give it a hijab-friendly twist - making sure that everything except the face and hands are covered. They are known as Hijabistas.
Jana Kossiabati is editor of the blog Hijab Style, which gets as many as 2,300 visits a day from across the world, including Africa, Middle East and the United
States. "I started two-and-a-half years ago," says Jana, who is British of Lebanese origin. "I'd seen so many fashion blogs and so many Muslim blogs but hadn't seen anything specifically dedicated to the way Muslim women dress.
"I started my own site to bring together elements of what Muslim women are looking for and to make mainstream fashion wearable and relevant to them."
Fitting in
Jana says one of the reasons why so many young Muslim women are reading hijab fashion blogs is that the Muslim fashion industry is lacking inspiration.
"I get comments on my blog from people saying that the clothes offered to
Muslim women are too Islamic looking - they look very ethnic, very foreign," says
Jana. "Young Muslims are increasingly looking for fashion that doesn't set them apart from the rest of society."
According to Jana, events such as 9/11 and 7/7 also had an effect on fashionconscious Muslim women. "Our generation became more aware of their identity when were thrust into the limelight after 9/11 and 7/7 and other events of the past decade or so. We were forced to deal with people questioning our faith, our identity and the way we look." This may have prompted some women to choose to wear the hijab - but it also increased the urge among many young hijabwearing women to fit in.
Experimentation
Hana Tajima Simpson is a fashion designer who converted to Islam five years ago.
In the beginning, she found it very hard to find her own style while following hijab rules. "I lost a lot of my personality through wearing the hijab at first. I wanted to stick to one mould and look a certain way," says Hana, who comes from a British and Japanese background.
Guiding questions
 How is the writer objective or subjective in her reporting?
 What devices does the writer use to structure and organize the text?
15

Caroline Overington, The Australian, February 20, 2009
State welfare workers have begun removing the fifth generation of Aboriginal children from their parents, meaning some indigenous families have an 80-year history with child protection services.
There are few signs the cycle will be broken, as more Aboriginal children are being separated from their parents than at any time in Australian history.
The Australian spoke yesterday to an Aboriginal woman whose daughter became the family’s fifth generation to be raised by the state, when she was taken from her home in June 2007 and placed with white foster parents on the NSW central coast.
Her mother was a state ward; so too were her grandparents, her greatgrandmother and her great-great-grandmother.
The NSW Department of Community Services removed the girl after an older sister, aged 14, tried to hang herself.
The girls’ mother told The Australian: “After the Stolen Generation report, they said it would never happen again but it’s happening. You don’t want to tell child welfare that you need help, because they will come and take your children.
“My daughter was seven years old when they came for her. My husband fell down on his knees on the lawn. She was screaming. The last memory I have is of her hand against the glass, (and her) saying, ‘Please let me stay’.”
The mother, who was born in 1967, was left on a railway line when she was three days old. She was sent to live with white foster parents until she ran away at the age of 12. When caught, she went to a Brisbane institution known as
Wilson, where she stayed until she was 18. Her mother was raised at the
Parramatta Girls’ Home in Sydney in the 1950s.
Her father was born in 1940 on the Woorabinda mission, which was established inland of Rockhampton, in central Queensland, in 1927. At the age of eight, he was taken by Children’s Services, Queensland (now the Department of Child
Safety) to live at the Nudgee orphanage in Brisbane’s north.
His mother was also a state ward, taken into servitude on Palm Island at 15. His grandmother was raised at Woorabinda, under the care of the Aboriginal
Commissioner.
The Australian revealed last year there were between six and 10 times as many
Aboriginal children in state care today than at the height of the Stolen
Generations era. The most recent data, from the Australian Institute of Health and Welfare, shows 9074 Aboriginal and Torres Strait Islander children in outof-home care.
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Doris Pilkington, 1996
Then all eyes turned to the cause of the commotion. A tall, rugged white man stood on the bank above them. He could easily have been mistaken for a pastoralist or a grazier with his tanned complexion except that he was wearing khaki clothing. Fear and anxiety swept over them when they realized that the fateful day they had been dreading had come at last. They always knew that it would only be a matter of time before the government would track them down.
