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">What is it? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44397/what-types-of-questions-will-be-asked.html" title="What types of questions will be asked?">What types of questions will be asked?</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44398/how-am-i-graded.html" title="How am I graded?">How am I graded?</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44399/can-i-read-an-example-.html" title="Can I read an example? ">Can I read an example? </a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../44400/paper-2-sample-response-1-never-let-me-go-and-extremely-loud-and.html" title="Paper 2: Sample Response 1 (Never Let Me Go and Extremely Loud and Incredibly Close)">Paper 2: Sample Response 1 (Never Let Me Go and Extremely Loud and Incredibly Close)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../44401/paper-2-sample-response-2-the-reader-and-the-god-of-small-things.html" title="Paper 2: Sample Response 2 (The Reader and The God of Small Things) ">Paper 2: Sample Response 2 (The Reader and The God of Small Things) </a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../44402/paper-2-sample-response-3-a-dolls-house-and-the-crucible-.html" title="Paper 2: Sample Response 3 (A Doll’s House and The Crucible) ">Paper 2: Sample Response 3 (A Doll’s House and The Crucible) </a></li></ul><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44403/do-you-have-a-step-by-step-process-for-what-to-do-in-the-actual-.html" title="Do you have a step-by-step process for what to do in the actual exam? ">Do you have a step-by-step process for what to do in the actual exam? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44404/how-do-i-prepare-for-my-paper-2-exam-.html" title="How do I prepare for my Paper 2 exam? ">How do I prepare for my Paper 2 exam? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44405/how-do-i-organize-my-paper-2-.html" title="How do I organize my Paper 2? 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">What is it? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40158/what-is-a-line-of-inquiry.html" title="What is a line of inquiry?">What is a line of inquiry?</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40160/how-am-i-graded.html" title="How am I graded?">How am I graded?</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40162/can-i-read-an-example-.html" title="Can I read an example? ">Can I read an example? </a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40152/model-example-1-szymborska-poetry-.html" title="Model example 1 (Szymborska Poetry) ">Model example 1 (Szymborska Poetry) </a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40154/model-example-2-george-monbiot.html" title="Model example 2 (George Monbiot)">Model example 2 (George Monbiot)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40153/model-example-3-white-noise-.html" title="Model example 3 (White Noise) ">Model example 3 (White Noise) </a></li></ul><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40240/can-you-help-me-with-the-entire-process.html" title="Can you help me with the entire process?">Can you help me with the entire process?</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40242/do-you-have-a-checklist-to-help-me-out.html" title="Do you have a checklist to help me out?">Do you have a checklist to help me out?</a></li></ul></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../46964/learner-portfolio-.html" title="Learner Portfolio ">Learner Portfolio </a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../46965/more-about-the-learner-portfolio.html" title="More about the Learner Portfolio">More about the Learner Portfolio</a></li></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28558/the-course-.html" title="The course ">The course </a></li><ul class="level-1 "><li class="" style="padding-left: 14px"><i 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Portfolio">Formatting the Learner Portfolio</a></li></ul><li class="" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28560/principles-of-course-design.html" title="Principles of course design">Principles of course design</a></li><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../29983/bodies-of-work.html" title="Bodies of work">Bodies of work</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../37316/bodies-of-work-a-curated-list.html" title="Bodies of Work - A Curated List">Bodies of Work - A Curated List</a></li></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28566/areas-of-exploration-.html" title="Areas of exploration ">Areas of exploration </a></li><ul class="level-1 "><li class=" parent" style="padding-left: 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title="Teaching resources">Teaching resources</a></li></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28567/concepts-.html" title="Concepts ">Concepts </a></li><ul class="level-1 "><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28571/identity.html" title="Identity">Identity</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../29029/teaching-resources.html" title="Teaching resources">Teaching resources</a></li></ul><li class="" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28572/culture.html" title="Culture">Culture</a></li><li class="" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28573/creativity.html" title="Creativity">Creativity</a></li><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28574/communication.html" title="Communication">Communication</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Teaching resources">Teaching resources</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31252/metoo-gender-and-power-.html" title="#MeToo - Gender and Power ">#MeToo - Gender and Power </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31255/fake-news-.html" title="Fake News ">Fake News </a></li></ul></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28575/perspective.html" title="Perspective">Perspective</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Teaching resources">Teaching resources</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31253/metoo-gender-and-power-.html" title="#MeToo - Gender and Power ">#MeToo - Gender and Power </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31734/exploring-the-natural-world-an-opinion-columnists-body-of-work-.html" title="Exploring the Natural World – An Opinion Columnist’s Body of Work ">Exploring the Natural World – An Opinion Columnist’s Body of Work </a></li></ul></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28576/transformation.html" title="Transformation">Transformation</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander 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style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30239/tips-.html" title="Tips ">Tips </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30222/criteria-.html" title="Criteria ">Criteria </a></li><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30240/skills-.html" title="Skills ">Skills </a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../30243/8-writing-tips-.html" title="8 writing tips ">8 writing tips </a></li></ul><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="P1 sample work">P1 sample work</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../../task/523953.html" title="May 2022 Paper 1s">May 2022 Paper 1s</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../../task/523976.html" title="November 2021 Paper 1s">November 2021 Paper 1s</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Pre-2021 Paper 1s">Pre-2021 Paper 1s</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../37572/paper-1-sample-response-8-mens-health-iii.html" title="Paper 1: Sample Response 8 (Men's Health iii)">Paper 1: Sample Response 8 (Men's Health iii)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../37338/paper-1-sample-response-9-justin-gatlin.html" title="Paper 1: Sample Response 9 (Justin Gatlin)">Paper 1: Sample Response 9 (Justin Gatlin)</a></li><li class="" style="padding-left: 56px"><i 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56px"><i class="expander fa fa-caret-right "></i><a class="" href="../../task/523983.html" title="Paper 1: Sample Response 14 (Aspen Trees)">Paper 1: Sample Response 14 (Aspen Trees)</a></li></ul></ul><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30237/paper-1-practice-texts-to-go-.html" title="Paper 1: Practice Texts to Go ">Paper 1: Practice Texts to Go </a></li></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28592/paper-2.html" title="Paper 2">Paper 2</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30255/tips-.html" title="Tips ">Tips </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30270/criteria-.html" title="Criteria ">Criteria </a></li><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30256/skills-.html" title="Skills ">Skills </a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31697/revising-literary-works-for-paper-2.html" title="Revising Literary Works for Paper 2">Revising Literary Works for Paper 2</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../30792/connecting-comparing-and-contrasting-in-paper-2.html" title="Connecting, Comparing and Contrasting in Paper 2">Connecting, Comparing and Contrasting in Paper 2</a></li></ul><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../46727/resources-for-students.html" title="Resources for Students">Resources for Students</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../46723/preparing-for-paper-2.html" title="Preparing for Paper 2">Preparing for Paper 2</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../46724/organizing-and-structuring-paper-2.html" title="Organizing and Structuring Paper 2">Organizing and Structuring Paper 2</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../46722/step-by-step-paper-2-process.html" title="Step-by-Step Paper 2 Process">Step-by-Step Paper 2 Process</a></li></ul><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../28602/p2-sample-work.html" title="P2 sample work">P2 sample work</a></li></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28593/higher-level-essay.html" title="Higher level essay">Higher level essay</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30557/tips.html" title="Tips">Tips</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30273/criteria-.html" title="Criteria ">Criteria </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30272/skills-.html" title="Skills ">Skills </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../28606/hle-sample-work.html" title="HLE sample work">HLE sample work</a></li></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28594/individual-oral.html" title="Individual oral">Individual oral</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../36433/resources.html" title="Resources">Resources</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../34550/introducing-the-individual-oral-to-students-a-powerpoint.html" title="Introducing the Individual Oral to Students (a PowerPoint)">Introducing the Individual Oral to Students (a PowerPoint)</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../36435/stages-of-support.html" title="Stages of Support">Stages of Support</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../32623/possible-outlines.html" title="Possible Outlines">Possible Outlines</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../36434/how-to-prepare-for-your-individual-oral.html" title="How to Prepare for Your Individual Oral">How to Prepare for Your Individual