How to arrange a bunch of flowers

Jon Stallworthy, poet and academic, who died in 2014. Read his obituary here.

 

Before we get started with reading ‘A Long, Long Way’, let me write one last post that may be useful to those who are trying to get to grips with Stallworthy’s anthology. A couple of years ago a student wrote to me, asking:

What could [you] say about the arrangement of the WW1 poems in the Oxford Book of War Poetry? I’ve read the introduction where Stallworthy said they were mainly chronological. I was wondering if you knew which were the exceptions and why? My teacher asked [me] to consider the arrangement in terms [of] the exam question, where I think I’m right in saying that one of the questions tends to ask about how a poem fits into the whole selection? Aside from being chronological are they arranged in any particular themes?

This question and the answer I gave to it has languished in a relatively unread section of the site. I think that as we shift focus for a while towards Barry’s novel it is good nonetheless to remind ourselves of Stallworthy’s impressive anthology and some ways we might approach how he organises the poems within.

As outlined by the AQA, there are 71 collected ‘poems’ in the First World War section of The Oxford Book of War Poetry, from Thomas Hardy’s ‘Men Who March Away’ (poem 99) to Ted Hughes’ ‘Six Young Men’ (poem 169). That’s a big selection of poems, covering many aspects of the experience of the First World War. We might well wonder: are they arranged in any particular themes?

The answer I have to this question is ‘I don’t know’ and, as Professor Stallworthy died in 2014, I am unlikely to directly divine the intentions of the anthologiser. But let me briefly talk you through a rudimentary plan of attack I have used in teaching how to revise the anthology over the years.

Stallworthy’s Anthology is broadly chronologically organised, but we can trace an underlying logic within this order.

The first poems are early responses to the outbreak of war- Hardy, Brooke, Asquith, Grenfell and so on. Hardy’s ‘Men Who March Away’ was published during the first week of the war- as early a response as you can get, really, from a great and elderly Victorian poet. Grenfell and Brooke’s poems are both romantic responses of young men to the war, and display attitudes to heroism and conflict that gradually become unavailable to the great war poets. McRae’s poem was written in May 1915 and so fits into the chronological pattern; but it also seems to evidence an early and relatively untroubled moral certainty about the conduct of the war.

Then we have the ‘transitional figure’ of Charles Sorely: a poet well versed in the classical poetic tradition who nonetheless seems a bridge between the naiveté of the earlier First World War poets and the later war experience, in which the deaths of millions become a reality.

There follow next two poems with very different moral and political positions regarding the British Professional soldier at the start of the First World War: the first a provocative contemporary musing by A.E. Housman, the second a relatively undistinguished but unashamedly political 1935 poem, in furious argument with the first.

A far more interesting and varied cluster of non-British poets follow, giving perspectives philosophical, aesthetic and political. Sandberg, Frost and Steven’s work evidence the objective and philosophical distance these writers have. Two striking French responses follow these, absurdist and surreal and stimulating; followed by five tumultuous poems by the great Irish poet, WB Yeats (Yeats will surely figure as a crucial poet in our upcoming reading of Barry’s ‘A Long, Long Way’).

The anthology then focuses on a cluster of collected works by the acknowledged greats of First World War poetry: Sassoon, Thomas, Gurney, Rosenberg and Owen. This is the core of the selection, works of those soldier-poets who for better or worse have defined our understanding of the conflict ever since. Rosenberg and Gurney give us poems from a war experienced by preternaturally artistically talented Privates. Owen and Sassoon’s poems reproduce with skill the peculiar experience of sensitive, intelligent, well-read, traumatised Officers. Thomas’ poems bring an elegiac and mature contemplation of the inherent experience of loss that war inevitably involves.

The two great poet-memoirists of the war follow, Graves and Blunden; it is advisable to read these sections in tandem with their great works, ‘Goodbye to All That’ and ‘Undertones of War’.