When Constable Riggs, Protector of Aborigines, finally spoke his voice was full of authority and purpose. They knew without a doubt that he was the one who took their children in broad daylight – not like the evil spirits who came into their camps in the night.
‘I’ve come to take Molly, Gracie and Daisy, the three half-caste girls, with me to go to school at the Moore River Native Settlement,’ he informed the family.
The old man nodded to show that he understood what Riggs was saying. The rest of the family just hung their heads refusing to face the man who was taking their daughters away from them. Silent tears welled in their eyes and trickled down their cheeks.
‘Come on, you girls,’ he ordered. ‘Don’t worry about taking anything. We’ll pick up what you need later.’
When the two girls stood up, he noticed that the third girl was missing. ‘Where’s the other one, Daisy?’ he asked anxiously.
‘She’s with her mummy and daddy at Murra Munda Station,’ the old man informed him.
‘She’s not at Murra Munda or at Jimbalbar goldfields. I called into those places before I came here,’ said the Constable. ‘Hurry up then, I want to get started.
We’ve got a long way to go yet. You girls can ride this horse back to the depot,’ he said, handing the reins over to Molly. Riggs was annoyed that he had to go miles out of his way to find these girls.
Molly and Gracie sat silently on the horse, tears streaming down their cheeks as
Constable Riggs turned the big bay stallion and led the way back to the depot. A high pitched wail broke out. The cries of agonized mothers and the women, and the deep sobs of grandfathers, uncles and cousins filled the air. Molly and Gracie looked back just once before they disappeared through the river gums. Behind them, those remaining in the camp found strong sharp objects and gashed themselves and inflicted wounds to their heads and bodies as an expression of their sorrow.
Guiding questions
 What connections can you find between the two texts? (STYLE OF
WRITING, TOPIC, STRUCTURE, INTENTION, FEELING, THEME?)
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Grace Nichols, 1986
Beauty is a fat black woman walking the fields pressing a breezed hibiscus to her cheek while the sun lights up her feet
Beauty is a fat black woman riding the waves drifting in happy oblivion while the sea turns back to hug her shape
Guiding questions
 How does this poem make use of imagery?
 How does this poem challenge our definition of the word ‘beauty’?
18

Arthur Yap, 2000 of course your work comes first. after that you may go for a walk, visit friends but, all the same, it is always correct to ask before you do anything else. so if you say: please may i jump off the ledge? and go on to add this work is really killing, you will be told: start jumping. no one is in any way narrow-minded anymore these days. it is that everyone likes to know these things way beforehand. but if you state: i’m going now, jumping off the ledge most probably they will say nothing, thinking should it legally, morally, departmentally be yes/no/perhaps, or if it’s not too late: why don’t you come along? We shall bring this matter up to a higher level
Guiding questions
 What is the effect of the point of view, or ‘you’ perspective on the reader?
 What is the mood of the poem?