Oral</a></li></ul><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30559/global-issues.html" title="Global issues">Global issues</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30558/criteria-.html" title="Criteria ">Criteria </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30271/skills-.html" title="Skills ">Skills </a></li><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../28610/io-sample-work.html" title="IO sample work">IO sample work</a></li><ul class="level-3 "><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="2021 Individual Orals">2021 Individual Orals</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40184/2021-individual-oral-exemplar-1-brave-new-world-and-sara-rahbar.html" title="2021 Individual Oral: Exemplar 1 (Brave New World and Sara Rahbar)">2021 Individual Oral: Exemplar 1 (Brave New World and Sara Rahbar)</a></li></ul><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Pre-2021 Individual Orals">Pre-2021 Individual Orals</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../36777/individual-oral-exemplar-4-macbeth-and-ww1-propaganda-poster.html" title="Individual Oral: Exemplar 4 (Macbeth and WW1 Propaganda Poster)">Individual Oral: Exemplar 4 (Macbeth and WW1 Propaganda Poster)</a></li></ul></ul></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28556/resources-.html" title="Resources ">Resources </a></li><ul class="level-1 "><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../30276/glossary-of-key-terms-for-language-and-literature.html" title="Glossary of Key Terms for Language and Literature">Glossary of Key Terms for Language and Literature</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30277/-accent.html" title="- Accent">- Accent</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30278/-actual-reader.html" title="- Actual reader">- Actual reader</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30279/-actual-writer-.html" title="- Actual writer ">- Actual writer </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30353/-adjective-.html" title="- Adjective ">- Adjective </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30448/-adverb.html" title="- Adverb">- Adverb</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30449/-alliteration.html" title="- Alliteration">- Alliteration</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30451/-allusion.html" title="- Allusion">- Allusion</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30452/-analogy.html" title="- Analogy">- Analogy</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30454/-anti-advertising-.html" title="- Anti-advertising ">- Anti-advertising </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30455/-antithesis-.html" title="- Antithesis ">- Antithesis </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30457/-appeal-to-authority-.html" title="- Appeal to authority ">- Appeal to authority </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30459/-appeal-to-fear.html" title="- Appeal to fear">- Appeal to fear</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30460/-audience.html" title="- Audience">- Audience</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30462/-bandwagon-effect.html" title="- Bandwagon effect">- Bandwagon effect</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30463/-bias-.html" title="- Bias ">- Bias </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30464/-cacophony-.html" title="- Cacophony ">- Cacophony </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30466/-caesura-.html" title="- Caesura ">- Caesura </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30467/-characterisation-.html" title="- Characterisation ">- Characterisation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30469/-clause-.html" title="- Clause ">- Clause </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30470/-cliche-cliche-.html" title="- Cliché (cliche) ">- Cliché (cliche) </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30471/-coherence.html" title="- Coherence">- Coherence</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30472/-colloquialism.html" title="- Colloquialism">- Colloquialism</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30473/-complex-sentence-.html" title="- Complex sentence ">- Complex sentence </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30475/-conflict-in-advertising-.html" title="- Conflict in advertising ">- Conflict in advertising </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30483/-conjunctions-.html" title="- Conjunctions ">- Conjunctions </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30484/-connotation-.html" title="- Connotation ">- Connotation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30476/-context-of-production-.html" title="- Context of production ">- Context of production </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30477/-context-of-reception-.html" title="- Context of reception ">- Context of reception </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30478/-core-vocabulary-.html" title="- Core vocabulary ">- Core vocabulary </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30479/-couplet-.html" title="- Couplet ">- Couplet </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30485/-crowdsourcing-.html" title="- Crowdsourcing ">- Crowdsourcing </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30481/-deictic-.html" title="- Deictic ">- Deictic </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30486/-denotation-.html" title="- Denotation ">- Denotation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30487/-denouement-.html" title="- Denouement ">- Denouement </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30488/-dialect-.html" title="- Dialect ">- Dialect </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30489/-diatribe-.html" title="- Diatribe ">- Diatribe </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30490/-direct-narration-.html" title="- Direct narration ">- Direct narration </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30492/-direct-speech-.html" title="- Direct speech ">- Direct speech </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30493/-dramatic-irony.html" title="- Dramatic Irony">- Dramatic Irony</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30515/-ellipsis.html" title="- Ellipsis">- Ellipsis</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30516/-end-stopped-line-.html" title="- End-stopped line ">- End-stopped line </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30517/-enjambement-.html" title="- Enjambement ">- Enjambement </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30518/-eponymous-.html" title="- Eponymous ">- Eponymous </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30519/-equivocation-.html" title="- Equivocation ">- Equivocation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30520/-ethos-.html" title="- Ethos ">- Ethos </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30521/-euphemism.html" title="- Euphemism">- Euphemism</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30522/-first-person-point-of-view-.html" title="- First-person point-of-view ">- First-person point-of-view </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30523/-formalism.html" title="- Formalism">- Formalism</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30524/-free-indirect-speech-.html" title="- Free indirect speech ">- Free indirect speech </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30527/-free-verse-.html" title="- Free verse ">- Free verse </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30525/-function-.html" title="- Function ">- Function </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30528/-gatekeeper-.html" title="- Gatekeeper ">- Gatekeeper </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30530/-generalizations-.html" title="- Generalizations ">- Generalizations </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30531/-genre-.html" title="- Genre ">- Genre </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30532/-graphology-.html" title="- Graphology ">- Graphology </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30533/-haiku-.html" title="- Haiku ">- Haiku </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30534/-hyperbole-.html" title="- Hyperbole ">- Hyperbole </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30535/-idiolect-.html" title="- Idiolect ">- Idiolect </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30536/-imagery-.html" title="- Imagery ">- Imagery </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30537/-indirect-narration-.html" title="- Indirect narration ">- Indirect narration </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30538/-intertextuality-.html" title="- Intertextuality ">- Intertextuality </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30539/-irony-.html" title="- Irony ">- Irony </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30540/-jargon-.html" title="- Jargon ">- Jargon </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30541/-juxtaposition-.html" title="- Juxtaposition ">- Juxtaposition </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30542/-language-.html" title="- Language ">- Language </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30543/-logos-.html" title="- Logos ">- Logos </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30544/-long-tail-marketing-.html" title="- Long tail marketing ">- Long tail marketing </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30545/-mash-up-.html" title="- Mash up ">- Mash up </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30546/-metaphor-.html" title="- Metaphor ">- Metaphor </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30548/-metonymy-.html" title="- Metonymy ">- Metonymy </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30549/-modality-.html" title="- Modality ">- Modality </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30550/-multivocal-.html" title="- Multivocal ">- Multivocal </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30551/-newsworthiness-.html" title="- Newsworthiness ">- Newsworthiness </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30552/-nominalisation-.html" title="- Nominalisation ">- Nominalisation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30553/-notifications-.html" title="- Notifications ">- Notifications </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30554/-noun-phrase-.html" title="- Noun Phrase ">- Noun Phrase </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30555/-onomatopoeia.html" title="- Onomatopoeia">- Onomatopoeia</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30560/-paralanguage-.html" title="- Paralanguage ">- Paralanguage </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30561/-pathos-.html" title="- Pathos ">- Pathos </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30562/-pay-per-click-.html" title="- Pay-per-click ">- Pay-per-click </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30563/-personalization-.html" title="- Personalization ">- Personalization </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30564/-personification-.html" title="- Personification ">- Personification </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30565/-phonlogical-.html" title="- Phonlogical ">- Phonlogical </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30566/-phrase.html" title="- Phrase">- Phrase</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30567/-problem-solution-technique-.html" title="- Problem / solution technique ">- Problem / solution technique </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30574/-pun.html" title="- Pun">- Pun</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30579/-reported-speech.html" title="- Reported speech">- Reported speech</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30583/-sensationalism-.html" title="- Sensationalism ">- Sensationalism </a></li><li class="" 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style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../16109/wt-sl-hinglish.html" title="WT SL (Hinglish)">WT SL (Hinglish)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../22572/wt-sl-nineteen-eighty-four.html" title="WT SL (Nineteen Eighty-Four)">WT SL (Nineteen Eighty-Four)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../15508/wt-sl-s1-the-bell-jar.html" title="WT SL S1 (The Bell Jar)">WT SL S1 (The Bell Jar)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../9443/wt1-hl-s1-mandela.html" title="WT1 HL S1 (Mandela)">WT1 HL S1 (Mandela)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../8699/wt1-hl-s2-collector.html" title="WT1 HL S2 (Collector)">WT1 HL S2 (Collector)</a></li><li class="" 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style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../11979/wt2-q3-starkey.html" title="WT2 Q3 (Starkey)">WT2 Q3 (Starkey)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../19663/wt2-q3-womens-health.html" title="WT2 Q3 (Women's Health)">WT2 Q3 (Women's Health)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../14009/wt2-q4-clockwork.html" title="WT2 Q4 (Clockwork)">WT2 Q4 (Clockwork)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../13783/wt2-q4-persepolis.html" title="WT2 Q4 (Persepolis)">WT2 Q4 (Persepolis)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../11636/wt2-q5-aclu.html" title="WT2 Q5 (ACLU)">WT2 Q5 (ACLU)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right 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style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../2537/individual-oral-commentary.html" title="Individual oral commentary">Individual oral commentary</a></li><ul class="level-3 "><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../2891/tips.html" title="Tips">Tips</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../19075/using-technology-to-support-student-learning.html" title="Using Technology to Support Student Learning">Using Technology to Support Student Learning</a></li></ul><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../10033/criteria.html" title="Criteria">Criteria</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../11211/skills.html" title="Skills">Skills</a></li><ul 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<h1 class="section-title">Faction</h1>
<ul class="breadcrumb"><li><a title="Home" href="../../../englishalanglit.html"><i class="fa fa-home"></i></a><span class="divider">/</span></li><li><span class="gray">The old course </span><span class="divider">/</span></li><li><span class="gray">Part 3 (2020 exams)</span><span class="divider">/</span></li><li><span class="gray">Key concepts</span><span class="divider">/</span></li><li><span class="active">Faction</span></li></ul>
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<p><img alt="" src="../../../ib/englishalanglit/images/fact-not-fiction.jpeg" style="float: right; width: 238px; height: 212px;">At the time of writing, the InThinking Language and Literature website has published a number of pages focusing on fake news and so-called ‘alternative facts’ (<a href="../22945/post-truth-alternative-facts-and-fake-news-part-1.html">here</a> and <a href="../23088/post-truth-alternative-facts-and-fake-news-part-2.html">here</a>, for example). We hope these are timely publications that support teachers and students in their Language and Literature classrooms, and are of particular use in supporting teaching and learning in part 2 of the course and Theory of Knowledge (TOK).</p>
<p>It is no surprise that in a social and cultural environment in which postmodern sentiment seems to have accelerated into hyper-drive that pressure should be placed on education systems to promote critical thinking and media literacy.</p>
<p>But how easy is this in practice? And, does media literacy terminate at the critical appraisal of what me may commonly regard as media texts?</p>
<p>This lesson provides links to the lessons the site has already published on fake news, but places emphasis on texts of a more literary kind. In broad perspective, this may help teachers and their students to establish connections between the language and the literature aspects of the course, and provide a pivot to TOK.</p>
<p>It is probably commonplace for us to think of and categorize literature as existing in a number of realms. We tend, for example, to think of literature as something that is separated into genres, and somewhat distinct periods. And, if we don’t, the IBO’s own ‘canons’, the PLA and PLT, separate literature in this way, even if this is only really a splitting for convenience. In a similar way, we tend to separate factual texts from fictional texts, although a moment’s thought tells us this is hardly a stable distinction. Most of the time, this doesn’t matter very much. In the crime fiction of Ian Rankin, say, we know that Rebus, Rankin’s lugubrious cop, is a fictionalized or composite character, whilst his Edinburgh, the main setting for the novels, is very ‘real’. That, for many readers, is part of the appeal.</p>
<p>However, what happens when a literary work makes claim to be factual, or is identified as such, when, in fact, the real story is more intricate? Does it matter? Moreover, can we readily know if a literary work is factual, fictional, or exists in a liminal space we might call ‘faction’? And, can we know this, at the <em>textual</em> level, simply by reading, or do we require further <em>contextual </em>detail? Assuming we require further contextual detail, how much detail do we need, and what kinds of sources can we consider reliable? It is to these issues that this lesson turns.</p>
<p>In this lesson there a 5 extracts from more or less well-known literary works. A few of these works are frequently regarded as ‘contemporary classics’, some are characterized as ‘travel writing’, and more than one has gained recognition as a significant work of non-fiction’.</p>
<p>The lesson provides few answers as such, but teachers should probably direct discussion to the relationships between text and context, and to nature of evidence. Finally, if one argues that knowing whether something is grounded in fact or is imaginary matters, how can this claim be motivated? </p>
<h2>Procedure</h2>
<p>It is suggested that students do the following:</p>
<p>Work individually, then in pairs or groups to establish criteria for judging the veracity of a text. That is, on the basis of a text extract alone, are there general criteria that, if applied, could potentially measure the factual accuracy of a text or text extract?</p>
<p>Next, individually, in pairs, or groups, students apply their criteria to the 5 texts (below).</p>
<p>Before moving on, students should discuss their ideas and reasoning. Here, the discussion focuses on textual evidence. However, texts do not speak for themselves; the criteria students have developed exist as a form of <em>a priori</em> knowledge that the reader brings to the text. Teachers should draw attention to this.</p>
<p>Once a full discussion has taken place, where all students have had an opportunity to think critically and present their ideas (one way or another), students may then read the first piece of contextual evidence. Once this is read, they should then discuss their revised perspective in light of the new evidence. Is the evidence reliable? Why or why not? Is the evidence enough? How much more evidence would constitute ‘enough’? Here, teachers have the opportunity to discuss the limitations of inductive reasoning.</p>
<p>After this discussion, students should be presented with the second piece of contextual evidence; this is evidence that is quite oppositional to the first piece of evidence, and challenges any notion that the texts read are factual. Given this, what do students think? Is the second piece of evidence more reliable than the first piece of evidence? Is further evidence required?</p>
<h2>Three Cups of Tea</h2>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/three-cups-of-tea.pdf">Text: <em>Three Cups of Tea</em></a></p>
<section class="tib-hiddenbox">
<p><strong><em>Three Cups of Tea </em>(2006) by Greg Mortenson and David Oliver Relin</strong></p>
<p>Mortenson couldn’t imagine ever discharging the debt he felt to his hosts in Korphe. But he was determined to try. He began distributing all he had. Some useful items like Nalgene bottles and flashlights were precious to the Balti, who trekked long distances to graze their animals in summer, and he handed them out to members of Haji Ali’s extended family. To Sakina, he gave his camping stove, capable of burning the kerosene found in every Balti village. He draped his wine-coloured L.L. Bean fleece jacket over Twaha’s shoulders, pressing him to take it though it was several sizes too large. Haji Ali he presented with the insulated Helly Hansen jacket that had kept him warm on K2.</p>
<p>But it was the supplies that he carried in the expedition’s medical kit, along with his training as a trauma nurse, that proved the most valuable. Each day, as he grew stronger, he spent longer hours climbing the steep paths between Korphe’s homes, doing what little he could to beat back the avalanche of need. With tubes of antibiotic ointment, he treated open sores and lanced and drained infected wounds. Everywhere he turned, eyes would implore him from the depths of homes, where elderly Balti had suffered in silence for years. He set broken bones and did what little he could with painkillers and antibiotics. Word of his work spread and the sick on the outskirts of Korphe began sending relatives to fetch “Dr. Greg,” as he would thereafter be known in northern Pakistan, no matter how many times he tried to tell people he was just a nurse.</p>
<p>Often during his time in Korphe, Mortenson felt the presence of his little sister Christa, especially when he was with Korphe’s children. “Everything about their life was a struggle,” Mortenson says. “They reminded me of the way Christa had to fight for the simplest things. And also the way she had of just perservering, no matter what life threw at her.” He decided he wanted to do something for them. Perhaps, when he got to Islamabad, he’d use the last of his money to buy textbooks to send to their schools, or supplies.</p>
<p>Lying by the hearth before bed, Mortenson told Haji Ali he wanted to visit Korphe’s school. Mortenson saw a cloud pass across the old man’s craggy face, but persisted. Finally, the headman agreed to take Mortenson first thing the following morning.</p>
</section>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/three-cups-of-tea---guardian-review.pdf">Context 1</a></p>
<section class="tib-hiddenbox">
<p><strong><em>The following article was written by Sam Jones, and published in <u>The Guardian</u> newspaper on 19 July 2010. It discusses Greg Mortenson’s book <u>Three Cups of Tea</u> (subtitled <u>One Man’s Mission to Promote Peace… One School at a Time</u>)</em></strong></p>
<p>The US military's search for a detailed and trustworthy source of information on the hearts and minds of the rural communities of Afghanistan and Pakistan has led them to an unlikely author.</p>
<p>Greg Mortenson is not a politician or special forces guru but a mountaineer turned humanitarian worker whose book Three Cups of Tea has become required reading for the US high command.</p>