Then we have what might best be called a rag-bag of notables writing about the conflict, from Aldington to Binyon. There are straightforward but satisfying lyric poems like ‘Winter Warfare’ and ‘Battlefield’, but formal innovation too- the ever popular (with my students at least) E.E. Cummings, and the ever unpopular David Jones, whose outstanding ‘In Parenthesis’ is read in extract form (and what, after all, do students know- that’s right, I mean you, dear reader) .

After this, Ezra Pound (Ezra’s a he, by the way) and TS Eliot stand together as the great Modernist shock troops of the large ‘looking back on the war’ section. Following them are two embittered (and great) late-Victorian poet-provocateurs, Rudyard Kipling and GK Chesterton. These two writers concisely give us the most precise evisceration of the politics of a generation that is found in the anthology. Then follow two female poets, M.W. Cannan and Elizabeth Daryush, thrown in almost as an afterthought (this near complete absence of female voices about the war is the gravest weakness of Stallworthy’s anthology- I have been waiting years for a bright young feminist to get their teeth into this peculiar matter). Finally there are three poems about the first world war written late Twentieth century poets who weren’t alive at the time of the conflict. These strike me as very much photographic ruminations on the First World War, and none of the poems are anywhere near to being the poet’s best; but they each evoke a particular mood of looking backwards from what has now become a grave and forbidding distance.

These compartments are my inventions, but they’ve always worked in the teaching. I hope they will help you get a handle on the anthology. I wonder, do any students or teachers want to add their thoughts on how they approach the anthology?

(Oh, and first prize for the student who can make sense of my title for this article.)

 

And now for something completely different.

 

As my last post noted, the AQA English Literature A exam has changed. The  poems from Jon Stallworthy’s Oxford Book of War Poetry are still examined, of course, and I hope my notes for those poems will continue to be useful for you in revising for their exams. The links to wider reading that you find here will continue to be relevant to your studies. But in the new exam, these poems will be read in tandem with another text– a novel or drama. Clearly, then, for this site to remain fully relevant to the exam, we need to engage with the new element, a post-2000 novel or drama, and find the ways in which Stallworthy’s selection of poems might be found to be relevant to such a text.

Here, then, is the beginning of what I hope will be a study project that allows us to explore some of the key texts in the 2016 AQA English Literature A-level examination.

Over the next few months my students and I will be reading and writing about Sebastian Barry’s novel, ‘A Long Long Way’. This is the text we have chosen at Southfields Academy to study in combination with the Oxford Book of War Poetry.

For revision purposes I will post onto the blog at the end of every chapter a brief summary of the events that occurred in that chapter, and pose some of the questions that I feel that the chapter opens up for the reader. My students will respond, giving their own commentaries on the text, and supplying resources to the project for their peers to read and consider.

You can respond to those commentaries, answer those questions and proffer an opinion on points of interest on the Barry’s novel as we go. Join us as we read, and help us to broaden our understanding of this newly examined text.

Moreover, because ‘A Long Long Way’ is examined by comparing what we find in the novel to what we find in the poems in Stallworthy’s anthology, we will consider exactly what poems from that anthology engage with or influence the text.

As we go, I will also offer links, resources and analysis for you to explore crucial parts of the text. What kind of novel is ‘A Long Long Way’? What social or historical contexts inform the text? What have been other readers’ responses to the text? These questions and others will allow us to take a critical stance on the text, and allow us to participate in ongoing literary debates.

Do read along with us.

This Exam is No More: New Specification, New Rules

 

I’ve just had an email from a reader that I think demands that we all, as teachers and students, reflect on the type of examination that is upcoming, and the types of questions we are expected to answer in June. This site was originally launched to help students to study towards a now-dead English literature exam: the AQA English Literature A exam (2740). The Oxford Book of War Poetry was studied by answering one of a pair of questions in Section B of that exam. It cannot be said enough now that this exam is no more. It has ceased to be. It’s expired and gone to meet its maker. This is a late exam. It’s a stiff. Bereft of life, it rests in peace… this is an ex-exam.

The new A-level exam,  AQA English Literature A (7712) demands a very different approach, and as the good Mrs. Loman so passionately declared (look it up), attention must be paid.