19

5
Mulk Anand Raj
Pages 10-11
He shivered as he turned on his side. But he didn’t mind the cold very much, suffering it willingly because he could sacrifice a good many comforts for the sake of what he called ‘fashun,’ by which he understood the art of wearing trousers, breeches, coat, puttees, boots, etc., as worn by the British and Indian soldiers in India. ‘You lover of your mother,’ his father had once abusively said to him, ‘take a quilt, spread a bedding on a
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15 string bed, and throw away that blanket of the gora white men; you will die of cold in that thin cloth.’ But Bakhu was a child of modern India. The clear-cut styles of European dress had impressed is naïve mind. This stark simplicity had furrowed his old Indian consciousness and cut deep new lines where all the considerations which made India evolve a skirty costume as best fitted for the human body, lay dormant. Bakhu had looked at the Tommies, stared at them with wonder and amazement when he first went to live at the British regimental barracks with his uncle. He had had glimpses, during his sojourn there, of the life the
Tommies lived, sleeping on strange, low canvas beds covered tightly with blankets, eating eggs, drinking tea and wine in tin mugs, going to parade and then walking down to the bazaar with cigarettes in their mouths and small silver-mounted canes in their hands. And he had soon become possessed with an overwhelming desire to live their life. He had been told they were sahibs, superior people. He had felt that to put on their clothes made one a sahib too. So he tried to copy them in everything, to copy them as well as he could in the exigencies of his peculiarly Indian circumstances. He had begged one Tommy for the gift of a pair of trousers. The man had given him a pair of breeches which he
30 had to spare. A Hindu sepoy, for the good of his own soul, had been kind enough to make an endowment of a pair of boots and puttees. For the other items he had gone down to the rag-seller’s shop in the town. He had long looked at that shop. Ever since he was a child he had walked past the wooden stall on which lay heaped the scarlet and khaki uniforms discarded or pawned by the Tommies, pith solar topees, peak caps, knives, forks, buttons, old books and other oddments of Anglo-
Indian life. And he had hungered for the touch of them. But he had never
35 mustered up courage enough to go up to the keep of the shop and to ask him the price of anything, lest it should be a price he could not pay and lest the man should find out from his talk that he was a sweeper-boy.
Guiding questions:
 Comment on the author’s use of characterization.
 How does the author establish a narrative voice in this passage?
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Siegfried Sassoon, 1917
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4
6
You love us when we're heroes, home on leave,
Or wounded in a mentionable place.
You worship decorations; you believe
That chivalry redeems the war's disgrace.
You make us shells. You listen with delight,
By tales of dirt and danger fondly thrilled.
You crown our distant ardours while we fight,
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And mourn our laurelled memories when we're killed.
You can't believe that British troops "retire"
When hell's last horror breaks them, and they run,
Trampling the terrible corpses--blind with blood.
O German mother dreaming by the fire,
While you are knitting socks to send your son
His face is trodden deeper in the mud.
Guiding questions
 Comment on the importance of the structure of the poem to the meaning of the text.
 Is this poem pro- or anti-war?
21

5
Marian Allen
I like to think of you as brown and tall,
As strong and living as you used to be,
In khaki tunic, Sam Brown belt and all,
And standing there and laughing down at me.
Because they tell me, dear, that you are dead,
Because I can no longer see your face,
You have not died, it is not true, instead,
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You seek adventure some other place.
I hear you laughing as you used to,
Yet loving all the things I think of you;
And knowing you are happy, should I grieve?
You follow and are watchful where I go;
How should you leave me, having loved me so?
We walked along the towpath, you and I,
Beside the sluggish-moving, still canal;
It seemed impossible that you should die;
I think of you the same and always shall.
We thought of many things and spoke of few,
And life lay all uncertainly before,
And now I walk alone and think of you,
And wonder what new kingdoms you explore.
Over the railway line, across the grass,
While up above the golden wings are spread,
Flying, ever flying overhead,
Here still I see you khaki figure pass,
And when I leave meadow, almost wait,
That you should open first the wooden gate.
Guiding Questions
 What kinds of stylistic devices does the writer employ to convey her ideas?
 How does the poem comment on war?
22

John Fowles, 1963
The days passed, it is now three weeks since all that.
Of course I shall never have a guest again, although now Aunt Annie and
Mabel have decided to stay Down Under, it would not be difficult.
Still as a matter of interest I have since been looking into the problems there would be with the girl in Woolworths. She lives in a village the other side of Lewes from here, in a house a quarter mile or so from the bus-stop. You have to go along a country-lane to get to it. As I say, it would be possible (if I hadn’t learnt my lesson).
She isn’t as pretty as Miranda, of course, in fact she’s only an ordinary common shopgirl, but that was my mistake before, aiming too high, I ought to have seen that I could never get what I wanted from someone like Miranda, with all her la-di-da ideas and clever tricks. I ought to have got someone who would respect me more. Someone ordinary I could teach.