<p>The book explains how a failed ascent of K2 led Mortenson to a small village in north-eastern Pakistan.</p>
<p>To show his gratitude to the villagers who looked after him when he came down from the mountain, the American promised to build them a school.</p>
<p>For three years, he lived and worked in the Karakoram mountain villages of northern Pakistan, learning about the Balti people and their culture. It led to him setting up dozens of schools – mainly for girls – in remote parts of Pakistan and Afghanistan.</p>
<p>The book takes its title from a Balti proverb: "The first time you share tea with a Balti, you are a stranger. The second time you take tea, you are an honoured guest. The third time you share a cup of tea, you become family."</p>
<p>In 1996, Mortenson co-founded the Central Asia Institute (CAI) with Silicon Valley pioneer Jean Hoerni.</p>
<p>CAI, a non-profit organisation, has so far been involved in the establishment or support of 131 schools, which educate more than 58,000 children — 44,000 of them girls.</p>
<p>Three Cups of Tea, subtitled "One Man's Mission to Promote Peace … One School at a Time", was published in 2006 and has sold more than 4m copies around the world.</p>
<p>After proving a hit with the wives of several senior US military men, Mortenson's book eventually found perhaps its most influential reader: General Stanley McChrystal.</p>
<p>Hours before he flew to Washington to tender his resignation to President Barack Obama following a disastrously outspoken profile in Rolling Stone magazine, McChrystal emailed Mortenson.</p>
<p>"Will move through this and if I'm not involved in the years ahead, will take tremendous comfort in knowing people like you are helping Afghans build a future," the outgoing commander said.</p>
<p>McChrystal's email provided further proof of the profound influence Mortenson's work has had on US military thinking in the region.</p>
<p>According to the New York Times, Mortenson has spoken at dozens of military bases and had lunch with General David Petraeus, the architect of the US's Iraq surge and the man chosen to replace McChrystal.</p>
<p>He has also brokered and participated in many meetings between tribal leaders and the US military in the region, where his local knowledge has proved invaluable.</p>
<p>However, Mortenson concedes that forging links with remote communities and helping to educate their children will not alter the situation overnight.</p>
<p>He expects his quest for peace, "one school at a time", to take a generation.</p>
<p>"But al-Qaida and the Taliban are looking at it long-range over generations," he told the NYT.</p>
<p>"And we're looking at it in terms of annual fiscal cycles and presidential elections."</p>
</section>
</div>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/three-cups-of-tea---wikipedia.pdf">Context 2</a></p>
<section class="tib-hiddenbox">
<p><strong><em><u>Three Cups of Tea</u></em></strong><strong><em> discussed on Wikipedia [accessed 5 April 2017]</em></strong></p>
<p><strong>Criticism</strong></p>
<p>In 2010, South Asian scholar and anthropologist, Nosheen Ali, criticized <em>Three Cups of Tea</em> in that “it constructs a misleading narrative of terror in which the realities of Northern Pakistan and Muslim life-worlds are distorted through simplistic tropes of ignorance, backwardness and extremism, while histories of US geopolitics and violence are erased.”</p>
<p>In regard to Mortenson's management style at the Central Asia Institute, Nicholas D. Kristof, normally a supporter of his, has said that Mortenson is "utterly disorganized," and added, "I am deeply troubled that only 41 percent of the money raised in 2009 went to build schools." As a deeper look into Mortenson's business dealings, British journalist Jonathan Foreman wrote in a 2008 <em>Daily Telegraph</em> story that CAI's success is due in part to Mortenson's use of intuition and that he makes decisions at the last minute. Foreman further wrote that Mortenson is habitually late for meetings but that the combination of those traits work well and are important to the success of his work in the Balti region of Pakistan. Baltistanis have no tenses in their language, are vague on their timekeeping, and make their own decisions largely based on intuition.</p>
<p><strong>Allegations</strong></p>
<p>On the April 17, 2011 broadcast of CBS News’ <em>60 Minutes</em> correspondent, Steve Kroft, alleged inaccuracies in Mortenson's books <em>Three Cups of Tea</em> and its sequel, <em>Stones into Schools: Promoting Peace with Books, Not Bombs, in Afghanistan and Pakistan</em> as well as financial improprieties in the operation of the Central Asia Institute. In particular, CBS News disputed Mortenson's claim that he got lost near K2 and ended up in Korphe; that he was captured by the Talibam in 1996; whether the number of schools built and supported by CAI is accurate; and the propriety in the use of CAI funds for Mortenson's book tours. <em>60 Minutes</em> asked Mortenson for an interview before their broadcast, but he did not respond to their requests.</p>
<p><em>60 Minutes</em> made the following allegations:</p>
<p style="margin-left:36pt;">• The events recounted in <em>Three Cups of Tea</em>—Mortenson getting lost on the way down from K2, stumbling into Korphe, and promising to build a school—did not take place.</p>
<p style="margin-left:36pt;">• The story recounted in <em>Stones into Schools</em> about Mortenson's capture by the Taliban did not occur. His purported kidnappers state he was a guest, and the Taliban did not exist in the country at that time.</p>
<p style="margin-left:36pt;">• Schools that the Central Asia Institute claims to have built either have not been built, have been built and abandoned, are used for other purposes such as grain storage, or have not been supported by CAI after they were built.</p>
<p style="margin-left:36pt;">• The amount of money Central Asia Institute spends on advertising Mortenson's books and paying the travel expenses of his speaking tours, including hiring private jets, is excessive relative to other comparable charitable institutions.</p>
<p>Jon Krakauer, a former financial supporter of CAI, has questioned Mortenson's accounts separately and was interviewed for the <em>60 Minutes</em> segment. The day after the broadcast, Krakauer released his allegations in a lengthy online article, <em>Three Cups of Deceit</em> <em>— How Greg Mortenson, Humanitarian Hero, Lost His Way</em>. In the article, Krakauer documents how he had earlier been captivated by Mortenson's story, had donated substantial sums to CAI, and that he had later heard stories of misconduct and began investigating. Krakauer states that he invited Mortenson to address his allegations, including setting up an interview where Mortenson lives, but Mortenson subsequently canceled the interview.</p>
<p><strong>Responses</strong></p>
<p>Mortenson wrote a statement in response to the allegations made against him that was published in the <em>Bozeman Chronicle: </em>"I stand by the information conveyed in my book, and by the value of CAI's work in empowering local communities to build and operate schools that have educated more than 60,000 students." Mortenson further stated, "The time about our final days on K2 and ongoing journey to Korphe village and Skardu is a compressed version of events that took place in the fall of 1993..."</p>
<p>Scott Darsney, a respected mountaineer and friend of Greg Mortenson, wrote an email, subsequently turned into an exclusive article for <em>Outside</em> magazine's online version, as a response to the allegations against Mortenson. Darsney questioned the accuracy and fairness of both the Krakauer piece and the <em>60 Minutes</em> report. Darsney had been interviewed by Krakauer, and maintained that Krakauer either misquoted or misunderstood what he said.</p>
<p>As a response to Krakauer's allegations, CAI produced a comprehensive list of projects completed over a period of years and projects CAI is currently working on. The list was released in December, 2011 (see external links below).</p>
<p><strong>Lawsuits</strong></p>
<p>In May 2011, Jean Price and Michele Reinhart, Democratic Party representatives in Montana, along with Dan Donovan, a Great Falls attorney, filed a class action lawsuit against Mortenson and are asking a federal judge in Missoula to place all proceeds from the purchases of Mortenson's books into a trust to be used for humanitarian purposes. The total of Mortenson's book sales to date stand at near $5 million. In June 2011, Jean Price announced she was dropping out of the suit, explaining that she had never read the book. In Illinois, former school teacher Deborah Netter, also dropped her Illinois lawsuit against Mortenson in early July 2011, joining the Montana lawsuit in mid-July. The Montana lawsuit was subsequently dismissed on April 30, 2012. In October 2013, a class-action lawsuit claiming damages against Greg Mortenson over <em>Three Cups of Tea</em> was rejected by the 9th Circuit Court of Appeals.</p>
</section>
</div>
<h2>Pilgrim at Tinker Creek</h2>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/pilgrim-at-tinker-creek.pdf">Text: <em>Pilgrim at Tinker Creek</em></a></p>
<section class="tib-hiddenbox">
<p><strong><em>Pilgrim at Tinker Creek</em></strong><strong> (1974) by Annie Dillard</strong></p>
<p>I used to have a cat, an old fighting tom, who would jump through the open window by my bed in the middle of the night and land on my chest. I’d half-awaken. He’d stick his skull under my nose and purr, stinking of urine and blood. Some nights he kneaded my bare chest with his front paws, powerfully, arching his back, as if sharpening his claws, or pummeling a mother for milk. And some mornings I’d wake in daylight to find my body covered with paw prints in blood; I looked as though I’d been painted with roses.</p>
<p>It was hot, so hot the mirror felt warm. I washed before the mirror in a daze, my twisted summer sleep still hung about me like sea kelp. What blood was this, and what roses? It could have been the rose of union, the blood of murder, or the rose of beauty bare and the blood of some unspeakable sacrifice or birth. The sign on my body could have been an emblem or a stain, the keys to the kingdom or the mark of Cain. I never knew. I never knew as I washed, and the blood streaked, faded, and finally disappeared, whether I’d purified myself or ruined the blood sign of the passover. We wake, if we ever wake at all, to mystery, rumors of death, beauty, violence…. “Seem like we’re just set down here,” a woman said to me recently, “and don’t nobody know why.”</p>
<p>These are morning matters, pictures you dream as the final wave heaves you up on the sand to the bright light and drying air. You remember pressure, and a curved sleep you rested against, soft, like a scallop in its shell. But the air hardens your skin; you stand; you leave the lighted shore to explore some dim headland, and soon you’re lost in the leafy interior, intent, remembering nothing. I still think of that old tomcat, mornings, when I wake. Things are tamer now; I sleep with the window shut. The cat and our rites are gone and my life is changed, but the memory remains of something powerful playing over me. I wake expectant, hoping to see a new thing. If I’m lucky I might be jogged awake by a strange bird call. I dress in a hurry, imagining the yard flapping with auks, or flamingos. This morning it was a wood duck, down at the creek. It flew away.</p>