Here’s the lovely letter:

“I love this website, it’s such a great resource! I’m studying this A-level distance learning and haven’t found much else useful. I was wondering if you still believe the AQA key poem list to be the same? Also if you were ever willing to do so, I’d be especially interested to see your take on some Wilfred Owen or Cummings as these are my favourite! Thank you for this site!”

The old AQA key poem list can be found here on this site, and with its mention, my blood ran cold. For this list is not relevant to the new specification. And it strikes me that some of you may think that it still is. Or even that your teachers may be telling you that it still is. It isn’t, because the whole way in which you are going to be examined on the the Oxford Book of War Poetry has changed, and changed radically. Here’s the answer I gave:

“The A-level examination has changed in the past year and the AQA A-level is now a quite different beast. It is crucial you get to know the specification (the map or plan for the taught course) well enough to know what you should study or learn for the exam: so much more so if you’re doing this alone.

You can find the specification here.

The old specification examined the Oxford Book of War Poetry in Section B in a pair of questions dedicated to the Oxford Book of War Poetry alone. The crucial difference in the new specification is that the poems examined in the anthology are compared to a novel or drama [I should have mentioned to the student here that all these texts will be examined in an Open Book situation– that is, you can take a clean copy of these texts into the exam]. One of the three texts you study for ‘World War One and its Aftermath’ MUST be written post-2000. Therefore, at Southfields, we are reading Sebastian Barry’s ‘A Long, Long Way’ in tandem with Stallworthy’s anthology.

The style of question we are moving towards answering with the OBWP and Barry’s novel is in Section B of the paper and will read like this:

‘Suffering in war comes in many different forms.’

Compare the significance of suffering in two other texts you have studied. Remember to include in your answer reference to how meanings are shaped in the texts you are comparing.

You must use one prose text written post-2000 and one poetry text in your response. [25 marks]

This is a question in which you are expected to have an understanding of the theme of suffering in Barry’s novel (the post-2000 text here) and a poem (which you choose) from the Stallworthy anthology. This sample question can be found here, in the AQA’s exemplary specimen paper for the new exam. The markscheme for the same specimen paper can be found here. Here is the AQA page for assessment resources. [Sorry, teachers, if I’ve just given away the secret of your January mock exam, but clarity for students comes first.]

What should be clear is that you, as a student, no longer have to know nearly every poem in the anthology as in previous years (or indeed follow the previous AQA key poem list at all) but instead should have an in-depth knowledge of certain key poems that are illustrative of the themes or concerns of first world war literature and, vitally, the novel or drama you are comparing it to.

In the specification, AQA states that “areas that can usefully be explored [in studying the First World War and its aftermath] include: imperialism and nationalism; recruitment and propaganda; life on the front line; responses on the home front; pacifism; generals and soldiers; slaughter; heroism; peace and memorials; writers in action and writers looking back; the political and social aftermath; different and changing attitudes to the conflict; impact on combatants, non-combatants and subsequent generations as well as its social, political, personal and literary legacies.” (p.16)

Learn and understand a great poem like Sassoon’s ‘The General’, for example, and you open up the potential to write about life on the front line, generals and soldiers, slaughter, heroism, different and changing attitudes to the conflict, and political, personal and literary legacies, to name a few aspects of the war. The clever selection of certain crucial poems will give you flexibility in your exam response. But you must ensure you study these poems in tandem with the prose or drama text you study, for you will be comparing the two in the exam in terms of theme or study area, as above.

Please be reminded again that if you are studying Stallworthy’s ‘Oxford Book of War Poetry’ for the A-level exam, you MUST ensure that one of your drama or prose texts is written post-2000, or disaster is certain.

I hope this helps.”

And indeed: I hope this helps.

The Best of Luck!

It’s the night before The Big One, and so I’d like to wish you all the best of luck in your AS exams– especially if, like our fabulous group at here at Southfields, you’re sitting the AQA English Literature exam tomorrow afternoon.

Exams are scary things, it’s true. I passed on some last minute thoughts about sitting them this time last year: you can read them here, if you’d like. I still stand by those thoughts! If you have any exam approaching, I wish you success. I hated exams– but they do get you places.