She is in the box I made, under the appletrees. It took me three days to dig the hole. I though I would go mad the night I did it. (went down and got her in the box I made and outside). I don’t think many could have done it. I did it scientific. I planned what had to be done and ignored my natural feelings. I couldn’t stand the idea of having to look at her again, I once heard they go green and purple in patches, so I went in with a cheap blanket I bought in front of me and held it out till I was by the bed and then threw it over the deceased. I rolled it up and all the bedclothes into the box and soon had the lid screwed on. I got round the smell with fumigator and the fan.
The room’s cleaned out now and good as new.
I shall put what she wrote and her hair up in the loft in the deed-box which will not be opened till my death, so I don’t for forty or fifty years. I have not made up my mind and Marian (another M! I heard the supervisor call her name), this time it won’t be love, it would just be for the interest of the thing and to compare them and also the other thing, which as I say I would like to go into in more detail and I could teach her how. And the clothes would fit. Of course I would make it clear from the start who’s boss and what I expect.
But it is still just an idea. I only put the stove down there today because the room needs drying out anyway.
Guiding questions
 What does the tone of this text say about our narrator?
 How does this piece exemplify some of the major themes of the novel?
 How is point-of-view important to this work?
23

E.V. Kealey, 1915
Guiding questions
 How does this text make use persuasive language?
 How does this text reflect the context in which it was written?
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Micah Wright, 2010
Guiding questions
 What type of text is this?
 How does an understanding of this message rely on an understanding of other texts?
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Martin Luther King, 1963
I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.
Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.
But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize a shameful condition.
We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom. We cannot walk alone. [...]
I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal."
I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.
I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.
I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.
I have a dream today.
I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.
I have a dream today.
Guiding questions
 How does the speaker use figurative speech to convey his message?
 What is the purpose of the speech?
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George W. Bush, 2003
Mr Speaker, Vice President Cheney, members of Congress, distinguished citizens and fellow citizens: Every year, by law and by custom, we meet here to consider the state of the union. This year, we gather in this chamber deeply aware of decisive days that lie ahead.
You and I serve our country in a time of great consequence. During this session of
Congress, we have the duty to reform domestic programs vital to our country; we have the opportunity to save millions of lives abroad from a terrible disease. We will work for a prosperity that is broadly shared, and we will answer every danger and every enemy that threatens the American people.
In all these days of promise and days of reckoning, we can be confident. In a whirlwind of change and hope and peril, our faith is sure, our resolve is firm, and our union is strong.
This country has many challenges. We will not deny, we will not ignore, we will not pass along our problems to other Congresses, to other presidents, and other generations.
We will confront them with focus and clarity and courage. There are days when our fellow citizens do not hear news about the war on terror.
3
There’s never a day when I do not learn of another threat, or receive reports of operations in progress, or give an order in this global war against a scattered network of killers.
4 we are winning. […]
The war goes on, and
We have the terrorists
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on the run. We’re keeping them on the run. One by one, the terrorists are learning the meaning of American justice. […]
Our war against terror is a contest of will in which perseverance is power. In the ruins of two towers, at the western wall of the Pentagon, on a field in Pennsylvania, this nation made a pledge, and we renew that pledge tonight: Whatever the duration of this struggle, and whatever the difficulties, we will not permit the triumph of violence in the affairs of men – free people will set the course of history.
Today, the gravest danger in the war on terror, the gravest danger facing
America and the world, is outlaw regimes that seek and possess nuclear, chemical, and biological weapons. These regimes could use such weapons for blackmail, terror, and mass murder. They could also give or sell those weapons to terrorist allies, who would use them without the least hesitation. […]
Guiding questions:
 How does this the speaker appeal to the audience’s sense of emotion?
 What kinds of rhetorical devices are used to create an effect on the audience?