<p>I live by a creek, Tinker Creek, in a valley in Virginia’s Blue Ridge. An anchorite’s hermitage is called an anchor-hold; some anchor-holds were simple sheds clamped to the side of a church like a barnacle to a rock. I think of this house clamped to the side of Tinker Creek as an anchor-hold. It holds me at anchor to the rock bottom of the creek itself and it keeps me steadied in the current, as a sea anchor does, facing the stream of light pouring down. It’s a good place to live; there’s a lot to think about. The creeks—Tinker and Carvin’s—are an active mystery, fresh every minute. Theirs is the mystery of the continuous creation and all that providence implies: the uncertainty of vision, the horror of the fixed, the dissolution of the present, the intricacy of beauty, the pressure of fecundity, the elusiveness of the free, and the flawed nature of perfection. The mountains—Tinker and Brushy, McAfee’s Knob and Dead Man—are a passive mystery, the oldest of all. Theirs is the one simple mystery of creation from nothing, of matter itself, anything at all, the given. Mountains are giant, restful, absorbent. You can heave your spirit into a mountain and the mountain will keep it, folded, and not throw it back as some creeks will. The creeks are the world with all its stimulus and beauty; I live there. But the mountains are home.</p>
</section>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/pilrim-at-tinker-creek-afterword.pdf">Context 1</a></p>
<section class="tib-hiddenbox">
<p><strong><em>About Annie Dillard, published in an afterword to <u>Pilgrim at Tinker Creek</u></em></strong></p>
<p>Annie Dillard has carved a unique niche for herself in the world of American letters. Over the course of her career, Dillard has written essays, poetry, memoirs, literary criticism—even a western novel. In whatever genre she works, Dillard distinguishes herself with her carefully wrought language, keen observations, and original metaphysical insights. Her first significant publication, Pilgrim at Tinker Creek, drew numerous comparisons to Thoreau’s Walden; in the years since Pilgrim appeared, Dillard’s name has come to stand for excellence in writing.</p>
<p>Tickets for a Prayer Wheel was Dillard’s first publication. This slim volume of poetry—which expressed the author’s yearning to sense a hidden God—was praised by reviewers. Within months of Tickets’s appearance, however, the book was completely over-shadowed by the release of Pilgrim at Tinker Creek. Dillard lived quietly on Tinker Creek in Virginia’s Roanoke Valley, observing the natural world, taking notes, and reading voluminously in a wide variety of disciplines, including theology, philosophy, natural science, and physics. Following the progression of seasons, Pilgrim probes the cosmic significance of the beauty and violence coex isting in the natural world.</p>
<p>The book met with immediate popular and critical success. “One of the most pleasing traits of the book is the graceful harmony between scrutiny of real phenomena and the reflections to which that gives rise,” noted a Commentary reviewer. “Anecdotes of animal behavior become so effortlessly enlarged into symbols by the deepened insight of meditation. Like a true transcendentalist, Miss Dillard understands her task to be that of full alertness.”</p>
</section>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/pilrim-at-tinker-creek-guardian.pdf">Context 2</a></p>
<section class="tib-hiddenbox">
<p><strong><em>A discussion of <u>Pilgrim at Tinker’s Creek</u>, published in <u>The Guardian</u>, 6 December 2015</em></strong></p>
<p>The nonfiction novels of Norman Mailer (<em>The Executioner’s Song</em>) or Truman Capote (<em>In Cold Blood</em>) changed the literary landscape, but the scope for further innovation was quickly noticed by the young Annie Dillard. “We’ve had the non-fiction novel,” she confided to her journal; “it’s time for the novelised book of nonfiction.” The book she was working on, <em>Pilgrim at Tinker’s Creek</em>, is a classic instance of the nonfiction work of art. Having won a Pulitzer prize for nonfiction in 1975, it went on to become the source of some controversy when it was revealed that the famous opening paragraph – in which the author awakens in bed to find herself covered in paw prints of blood, after her cat, a fighting tom, has returned from his nocturnal ventures – is a fiction. It’s not that she’d made this story up: she adapted it, with permission, from something written by a postgrad student.</p>
</section>
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<h2>In Patagonia</h2>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/in-patagonia.pdf">Text: <em>In Patagonia</em></a></p>
<section class="tib-hiddenbox">
<p><strong><em>In Patagonia </em></strong><strong>(1977) by Bruce Chatwin</strong></p>
<p>IN GAIMÁN THE schoolmaster’s wife introduced me to the pianist. He was a thin nervous boy with a drained face and eyes that watered in the wind. His hands were strong and red. The ladies of the Welsh choir had adopted him and taught him their songs. He had taken piano lessons and now he was leaving for Buenos Aires to study at the Conservatoire.</p>
<p>Anselmo lived with his parents behind their grocery shop. The mother made the pasta herself. She was a big German woman and she cried a lot. She cried when her Italian husband lost his temper and she cried at the thought of Anselmo going away. She had spent all her savings on the piano and now he was going away. The husband wouldn’t have the piano played when he was in the house. And now the piano would be silent and her tears would water the pasta. Secretly, however, she was pleased about him going. Already she saw the white tie and heard the standing ovation.</p>
<p>Over the Christmas holiday Anselmo’s parents went to the seaside with his elder brother, leaving him alone to practise. The brother was a garage mechanic, married to a solid Indian girl, who stared at people as if they were mad.</p>
<p>Anselmo had a passion for the culture of Europe, the authentic, blinkered passion of the exile. When his father stopped him playing he would lock himself in his room and read sheet music or the lives of great composers from a musical encyclopaedia. He was learning to play Liszt and asked complicated questions about Villa d’Este and the friendship with Wagner. I couldn’t help him.</p>
<p>The Welsh showered him with attentions. The leading soprano had sent him a fruit cake for Christmas. And the tenor, the young farmer he’d accompanied at the Eisteddfod, had sent a plate painted with a penguin, a sea-lion and an ostrich. He was very pleased with these presents.</p>
<p>‘It is what I do for them,’ he said. ‘And now I will play the Pathétique. Yes?’</p>
<p>The room was bare, in the German way, white with lace curtains. Outside the wind kicked up dust clouds in the street and tilted the poplars. Anselmo went to a cupboard and took out a small white plaster bust of Beethoven. He put it on the piano and began.</p>
<p>The playing was remarkable. I could not imagine a finer Pathétique further South. When he finished he said: ‘Now I play Chopin. Yes?’ and he replaced the bust of Beethoven with one of Chopin. ‘Do you wish waltzes or mazurkas?’</p>
<p>‘Mazurkas.’</p>
<p>‘I shall play my best favourite. It is the last music Chopin is writing.’</p>
<p>And he played the mazurka that Chopin dictated on his deathbed. The wind whistled in the street and the music ghosted from the piano as leaves over a headstone and you could imagine you were in the presence of a genius.</p>
</section>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/-in-patagonia-praise.pdf">Context 1</a></p>
<section class="tib-hiddenbox">
<p> <strong><em>Praise for <u>In Patagonia</u>:</em></strong></p>
<p>BRUCE CHATWIN'S highly praised travel book, ''In Patagonia'' (1977), established the writer as, among other things, a connoisseur of human oddity as it flourishes in isolation. His displaced Scottish sheep farmers and Welsh hymn singers, left stranded by the receding tide of economic colonialism, are depicted as turned in upon themselves, rendered queer by their desperate clinging - in the remote wastes of the Argentinian far-south - to obsolete modes and attitudes transplanted a century ago from ''Home.' [<em>New York Times</em>, 2 January 1983]</p>
<p>When I first visited Patagonia in 1991, Bruce Chatwin’s In Patagonia was a bible among South American backpackers […] After stopovers in Buenos Aires and La Plata, Chatwin’s Patagonian narrative proper begins in the region settled by the Welsh. “Their leaders had combed the earth for a stretch of open country uncontaminated by Englishmen,” he wrote. “They chose Patagonia for its absolute remoteness and foul climate.” After standing on the beach at Puerto Madryn, where the 153 settlers made landfall in 1865, he spent Christmas Eve in Gaiman, where he enjoyed an asado (barbecue) before travelling west – just as the colonists did – to visit Trevelin and the green valleys of the Andes. [<em>The Daily Telegraph</em>, 1 December 2014]</p>
<p>In Patagonia made Bruce Chatwin famous overnight. On the book's publication in 1977, reviewers rightly compared it to Mandeville's Travels, to Alexander Kinglake's Eothen and Robert Byron's The Road To Oxiana.</p>
<p>Like those predecessors, In Patagonia revolutionised travel writing. Puckish and witty, it rebuked the po-faced and self-vaunting character of many post-war travelogues. Instead of setting out in search of a river's source, a mountain's summit or a lost tribe, Chatwin headed for South America on the trail of a piece of brontosaurus skin and ended up finding sloth turds at the end of the world. [<em>The Independent</em>, 22 June 2012]</p>
</section>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/in-patagonia-the-paris-review.pdf">Context 2 (N.B. contains explicit language)</a></p>
<section class="tib-hiddenbox">
<p><strong>Extract from a review of <u>In Patagonia</u> published in <u>The Paris Review</u>, May 14 2013</strong></p>
<p>While I was traveling in South America, a friend, a writer, heard I was heading down to Patagonia. At the end of an e-mail he broke into all caps: “DRINK LOTS OF WINE FUCK SHIT UP RIDE A HORSE AND READ SOME BRUCE CHATWIN.” Fortunately, my boyfriend and I had been drinking wine and fucking shit up plenty in Argentina already. While I like horses in theory, I haven’t had the desire to get on one since I saw <em>National Velvet</em> as a child. His last command, though, made me curse myself—I’d <em>meant</em> to buy a copy of the Chatwin before leaving the states. I figured it was now unlikely I’d find a copy in English. The next afternoon, we entered a Palermo Viejo bookstore. High on a shelf in the brief English-language section, I excitedly located a shrink-wrapped copy of the Penguin Classics edition of <em>In Patagonia</em>.</p>
<p>In his smart introduction, Chatwin biographer Nicholas Shakespeare describes his own experience of reading <em>In Patagonia</em> in Patagonia: “One morning, in a gesture soon to be repeated by a generation of backpackers, I was waiting for a bus in the dusty scrubland west of Trelew when I dug out a book I’d brought with me … I’d never heard of the author, but his was the only contemporary book I could find about my destination. I opened the first page and I read the first paragraph and that, really, was that.” Shakespeare summarizes the oft-told circumstances surrounding the book’s inception: There had been a bit of mangy, ancient hide in Chatwin’s grandmother’s cabinet of curiosities when he was a boy. It was from a brontosaurus, he’d been told, from Patagonia. This scrap—which actually belonged to a Patagonian ancient sloth—ignited a spark that lingered in Chatwin’s imagination. As an adult he’d already been Sotheby’s auctioneer and an archeologist before turning to writing. After years of work on an unsuccessful manuscript, he was reminded of his desire to visit Patagonia by octogenarian designer and architect Eileen Gray. It had long been her dream to visit Patagonia, as well, and she told him to “go on my behalf.” So he did. It is said—perhaps mythically—that he sent a cable to his employer, the <em>London Sunday Times Magazine</em>, stating, “Have gone to Patagonia.” He wasn’t heard from for months.</p>