Many thanks to all of you for making ‘Move Him Into the Sun’ such a success. We had our 150,000th visitor this weekend. 2,318 people have visited the site so far today– it took over half a year for the site to get that many hits in a single month!

Thanks, finally to this year’s AS group at Southfields– a lovely class who made teaching the subject an absolute pleasure. You know I’ll be thinking of you all tomorrow. Well, actually, I’ll be waving you all into the hall.

Good luck!

Key Poems in the Oxford Book of War Poetry [AQA correction: please read]

[IMPORTANT CORRECTION, January 4th 2016: THIS AQA KEY POEM LIST WAS ONLY RELEVANT TO THE ENGLISH LITERATURE A SPECIFICATION (2701) THAT ENDED IN JULY 2015. THOSE STUDYING THE CURRENT ENGLISH LITERATURE A SPECIFICATION (7712) ARE ADVISED TO IGNORE THIS LIST AS OBSOLETE.]

Panic on the streets of London, panic on the streets of Birmingham,
I wonder to myself– will life ever be sane again?

[IMPORTANT CORRECTION: 9th May 2012]

In the post below, this blog originally stated (on 5th May) that ONLY the AQA Key Poems listed below could be selected for the ‘Remind yourself of the poem(s)…’ question in part 1b of the exam. 

This is NOT the case. ANY poem may be examined from the anthology WWI selection. To be clear: AQA have only ever chosen poems from this Key Poems list for their January and Summer examinations. This is NOT, however, a matter of policy for the board. To repeat: ANY poem may be examined from the anthology WWI selection. 

The full clarification from AQA is as follows: 

“To be clear, when the key poems lists were originally disseminated, it was with the clear statement that they were intended as a guidance document for teachers to offer a ‘likely starting point’ when approaching the set texts. Students are expected to have read the whole text. [My emboldening here].

I’m sure you will appreciate that we cannot state that the named poem question will come from this list, despite the fact that it has done so to date.”

Apologies, then, to all of you for disseminating the wrong information about this list of Key Poems. 

I have now corrected the article below. You would still be wise to use the list below strategically when revising: after all, if they’re ‘Key Poems’, and in the past every poem-based question in 1b has come from this list, you would presume that the poems on this list are likely to come up in the exam– wouldn’t you?

[ENDS: ORIGINAL ARTICLE BEGINS WITH CORRECTIONS]

Exam time draws near for students studying the AQA English Literature Specification A exam. Panic is in the air: the faces may change, but it’s the same story every year. There’s panic from the students who skived all year, who now know they need a miracle to get that ‘C’. There’s panic amongst the students who’ve worked hard all year and really want to make the right choices in revising for the exam. There is even– whisper it– sometimes panic amongst teachers, who worry whether they’ve prepared their students as best they can. Let’s face it, exam time is stressful for nearly everyone. As a sixth form tutor as well as an A-level teacher, I see the effects all around me: the most rational people get snappy, and lack sleep, or haven’t seen the sun in weeks, and indulge in over-eating, or fall into under-eating… there’s avoidance, confrontation, aggression, exhaustion. And that’s just the teachers. (boom-TISH!)

Anyway, this post is in answer to concerns expressed by one Move Him Into The Sun reader who is fearful that their teacher hasn’t taught them every poem from the WWI selection in the Stallworthy anthology. I think there’s probably a good reason for this, and the information I supply here in answer might help iron out a few creased brows for other students too.

Here’s one big worry for those sitting the exam. In part 1b, students are typically given the option of choosing a thematic question or a question centred on one or two poems (in both, of course, you have to bring in your wider reading). This latter question often begins, “Remind yourself of the poem(s)…’. A big worry with the exam is that, should you for whatever reason have missed reading a poem, that this poem will come up as a question, and you’ll have to fall back on the thematic question to show off what you do know.

This is when narrowing down the poems that you must revise becomes a big help for students. Now, the AQA board supplied teachers with a list of key poems from the Oxford Book of War Poetry when they set out the specification (though it is almost impossible to find this list online– a flaw that AQA should amend quickly, if they truly believe, as they say they do, that transparency with students about assessment is the key to success).