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Barack Obama, 2008
If there is anyone out there who still doubts that America is a place where all things are possible, who still wonders if the dream of our founders is alive in our time, who still questions the power of our democracy, tonight is your answer.
It’s the answer told by lines that stretched around schools and churches in numbers this nation has never seen, by people who waited three hours and four hours, many for the first time in their lives, because they believed that this time must be different, that their voices could be that difference.
It’s the answer spoken by young and old, rich and poor, Democrat and Republican, black, white, Hispanic, Asian, Native American, gay, straight, disabled and not disabled. Americans sent a message to the world that we have never been just a collection of individuals or a collection of red states and blue states. We are, and always will be, the United States of America.
It’s the answer that led those who’ve been told for so long by so many to be cynical and fearful and doubtful about what we can achieve to put their hands on the arc of history and bend it once more toward the hope of a better day.
It’s been a long time coming, but tonight, because of what we did on this date in this election at this defining moment, change has come to America.
I was never the likeliest candidate for this office. We didn’t start with much money or many endorsements. Our campaign was not hatched in the halls of Washington. It began in the backyards of Des Moines and the living rooms of Concord and the front porches of Charleston. It was built by working men and women who dug into what little savings they had to give $5 and $10 and $20 to the cause. It grew strength from the young people who rejected the myth of their generation’s apathy who left their homes and their families for jobs that offered little pay and less sleep.
It drew strength from the not-so-young people who braved the bitter cold and scorching heat to knock on doors of perfect strangers, and from the millions of
Americans who volunteered and organized and proved that more than two centuries later a government of the people, by the people, and for the people has not perished from the Earth. This is your victory. […]
The road ahead will be long. Our climb will be steep. We may not get there in one year or even in one term, but America – I have never been more hopeful than I am tonight that we will get there. I promise you – we as a people will get there.
Guiding question
 How does the speaker use rhetorical devices to create an effect on the audience?
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February 1, 2011
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BarackObama.com http://www.youtube.com/watch?v=6h3G-lMZxjo
Guiding questions
 How does the message of this text rely on an understanding of other texts?
 Why is this a good viral?
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This American Life, 2011
Watch this video: http://www.thisamericanlife.org/radio-archives/episode/424/kid-politics
Guiding questions
 In Act I, how is persuasive language used to convince the children?
 In Act II how is persuasive language and logic used to convince the teenager of climate change?
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The New Vision, 29th October 2010
Comedian Paddy Bitama of Amarula Family got off the list of presidential candidates in a dust of light moments. Having set off from Chez Johnson,
Nakulabye, Bitama got a suit, a C Class Mercedes Benz and a convoy of vehicles but forgot the campaign posters. When roadside cheerers reminded him, he sent
DJ Messe to Nasser Road to print about 100 posters.
Among the supporters in the convoy was his colleague, Kapere, who was wearing an NRM 1 T-shirt. However, Kapere was forced to take off his shirt after colleagues noticed it.
On reaching Kisekka market, the convoy met a man who was having lunch by the roadside. Bitama grabbed an Irish potato from his plate saying as a people’s president, he had to eat with them. The man just shook his head.
At Spear Motors, when the Police asked why his car had no sticker, 2 he claimed to have lost it adding that he was too busy to pick another one from the Electoral
Commission.
Bitama also had sh2m 3 in cash but no one bothered to count it because he was supposed to have banked sh8m before going for nomination.
Meanwhile he had assured bodaboda 4 riders that he had a deal with a filling station in Lugogo to refund their fuel. However, when they reached Lugogo and the bodabodas demanded for their fuel, he told them they would get it after he has been sworn in as president.
When Police at Namboole asked if he was serious, his aide and fellow comedian
Amooti replied: Do you want him to first remove his trousers to show how serious he is?
1 NRM the National Resistance Movement of President Yoweri Museveni
2 sticker a license granted by the police that must be displayed on a candidate’s vehicle to show it is part of an election convoy
3 sh2m 2 million Ugandan shillings
4 bodaboda bicycle taxi
Guiding questions
 How does this article demonstrate good or bad practices of journalism in your opinion?