<p>The manuscript he delivered to his editor, which was published in 1977, was career defining. It has been credited with reviving the moribund “travel writing” genre. It’s also safe to say it birthed intrigue about Patagonia in the minds of his many readers—Shakespeare’s “generation of backpackers.” In a story about hiking in Chilean Patagonia from early this year in the <em>New York Times</em>, Ondine Cohane writes that she’d wanted to travel to Patagonia ever since she’d read <em>In Patagonia</em> twenty years before, in high school. She writes that the book “drew me both to the place and in no small way to the profession of travel writing itself.” While Shakespeare is an exception to this trend—he had visited Patagonia in his youth before returning with Chatwin in tow—he states that of all the authors he’d read on the place, “none had validated my Patagonia as Chatwin had.”</p>
<p>I admittedly didn’t know much about Patagonia before going there; it was my boyfriend’s dream more than it was mine. Back home, I had glanced through some <em>Lonely Planets</em> and <em>Rough Guides</em> and only half-pictured lots of empty space and perhaps some beautiful peaks. By the time I’d finished Shakespeare’s introduction to the Chatwin, I felt convinced I’d never needed a book as badly as I needed <em>In Patagonia</em> in Patagonia.</p>
<p>Bruce Chatwin arrived in Buenos Aires in late 1974. He describes the Argentinean capital on his book’s fifth page. “The city kept reminding me of Russia,” he writes, “the cars of the secret police bristling with aerials; women with splayed haunches licking ice-cream in dusty parks; the same bullying statues; the pie-crust architecture, the same avenues that were not quite straight, giving the illusion of endless space and leading out into nowhere.” <em>In Patagonia</em> is short and composed of easily digestible page or two-page chapters. It mostly consists of jaunty, sharp descriptions such as this one, details arranged precisely by a narrator who seems candid, if a tad sassy. His adjectives are exquisite and his verbs active. Look here at how the images influence one another—how the ice cream is less appetizing because of the animal “haunches” and “licking” and “dusty” and how the “bullying” threatens the already vulnerable, almost silly “pie-crust.” Its conversational tone masks the great labor that must have gone into the sentence and most importantly allows a great deal to go unstated. He’s making you feel the contradictions, the exhausting contradictions, that make a place.</p>
<p>At eleven that night, we left the old apartment we’d let on Airbnb and ate steak and calf brains at a red-walled restaurant. The waiters were very prompt and presentational and set our wine cork upright onto the table with great intention. Crystals sparkled atop it.</p>
<p>In San Telmo’s plaza two tango dancers leaned against one another. The tourists applauded when each song announced its ending with a brisk chord. A host stood in front of his dead restaurant commanding passersby to eat. We walked home through the not-quite-straight streets. There was pie-crust architecture overhead, but also glass towers sparkling over the Rio Plata. I asked my boyfriend, who’s lived in Russia, whether Buenos Aires reminded him of there. He answered it sort of did, but not really.</p>
<p>We boarded a plane the next morning. I read as Chatwin walked and thumbed his way south, sleeping in the homes and barns of strangers, describing them and their stories in his way. Of the Welsh in Río Negro: “They chose Patagonia for its absolute remoteness and foul climate; they did not want to get rich.” A piano protégé in Gaimán: “He was a thin nervous boy with a drained face and eyes that watered in the wind. His hands were strong and red.” A band of drunk gauchos in Epuyen: “Their leader was a scrawny rough in the black bombachas and a black shirt open to his navel. His chest was covered with a fuzz of ginger hair and the same ginger bristles sprouted all over his face.” A European widow: “She smiled, her painted mouth unfurling as a red flag caught in a sudden breeze. Her hair was dyed dark-auburn. Her legs were a Mesopotamia of varicose veins. She still had the tatters of an extraordinary beauty.” There are also exiled pseudomonarchs, an Englishman Chatwin suspects has never been to England, a nostalgic Scot who’s only been to Scotland once, Indians, Boers, anarchists, prisoners, and, famously, Butch Cassidy and the Sundance Kid. I could continue; if you haven’t already, you should just read the book.</p>
<p>Our destination was Ushauia, the southernmost city in the world. In the few hours it took us to cross over all of Patagonia, I had finished the Chatwin and sat with it in my lap, sighing over how beautifully he wrote; what a redeemer he was of literary nonfiction.</p>
<p>This same land had taken Chatwin months to cover forty years ago. Ushuaia he had found cold, in both senses of the word: “The blue-faced inhabitants of this apparently childless town glared at strangers unkindly. The men worked in a crab-cannery or in a naval yard, kept busy by a niggling cold war with Chile. The last house before the barracks was a brothel. Skull-white cabbages grew in the garden.”</p>
<p>I was surprised that Ushuaia’s airport was somewhat swank. It boasted a dramatic, slanted roof that seemed a bit much against the lulling Beagle Channel. We climbed into a boat-like cab. The town was visibly growing; its fringes were dotted with story poles. Half the houses we passed seemed to be B&Bs. Mountains loomed overhead and robust lupines dotted the shoulders. What’s changed since Chatwin’s time, I realized, is the cruise ships. Every day or so during the high season, behemoth Norwegians and Princesses and Celebrities rounding the horn or headed south to Antarctica dock in here. When they do the town swells by several thousand. The “blue-faced inhabitants” had to learn to smile at them.</p>
<p>A ship larger than the town I grew up was anchored at the port. Downtown, store after store advertised “end of the earth” T-shirts and stuffed penguins and boxes of Patagonia chocolate. Restaurant after restaurant served overpriced crab. Tourists swarmed like termites, shuffling up and down the town’s few streets with intention or boredom, their bags full of T-shirts and stuffed penguins, their bellies full of chocolate and crab.</p>
<p>We ducked into the three-room Fin del Mundo museum and paid the exorbitant fifteen dollars apiece to enter. One room’s walls were lined with a history of Tierra del Fuego in both Spanish and broken English. The second room displayed an assortment of stuffed birds behind glass. The third, behind a heavy velvet curtain, contained a projector playing a video on a loop for twelve white plastic chairs. The footage had been shot by an Italian in the early thirties and was mostly of the Yaghan Indians, who were some of the last Native Americans to live without seriously interacting with Europeans. Chatwin had managed to find what he was told was the last remaining Yaghans, with whom he converses, briefly.</p>
<p>I sat, as did a middle-aged American couple. They were evidently incapable of thinking things without articulating them. The man remarked often at his inability to tell “the males” from “the females” when discussing “the natives.”</p>
<p>I found myself growing angry with Chatwin.</p>
<p>Chatwin has had many critics and detractors over the years. He’s been pounded by academics for being a colonialist. He was one of the first homosexual celebrities in the UK to die of AIDS—in 1989, at a too-young forty-nine—which no doubt cast a pall for some time on his life and legacy, which I assume has righted itself. Mostly he’s been accused of Crimes Against Nonfiction. Many of the people he wrote about in this book and his subsequent ones accused him of writing everything from small errors to outright lies. He freely admitted to rearranging events, conflating characters, and so on, for the sake of his book as a whole—things I believe are surely allowed for the writer of literary nonfiction. Chatwin was no fan of the nonfiction and fiction division; he identified, I think correctly, that they were a product of “book marketing.” He eschewed the term “travel writing” so much he even asked his American agent that <em>In Patagonia</em> not be sold as such. The book is plainly a hybrid that includes travel writing, sure, and history, and myth, and imagination—the blend of which contributes to its originality and its brilliance. It reminded me of other motley works, like <em>Invisible Cities</em>, <em>The Rings of Saturn</em>, also <em>Candide</em>.</p>
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<h2>Yoga for people who can't be bothered to do it</h2>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/yoga-for-people-who-cant-be-bothered-to-do-it.pdf">Text: Yoga for people who can't be bothered to do it</a></p>
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<p><strong><em>Yoga for people who can’t be bothered to do it </em></strong><strong>(2003) by Geoff Dyer</strong></p>
<p>‘Excuse me,’ said Amsterdam Dave when she returned with our drinks. ‘We were just wondering. Does it seem to you that there are rather a lot of chairs here?’ Although Amsterdam Dave had addressed this question to the waitress, it was of course intended entirely for our benefit and amusement. And find it amusing we did. Very much so. Weepingly so. Ha ha. We couldn’t stop laughing. The more we tried to stop laughing, the more we had to laugh. As far as we were concerned it was just about the wittiest question in recorded history, a truly wonderful remark, right up there with anything ever said by anyone. Good old Amsterdam Dave. Having got us kicked out of one café, he was now in the process of getting us thrown out of a second. I struggled to get a grip on myself. I thought of the horrible conditions outside, I thought of us walking in the freezing horizontal rain, I avoided making eye contact with the others, concentrated on thanking the waitress and murmuring nonspecific apologies on our behalf. Then, when the waitress had gone off (in something of a huff), we subsided into giggles, wiped the tears from our eyes, and succeeded in getting a grip on ourselves.</p>
<p>In the wake of our giggling spasm I recalled that in the morning I had made an impulse purchase of a pair of trousers. Remembering this, I assumed that I had lost them in the course of our journey through the storm-ravaged streets of Amsterdam but, miraculously, they were here beside me, in a bag. I decided, there and then, to change out of my wet trousers, which were soaking cold and wet, and into my new ones, which were dry and lovely and warm. In the cramped confines of the toilet I had trouble getting out of my wet trousers, which clung to my legs like a drowning man. The new ones were quite complicated too in that they had more legs than a spider; either that or they didn’t have enough legs to get mine into. The numbers failed to add up. Always there was one trouser leg too many or one of my legs was left over. From the outside it may have looked like a simple toilet, but once you were locked in here the most basic rules of arithmetic no longer held true. Two into two simply would not go. It was insane, it took a terrible toll on my head. I concentrated hard, applied myself with a vengeance to the task in hand. I got one leg in. I got the other in. Hooray! A man who has finally put behind him the spectre of thirty years of unwanted celibacy – I’m in! – cannot have felt a greater surge of triumph and self-vindication than I did at that point.</p>