What this means for you is that, crucially, not all the WWI poems in the Stallworthy anthology will be the subject of a question in part 1b. All the poems in Stallworthy’s selection will be rewarded in marking, so if you’ve studied all the poems for the exam, don’t fret, you haven’t wasted your time. [This is an AQA expectation.] Only select Key Poems, however, will form the basis of an essay question. [Any poem may be selected for examination– nonetheless the poems examined thus far have all come from this Key Poems list.] These are the Key Poems given to me by AQA:

Men Who March Away; In the Time of the Breaking of Nations; Peace; The Dead; The Soldier; The Volunteer; Into Battle; In Flanders Fields; ‘All the Hills and Vales Along’; ‘When you see millions of the mouthless dead’; Epitaph on an Army of Mercenaries; Another Epitaph on an Army of Mercenaries; An Irish Airman foresees his death; ‘They’; The Hero; the Rear-Guard; The General; Glory of Women; Rain; As the Team’s Head Brass; To His Love; Ballad of the Three Spectres; The Silent One; On Receiving News of the War; August 1914; Break of Day in the Trenches; Dead Man’s Dump; Returning, We Hear the Larks; Anthem for Doomed Youth; Dulce et Decorum Est; Exposure; Insensibility; The Send-Off; Futility; Strange Meeting; Sergeant-Major Money; The Zonnebeke Road; Winter Warfare; ‘my sweet old etcetera’; ‘next to of course god america i’; For The Fallen; from Hugh Selwyn Mauberley; Triumphal March; Elegy in a Country Churchyard; Epitaphs of War; Subalterns; Rouen; MCMXIV; The Great War; Six Dead Men.

To state again, you will be able to use the other WWI poems in the anthology in question 1b, and these will be rewarded; but only the poems above can be [have historically been] the subject of one of those ‘Remind yourself of…’ questions.

Hopefully, this little bit of information will help the more strategically-minded among you plan for the exam– and set to rest some who are worried that they haven’t been taught the whole anthology. [My greatest regret here is that while I hoped to bring some clarity to the examination and reduce anxiety amongst all you who are sitting the exam next week, I fear I may have muddied the waters and raised nervousness amongst some of you. To be clear: this list of poems remains a good guide to the poems that the AQA prefer to examine candidates on. It is so good, in fact, that it has had a 100% hit-rate so far. It is simply that I cannot categorically say that the poem(s) in 1b you are asked to write on will come from this list. But let’s say this: it’s highly likely.]

Good luck– and don’t waste the Bank Holiday weekend! Find time for revision- and rest.

How to Use This Site to Revise

“Look, I’m telling you, I started at ‘A’ and went right through to ‘Z’, and I’m stuffed if I can find it.”

January nears: and that means A-level exams. It struck me that I haven’t posted on the ways that this site might help you prepare for your exams.

One of the nice features of a blog like this is the category cloud that you’ll find in the column to the left of this posting (just scroll down). In the exam– especially those of you sitting the AQA AS exam– you will be asked questions or given texts that ask you to link that text (be it a poem, play, fiction or non-fiction) to your wider reading. So it’s always a good plan to have an idea of those poems that have common themes. The category cloud (and the Themes, Issues and Events box beneath) allows you to find poems and posts that I have linked by category.

For example: say you want to link war poems which prominently feature nature and natural imagery. Go down to the Category Cloud and you’ll find a category called ‘Pastoral/Natural Themes’. Click on this and it will bring up a number of posts and poems that feature this theme: ‘Break of Day in the Trenches’, ‘War Horse-Review’, ‘On Receiving News of the War’, ‘To His Love’, ‘As the Team’s Head Brass’, ‘Rain’… and so on. You can use this list to analyse just what kind of natural imagery is found in the poems: the similarities and difference found in Thomas’ ‘As the Team’s Head Brass’, say, and Hardy’s ‘In Time of the Breaking of Nations’. The list isn’t exhaustive, of course (I’ve only got as far as Rosenberg so far) and you shouldn’t rely on my categorisation alone! But this may be useful for you to make simple mind maps about the relationships between poems.