 Comment on the tone and mood of this text.
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Isaac Imaka, Daily Moniter, 17 January 2011
In the book How Parliament Works by Robert Rogers and Rhodri Walters, when the word Parliament was first used in England in the 13th century, it meant an enlarged meeting of the King’s Council attended by bishops and barons to advise the king on law making, administration and judicial decisions. It would only meet after royal summons.
Although Uganda’s barons, kings and bishops don’t attend daily plenary,
Parliament’s core roles are the same: to make laws, scrutinise government policy, debate matters of public interest, provide direction by giving legislative sanction on taxation the means to carry out government’s work; and to approve
Presidents nominees.
The outgoing House has had the biggest number of MPs in Uganda’s history –
333 -- but has it been a job well done for Uganda’s first multiparty Parliament, and should the voters return a similar 9th Parliament? Apparently not.
Despite its huge size, this has been the most toothless Parliament in exercising its constitutional oversight function. Damning committee reports especially on corruption were received by the right hand only to be thrown out with the left; corrupt ministers and MPs were strongly defended and monies were generously passed out in supplementary budgets.
Because of numbers, the ruling party boasting 215 MPs with voting rights against a paltry 59 for the opposition, any committee report against an NRM cadre would be rejected as malicious and politically motivated, and a Shs600 billion supplementary request would freely sail through no matter what the opposition said or what the electorate thought as happened on January 4.
In time, the opposition resorted to filibustering; storming out of Parliament, refusing to sign committee reports, encouraging prolonged debates on the floor, but all these seldom turned the tide of the ruling party’s subjective juggernaut.
For the NRM MPs, instead of representing their constituents or standing up for the national interest, they mainly worked hard to impress the President in the hope of getting ministerial posts or becoming blue eyed members of the system.
Whatever the Executive decided became the decision of the NRM parliamentary caucus, and subsequently the members on the floor of the House. In effect,
Uganda has joined the notoriety of those countries where Parliament is a rubberstamping facade.
Guiding questions
 How does the language of this text attempt to influence the reader’s political views?
 Comment on the type of text and its purpose.
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Guiding questions
 How is this the meaning of this text dependent on context?
 How does this ad try to persuade its audience?
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United Colors of Benetton
Guiding question
 What is the message of this text?
 How does it convey this message?
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YouTube: ANTM 10: Episode 13 part 4 [Finale]
Guiding questions
 How does the show use camera angles, lighting and staging to convey its ideas about beauty, competition and identity?
 What kinds of cultural implications might this text have?
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Jennifer Romolini, 2009
As anyone who reads this blog is aware, I am a massive America's Next Top Model fan. Through the years, my love for this show has known no bounds-- I've followed ANTM the way some folks watch a favorite sports team, even once suggesting we start an ANTM fantasy league (but then I realized just how little I understand about sports when someone--cough! my husband! cough!--pointed out that this would be impossible). I've been right there with Tyra through all 12 cycles, through the makeover tragedies (white girls with weaves!), the bizarro judges' skits (Temple of Tyra, anyone?), the increasingly far-fetched photo shoots, the cruel and unusual panel judging, the inevitable "hot tub with boys" scandals, the flesh-eating viruses, the in-yo-face catfights, and even the sitting on elephants while suffering from the flu.
But this season the show started to lose me. Suddenly everything that was once campy, offbeat, and fun, felt cheap, depressing, and a little embarrassing too.
Once it was over (the finale was Wednesday night) and I really sat down and thought about it (which perhaps one should never do with a reality show, but-oops--the damage is done), I knew that I can't look the other way/smile with my eyes at the following 10 problems anymore.