<p>Such exultation was short-lived, however, for these trousers were wet too. Somehow, I had put back on the wet pair that I had just taken off. The dry ones were still dry, waiting to be put on. I was back where I started. After all the effort of the last – how long? I could have been in here for hours – this was a crushing blow, and one I was not sure I could recover from. How had it happened? Human error, that was the only possible explanation. Human error. Somehow, evidently, I had taken off my wet trousers and put them on again. There was no other explanation, but what a huge mystery, what a maze of possibilities is contained by that innocuous ‘somehow’.</p>
<p>Undeterred – or more accurately, almost entirely deterred – I started again. I extracted my long limbs from the wet pair and carefully eased them into the dry pair. This time, after much effort, I succeeded in putting them on back to front. By now I was so resigned to failure, to disappointment and frustration, that I scarcely even stopped to consider what had gone wrong (human error again, almost certainly). Without pausing I tugged them off and, head reeling from the effort, put them on again – only to find that I had put them on inside out. In other, less trying circumstances this might have seemed a fairly poor show for a forty-two-year-old intellectual but, as things stood, I was happy to regard it as a qualified success, especially as someone was now banging on the door, claiming I’d been in there for ages, wanting to know what the problem was.</p>
<p>‘Good question!’ I called back, in high spirits again, stuffing my wet trousers into the bag. All things considered it would have been a high-risk venture – who knows what new permutation of disarray might have resulted? – to have attempted to get my new trousers off and on. They might have been inside out but they were on, they were on, that was the important thing.</p>
<p>Back in the café, surrounded by a sea of chairs, Dazed and Amsterdam Dave were unconcerned by the state of my trousers. Already, just seconds later, it seemed hard to believe that I could have run up such an enormous bill of difficulties back there in the changing room. It was another world, that toilet, practically a different universe, one with its own extraordinary set of problems and obstacles. A piece of sophisticated electronic music came and went on the sound system, subsiding in a long ambient wash that made a peaceful resolution of human difficulties seem a distinct, almost inevitable possibility. What with one thing and another we were all a bit bedraggled, but the café was quite a cosy place to marshal our resources or whatever.</p>
<p>Quite suddenly, Amsterdam Dave said, ‘By the way, did you know your trousers are inside out?’</p>
<p>‘No, they’re not,’ I said.</p>
<p>‘Yes, they are,’ said Dazed.</p>
<p>‘Well that’s where you’re both wrong,’ I said. The interlude of sitting quietly in the café had enabled me to see my earlier difficulties in the toilet in an entirely new light and to hold my own in any debate, however fiercely contested. ‘It might look to you – to outsiders, as it were – as if my trousers are inside out, but they are fine. I have turned inside out.’</p>
<p>‘That’s quite a controversial analysis,’ said Amsterdam Dave.</p>
<p>‘Controversial but, from my point of view, entirely correct. And now, if you don’t mind, I would like to discuss something else.’</p>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="../../../ib/englishalanglit/files/yoga-for-people-who-cant-be-bothered-goodreads.docx">Context 1</a></p>
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<p><strong><em><u>Yoga for people who can’t be bothered to do it</u>: Extracts of reviews from goodreads.com </em></strong></p>
<p>The only serious flaw in this otherwise extraordinary book is its title, which, in an attempt to seem playfully ironic, may mislead readers who would otherwise be glad to find it. It is decidedly not a talk-show-Dr. Phil-co-dependent no more sort of thing. It is rather a deeply meditative travel book, with chapters set in Paris, Cambodia, Libya, Amsterdam, and southern Thailand, and a narrative voice that is sly, lyrical, self-cynical, and painfully funny.</p>
<p>Geoff Dyer is blessed with a style that appears so effortless that it seems lazy. Or even provocatively lazy. It feels like writing for people that can't be bothered to do it, in fact. And yet, in his nonchalant, throwaway manner, he gets straight to the nub of things without wasting his time with context, plot, character, literariness. All these things are good. As is his frank, even naive way of telling compromising, incriminating stories about his own drug use, selfishness, fecklessness and ignorance, and the ridiculous situations that have arisen as its consequence.</p>
<p>Geoff Dyer races toward oblivion in this collection of travel essays, on a worldwide search for tranquility. He only sometimes finds it, and then only when he isn't looking. You would think, for example, that walking through Paris with a beautiful woman would translate easily into an idyllic experience, but you would be wrong. There are beautiful passages in the later stories about the transcendence to be found observing ancient Roman ruins and the beauty of the world seen through the right pair of sunglasses. Here's another example: Dyer finds his moment of inner peace not at the Kuang Si waterfall in Laos, but at a resort hotel in Ubud playing a game of catch meant to relive his experience at Kuang Si. He and a friend are standing on opposite overflow edges of the luxury pool. "Behind him was the gorge, the infinite edge," Dyer writes. "The ball was a yellow planet spinning back and forth through the blue sky. We were in a trance of throwing and catching. It could not go on forever but we never knew when the game was going to end, and so, at any one moment, it lasted forever."</p>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/yoga-for-people-who-cant-be-bothered-salon.pdf">Context 2</a></p>
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<p><strong><em><u>Yoga for people who can’t be bothered to do it</u>: Interview transcript with Geoff Dyer in Salom.com published February 25<sup>th</sup> 2003</em></strong></p>
<p>In “The Rain Inside,” one of 11 essays in Geoff Dyer’s “Yoga for People Who Can’t Be Bothered to Do It,” the author falls apart. Sitting in a Detroit diner called the Clique, looking out the window and noticing the rain, Dyer writes: “That day in the Clique I looked down and saw it was raining inside as well as outside. My egg-smeared plate was becoming wet. Drops of water were falling onto my toast, moistening my eggy hash browns. As I looked it rained harder and I could not see. I was crying.”</p>
<p>At the time of his ostensible breakdown, Dyer was visiting the Detroit Electronic Music Festival. His search for some sort of erotic encounter had failed, and one might assume that he was suffering from terrible loneliness. But readers ought to remember Dyer’s introduction to the book before diving into the rest: “Everything in this book really happened, but some of the things that happened only happened in my head; by the same token, all the things that didn’t happen didn’t happen there too.”</p>
<p>What’s remarkable is that you never know what’s fact and what’s fiction in Dyer’s essays and, perhaps more important, you don’t care. As in “Out of Sheer Rage,” a hilarious account of Dyer’s excruciating attempt to write a critical study of D.H. Lawrence, the essays in “Yoga for People Who Can’t Be Bothered to Do It” defy categorization. They blend travel writing and memoir, criticism and fiction. The result is often exhilarating, and endlessly entertaining.</p>
<p>In his latest effort, Dyer travels from Rome to Libya to Indonesia to the Burning Man festival in the Black Rock Desert of northern Nevada. But he was in his favorite city of all, San Francisco, when he spoke to Salon about the one experience that nearly ruined him as a writer, why he doesn’t feel the pressure to write fiction anymore, and why, for writers, drugs should be tax deductible.</p>
<p><strong>At the publisher’s luncheon for your new book you said that you were starting to feel that you didn’t <em>have</em> to write fiction anymore. Is that true? Why do you think that many writers think that writing fiction is the crowning achievement of their career?</strong></p>
<p>I think the answer would have to be historical. Now more and more is being done in the “neither one thing or the other” realm, so I’m happy to be one of the people opening up that territory. It sort of bugs me that some of the most conventional or least novel things being written are actually novels. So often it seems to me that the whole form of many novels is close to a cliché. You notice it in the last 40 pages of a book, when you feel it all being driven towards its novelistic apotheosis and climax.</p>
<p><strong>Do you read much contemporary fiction at this point?</strong></p>
<p>Less and less as I get older. But then, when I read “The Corrections,” it was a fantastic experience of complete immersion in this other world. Recently in England Richard Yates has been rediscovered, so I read “Revolutionary Road,” and there is a thoroughly traditional novel that’s really, really gripping. Quite often now I can’t be bothered to go through the whole process of the novel becoming a novel. The remarkable thing about “The Corrections” is that it starts being amazingly gripping by Page 3. I recently read the new T.C. Boyle book, “Drop City,” which again I was loving from Page 2. So the experience is still available.</p>
<p><strong>So you don’t have any plans to write another novel?</strong></p>
<p>No, all the time that I was failing to write “Paris, Trance” I had this sense of regret and failure hanging over me because I’d always wanted to do my version of “Tender Is the Night.” And then I did it and it really did sum up what I wanted to say and let me work through my Fitzgerald thing. Now I feel happy in this first-person stuff which has elements of fiction but wouldn’t end up being classified as a novel.</p>
<p>I think I was always disadvantaged when it came to writing fiction in that I have never been able to think of stories or plots. There are ways of getting around that. There’s that famous E.M. Forster comment, “Oh dear, yes, the novel tells a story.” Still, plot and story are important parts of a novel. In addition to that, I felt I’d never been that strong on character either.</p>
<p>When I left university, I thought there were two ways to go: Either you became a writer, which meant you wrote novels, or you became a critic, which meant you wrote about other people’s novels. Then I discovered [the work of] these European people like Roland Barthes — it was commentary and it was incredibly imaginative. Walter Benjamin would be part of that. And then crucially there was John Berger, who, although he was English, seemed very much in that European mode of “neither one thing or the other”-type writing. His book on Picasso (“The Success and Failure of Picasso”), which was this incredible work of art history and art criticism, was also as gripping as a novel.</p>
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<h2>A Time of Gifts</h2>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/a-time-of-gifts(1).pdf">Text:<em> A Time of Gifts</em></a></p>
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<p><strong><em>A Time of Gifts – On Foot to Constantinople: From the Hook of Holland to the Middle Danube </em></strong><strong>(1977) by Patrick Leigh Fermor</strong></p>
<p>After supper and filling in my diary in the front room of the inn in Persenbeug – I think I must have been staying there on the charitable-burgomaster principle – I started to sketch the innkeeper’s daughter Maria while she busied herself over a basket of darning. I was talking to her about my visit to St Florian: either it had been the wrong time for sightseers or a day when the Abbey was officially shut. The janitor was adamant. I told him it was my only chance – I had come all the way across Europe to see the Abbey; and at last, when I must have sounded on the brink of tears, he had begun to melt. He had handed me over to the friendly Canon in the end, who showed me all. Maria laughed. So did a man at the next table who lowered the Neue Freie Presse, and looked over his spectacles. He was a tall and scholarly-looking figure with a long amusing face and large blue eyes. He was dressed in leather breeches and a loden-jacket, and a big dark dog with Brueghel tendencies called Dick lay quietly beside his chair. ‘You did the right thing,’ he said. ‘In Germany you would only have got in by shouting.’ Maria and two watermen, the only other people in the Gastzimmer, laughed and agreed.</p>
<p>The Danube inspires those who live on its banks with an infectious passion. My companions knew everything about the river. They rejoiced in the fact that, after the Volga, which was almost too far away to count, it was the largest river in Europe; and the man in loden added that it was the only one that flowed from west to east. The watermen were full of lurid descriptions of the hazards of the Strudengau and their tales were amply borne out by the others. The man in loden, I discovered, spoke perfect English, but except in the frequent case of a word I didn’t understand, he stuck to German out of politeness to the others. The Danube, he said, played a rôle in the Nibelungenlied that was just as important as that of the Rhine. I hadn’t read it yet but I admitted I had never connected the story with any river but the latter. ‘Nor has anyone!’ he said. ‘That’s because of Dr Wagner! Magnificent sounds, but very little to do with the actual legend.’ Which part of the Danube? ‘Exactly here! All the way downstream, right into Hungary.’</p>
<p>We looked out of the window. The flood was rushing by under the stars. It was the widest river in Europe, he went on, and the richest by far in interesting life. Over seventy different kinds of fish swim in it. It had its own species of salmon and two distinct kinds of pike-perch – stuffed specimens of a few of them were hung round the walls in glass cases. The river was a link between the fish of Western Europe and those that populated the Dniestr, the Dniepr, the Don and the Volga. ‘The Danube has always been an invasion route,’ he said. ‘Even above Vienna, you get fish that never venture west of the Black Sea otherwise. At least, extremely seldom. True sturgeon stay in the Delta – alas! – but we get plenty of their relations up here.’ One of them, the sterlet, was quite common in Vienna. It was delicious, he said. Sometimes they ventured as far upstream as Regensburg and Ulm. The biggest of them, another sturgeon-cousin called the Hausen, or Acipenser Huso, was a giant that sometimes attained the length of twenty-five feet, and, in very rare cases, thirty; and it could weigh as much as two thousand pounds. ‘But it’s a harmless creature,’ he went on. ‘It only eats small stuff. All the sturgeon family are short-sighted, like me. They just fumble their way along the bottom with their feelers, grazing on water plants.’ He shut his eyes and then, with a comic expression of bewilderment, extended his fingers among the wine glasses with an exploratory flutter. ‘Its true home is the Black Sea and the Caspian and the Sea of Azov. But the real terror of the Danube is the Wels!’ Maria and the watermen nodded their heads in sad assent, as though a Kraken or the Grendel had been mentioned. The Silurus glanis or Giant Catfish! Though it was smaller than the Hausen, it was the largest purely European fish and it sometimes measured thirteen feet.</p>
<p>‘People say they eat babies if they fall in the water,’ Maria said, dropping a half-darned sock into her lap.</p>
<p>‘Geese, too,’ one of the watermen said.</p>
<p>‘Ducks,’ the other added.</p>
<p>‘Lambs.’</p>
<p>‘Dogs.’</p>
<p>‘Dick had better look out!’ Maria appended.</p>
<p>My polymath neighbour’s reassuring pats on the shaggy scalp at his side were rewarded by a languorous gaze and a few tail-thumps, while his master told me that a swallowed poodle had been cut out of a catfish a year or two before.</p>
<p>‘They are terrible creatures,’ he said, ‘terrible and extraordinary.’</p>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/a-time-of-gifts-praise(2).pdf">Context 1</a></p>
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<p><strong><em>Praise for <u>A Time of Gifts</u></em></strong></p>
<p> At the age of eighteen, Patrick Leigh Fermor set off from the heart of London on an epic journey—to walk to Constantinople. <em>A Time of Gifts</em> is the rich account of his adventures as far as Hungary, after which <em>Between the Woods and the Water</em> continues the story to the Iron Gates that divide the Carpathian and Balkan mountains. Acclaimed for its sweep and intelligence, Leigh Fermor’s book explores a remarkable moment in time. Hitler has just come to power but war is still ahead, as he walks through a Europe soon to be forever changed—through the Lowlands to Mitteleuropa, to Teutonic and Slav heartlands, through the baroque remains of the Holy Roman Empire; up the Rhine, and down to the Danube.</p>
<p>At once a memoir of coming-of-age, an account of a journey, and a dazzling exposition of the English language, <em>A Time of Gifts</em> is also a portrait of a continent already showing ominous signs of the holocaust to come (<em>New York Review of Books</em>).</p>
<p> The book’s strong magic derives in part from the atmosphere of miracle that attends Leigh Fermor’s peregrinations. He marches with the seven-league boots of youth, fatigue barely registering as whole countries roll beneath his heel. The comforting rhythm of his journey—exertion, encounter, rest, food, sleep—rocks its readers into feelings of happiness and invulnerability. <em>I could do this,</em> you think, <em>I could just start walking and keep going for a day or two, or three, or four, or more... </em>(Robert Macfarlene writing in <em>Literary Hub</em>)</p>
<p> This is a glorious feast, the account of a walk in 1934 from the Hook of Holland to what was then Constantinople. The 18-year-old Fermor began by sleeping in barns but, after meeting some landowners early on, got occasional introductions to castles. So he experienced life from both sides, and with all the senses, absorbing everything: flora and fauna, art and architecture, geography, clothing, music, foods, religions, languages. Writing the book decades after the fact, in a baroque style that is always rigorous, never flowery, he was able to inject historical depth while still retaining the feeling of boyish enthusiasm and boundless curiosity. This is the first of a still uncompleted trilogy; the second volume, <em>Between the Woods and the Water</em>, takes him through Hungary and Romania; together they capture better than any books I know the remedial, intoxicating joy of travel. (Thomas Swick writing in <em>South Florida Sun-Sentinel)</em></p>
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<p><a href="Browse server to select file" target="_blank" title="Activities"><img class="ico" src="../../../thinkib/icons/activities.png"> </a><a href="/media/ib/englishalanglit/files/a-time-of-gifts-biogrphy(2).pdf">Context 2</a></p>
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<p><strong><em>Extract from Patrick Leigh Fermor’s biography, <u>Patrick Leigh Fermor: An Adventure</u> (2012) by Artemis Cooper</em></strong></p>
<p>Elemér tried to persuade him to stay on, tempting him with the delights of the hunting season: chamois, stags and – he stayed on for the winter – bears. Yet Paddy felt he had already lingered at Guraszáda too long. Feeling very lonely for the first time in weeks he walked on towards Tomeşti, where he was expected by Herr Robert v. Winckler – a tall, thin, scholarly man, living alone with his books on the edge of a forest. Paddy was not long in his company, but it made a lasting impression. Winckler was the main ingredient in the composite portrait of the Polymath in <em>A Time of Gifts.</em></p>
<p>By now it was high summer. For two days Paddy scrambled through valleys and foothills, heading south-west towards Caransebeş to avoid the main road to Lugoj. He missed the company of Xenia and Elemér, but being on the march again brought solace, and he was pleased to find that his strength and endurance returned quickly after the weeks of soft living.</p>
<p>In <em>Between the Woods and the Water</em>, Paddy extended and elaborated the bare facts of his south-easterly walk through the forests and canyons of the southern Carpathians. Time and place are blurred, new scenes are added. Line breaks become mysterious: sometimes they signal a change of tone, sometimes they seem to indicate a shift in time. The result is a passage that, over several pages, recreates with astonishing intensity the feeling of being alone in the mountains: the sense of release, of time expanding, all cords cut, and a heightened awareness of the natural world.</p>
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<h2>Links to Theory of Knowledge (TOK)</h2>
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<li><span style="color:#000080;">In 2003, James Frey published a memoir called <em>A Million Little Pieces</em>. The book depicts the author’s life of drug addiction. The book sold millions, in part because it was promoted by Oprah Winfrey on her television book club. Not long after Ms. Winfrey endorsed the book, it was revealed that significant parts of the book were fabrication. Mr. Frey said in response that “this memoir is a combination of facts about my life and certain embellishments. It is a subjective truth, altered by the mind of a recovering drug addict and alcoholic.” Is there such a thing as a ‘subjective truth’?</span></li>
</ul>
<ul>
<li><span style="color:#000080;">Somaly Mam’s memoir, <em>The Road of Lost Innocence: The True Story of a Cambodian Heroine</em>, was first published in France in 2005 and tells the story of the author who claims that she was enslaved and sex-trafficked. The book was a great success. On the back of this, the ‘Somaly Mam Foundation’ was launched in 2007, an organization that worked to tackle the serious issue of sex-trafficking. After this, however, it came to light that Mam had invented her past as a child prostitute. If Mam’s account of a fictionalized past has the effect of championing the cause of children trafficked for sex in the real world, does the end (emancipation for children) justify the means (lying about your past)?</span></li>
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