1. Let's just say it: The show humiliates and degrades young women
I was going to search the deep recesses of my Top Model archive for the perfect example of a belittling challenge, but lo! ANTM gave me one just last night. Did anyone catch the fashion show? Can anyone tell me why a made-for-TV fashion event (ie not real) has to involve the models writhing around, on the ground, in what looked motor oil? In addition to this creepily sexual mud fight, the final two contestants, Allison and Teyona, were made to wear bikinis so skimpy that the producers had to blur out Allison's butt cheeks. When it came time for judging, this year's winner Teyona--still clad in that itty bitty bathing suit, though mercifully wiped clean of the black muck--was commended for taking her weave in her hand and whipping it around on the runway like a sexy feather boa. Tyra called this "fierce," I call it "insane-person-looking." Thing is, I understand that humiliation is part of the reality show game, my real problem is how the hosts are always espousing empowerment and female strength and then forcing the contestants into embarrassing scenarios far outside the realm of real-life modeling. It's lame.
2. Let's stop already with the big Top Model lies
There's very little chance that a severely burned person, a fat woman, a girl with a penis, a non-Amazon, or someone older than 22 is going to break into the modeling industry. Period. Let's stop blaming these poor girls for "not wanting it bad enough" or "getting in their own way" and admit that they're on the show because it's more interesting to say "Tonight on America's Next Top Model:
A woman who's a man!" than "Here's another girl who's pretty!" No one is fooled by this stunt casting. In fact, it seems like it hurts people.
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J.M. Coetzee 1999
He takes a deep breath. ‘I am sure the members of this committee have better things to do with their time than rehash a story over which there will be no dispute. I plead guilty to both charges. Pass sentence, and let us get on with our lives.’
Hakim leans across to Mathabane. Murmured words pass between them.
‘Professor Lurie,’ says Hakim, ‘I must repeat, this is a committee of inquiry. Its role is to hear both sides of the case and make a recommendation. It has no power to take decisions. Again I ask, would it not be better if you were represented by someone familiar with our procedures?’
'I don’t need representation. I can represent myself perfectly well. Do I understand that, despite the plea I have entered, we must continue with the hearing?’
‘We want to give you an opportunity to state you position.’
‘I have stated my position. I am guilty.’
‘Guilty of what?’
‘Of all that I am charged with.’
‘You are taking us in circles, Professor Lurie.’
‘Of everything Ms Isaacs avers, and of keeping false records.’
Now Farodia Rassool intervenes. ‘You say you accept Ms Isaacs’s statement,
Professor Lurie, but have you actually read it?’
‘I do not wish to read Ms Isaacs’s statement. I accept it. I know of no reason why Ms Isaacs should lie.’
‘But would it not be prudent to actually read the statement before accepting it?’
‘No. There are more important things in life than being prudent.’
Farodia Rassool sits back in her seat. ‘This is all very quixotic, Professor Lurie, but can you afford it? It seems to me we may have a duty to protect you from yourself.’ She gives Hakim a wintry smile.
‘You say you have not sought legal advice. Have you consulted anyone – a priest, for instance, or a counsellor? Would you be prepared to undergo counseling?’
The question comes from the young woman from the Business School. He can feel himself bristling. ‘No, I have not sought counseling nor do I intend to seek it.
I am a grown man. I am not receptive to being counseled. I am beyond the reach of counseling.’ he turns to Mathabane. ‘I have made my plea. Is there any reason why this debate should go on?’
Guiding questions
 How does this passage present David Lurie? What kind of person is he?
 How does a contextual understanding of South Africa help you understand the meaning of this text?
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Majane Satrapi
Guiding question
 How does this text use a particular genre to explore its themes?
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Art Spiegelman, 1991
Guiding questions
 How does the author use various narrative techniques to tell this story?
 How does the reader feel after this anecdote?
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George Orwell, 1949
The Ministry of Truth -- Minitrue, in Newspeak -- was startlingly different from any other object in sight. It was an enormous pyramidal structure of glittering white concrete, soaring up, terrace after terrace, 300 metres into the air. From where Winston stood it was just possible to read, picked out on its white face in elegant lettering, the three slogans of the Party:
WAR IS PEACE
FREEDOM IS SLAVERY
IGNORANCE IS STRENGTH
The Ministry of Truth contained, it was said, three thousand rooms above ground level, and corresponding ramifications below. Scattered about London there were just three other buildings of similar appearance and size. So completely did they dwarf the surrounding architecture that from the roof of Victory Mansions you could see all four of them simultaneously. They were the homes of the four
Ministries between which the entire apparatus of government was divided. The
Ministry of Truth, which concerned itself with news, entertainment, education, and the fine arts. The Ministry of Peace, which concerned itself with war. The
Ministry of Love, which maintained law and order. And the Ministry of Plenty, which was responsible for economic affairs. Their names, in Newspeak: Minitrue,
Minipax, Miniluv, and Miniplenty.
The Ministry of Love was the really frightening one. There were no windows in it at all. Winston had never been inside the Ministry of Love, nor within half a kilometre of it. It was a place impossible to enter except on official business, and then only by penetrating through a maze of barbed-wire entanglements, steel doors, and hidden machine-gun nests. Even the streets leading up to its outer barriers were roamed by gorilla-faced guards in black uniforms, armed with jointed truncheons.
Guiding questions
 How does the writer employ narrative techniques to tell this story?
 How is the setting established in the minds of the readers?
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Arthur Miller, 1949
BIFF: No! Nobody’s hanging himself, Willy! I ran down eleven flights with a pen in my hand today. And suddenly I stopped, you hear me? And in the middle of that office building, do you hear this? I stopped in the middle of that building and I saw - the sky. I saw the things that I love in this world. The work and the food and time to sit and smoke. And I looked at the pen and said to myself, what the hell am I grabbing this for? Why am I trying to become what I don’t want to be? What am I doing in an office, making a contemptuous, begging fool of myself, when all I want is out there, waiting for me the minute I say I know who I am? Why can’t I say that, Willy? (He
tries to make WILLY face him, but WILLY pulls away and moves to the left.)
WILLY: (with hatred, threateningly): The door of your life is wide open!
BIFF: Pop! I’m a dime a dozen, and so are you!
WILY: (turning on him now in an uncontrolled outburst) I am not a dime a dozen!
I am Willy Loman, and you are Biff Loman!
BIFF starts for WILLY, but is blocked by HAPPY. In his fury, he seems on the edge of attacking his father.
BIFF: I am not a leader of men, Willy, and neither are you. You were never anything but a hard-working drummer who landed in the ash-can like all the rest of them! I’m one dollar an hour, Willy! I tried seven states and couldn’t raise it. A buck an hour! Do you gather my meaning? I’m not bringing home any prizes any more, and you’re going to stop waiting for me to bring them home!
WILLY: (directly to BIFF) You vengeful, spiteful mutt!
BIFF breaks from HAPPY. WILLY, in fright, starts up the stairs. BIFF grabs him.
BIFF (at the peak of his fury) Pop, I’m nothing! I’m nothing, Pop. Can’t you understand that? There’s no spite in it any more. I’m just what I am, that’s all.
BIFF’s fury has spent itself, and he breaks down, sobbing, holding on to WILLY, who
dumbly fumbles for BIFF’s face.
WILLY (astonished) What’re you doing? What’re you doing?
(to LINDA) Why is he crying?
BIFF (crying, broken) Will you let me go, for Christ’s sake? Will you take that phoney dream and burn it before something happens? (Struggling to
contain himself, he pulls away and moves up the stairs.) I’ll go in the morning. Put him - put him to bed. (Exhausted, BIFF moves up the stairs to his room.)
WILLY: (after a long pause, astonished, elevated): Isn’t that - isn’t that remarkable? Biff - he likes me!
LINDA: He loves you, Willy!
HAPPY: (deeply moved): Always did, Pop.
WILLY: Oh, Biff! (staring wildly) He cried! Cried to me. (He is choking with his
love, and now cries out his promise.) That boy - that boy is going to be magnificent!
Guiding question
 Describe the different conflicts between the characters in this scene
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