You can also do the same when reading individual poems: zip up to the top and you’ll find the categories each poem is failed under just underneath the post title. Click on a category and it’ll bring up all the other posts linked to that theme (be careful when you choose a large category like Pastoral / Natural Themes– there may be more than one page).

If you’re feeling a little shaky about historical context, check out the category, ‘History’: it’ll bring up a number of posts, some of which may be useful to you. There are, among other subjects, posts that link to articles about about life in the infantry, zeppellins, popular culture and so on. Even if you can’t find a post about your concern, there may be links to other sites that will help you. Give it a try.

Finally, if you’re puzzling about a reading or a revision issue, you might click on ‘Ask Mr. Griffiths’ at the top of the blog. I can’t guarantee that I can help you– and I’m afraid I’ll never do your work for you– but if I can point you in the right direction, I will.

Good luck!

A-level Results Day at Southfields!

It’s that time of year again.

In schools across England and Wales, students received their results for their AS and A-level qualifications today. Earlier I drove down to Southfields, taking my new baby boy Ieuan for a quick meet and greet. There I found out the results for my students– always a nervous time– and managed to catch a few of them collecting their results in the school gym.

It’s been another good year at A-level for the Southfields sixth form: and my AS group has much to be proud of. It was lovely to catch up with one of my students, clearly chuffed to have achieved an A grade. Of course, amidst the jumping for joy there’s also disappointment– but at least at AS there’s always the January resits. It’s rare that a committed student can’t improve a grade.

To everyone who has used this site in the past year to help your A-level studies, I sincerely hope that it has helped you: and I hope that you have achieved all you wanted. To my students at Southfields, I want to declare my continuing admiration and respect for your hard work and your academic success. Well done!

Review – AQA AS English Literature Exam, 23rd May, 2011

So, there we have it. Another year’s summer examination over. What did you think of the exam this year?

I’m so-so on it. I think it’s hard to deny that question 1a was excellent; a letter from Lt. Colonel Rowland Fielding to his wife expressing his affection for his trench comrades, and alienation from the folks at home. If you couldn’t answer this question and link it to your wider reading, you really had no right to be in the examination at all.

Question 1b, however, was much more tricky and debatable as a test offering.

If you studied the Stallworthy anthology, you were offered a two choices. The first question asked candidates, ‘How far would you agree that the poems by women in this selection present significantly different views from those written by men?’. This is a nice but problematic question, given that there are only two poems written by women in the entire selection of sixty-eight poems. If a candidate doesn’t know at least one of these poems, he or she is, to put it frankly, stuffed. If they do, the world is their oyster. It’s a massive shame, I think, that the examiners decided to examine a fundamental question about gendered perspectives on the war through what are undoubtedly peripheral poems in the selection. Better to test on Sassoon’s ‘Glory of Women’ and allow the better candidates to reach out to ‘Subalterns’ and ‘Rouen’.

The second option in Question 1b was based on Yeats’ ‘An Irish Airman Foresees His Death’, asking students to contrast attitudes in the poem to those elsewhere in the selection. Now, in terms of commenting on form, structure and language, this is great selection. The eulogising of Gregory’s death, along Yeats’ attribution to Gregory a higher impulse than patriotism, makes this a good poem to compare to other poems that indulge in either. Yeats’ later ‘Reprisals’ can be referenced and contrasted. Moreover, in his editorial choices, Yeats also links directly to Owen and the whole question of the viability of war poetry. On the surface of things, this seems a cracking selection.

Yet I think there is a problem with this question too. Our group spent just under two weeks studying Yeats and the five poems in the selection; more than enough time, you might think, to get to grip with his poems. Yet the profoundly important Irish context makes these poems difficult and daunting for students already getting to grips with the massive historical challenge that is the European theatre of the First World War.

Difficult is fine, of course. Accessible is another. The problem with question 1b in this exam, I think, is its accessibility to A-level students studying First World War poetry through the Stallworthy anthology. When viewed in combination, the questions selected should have allowed all students to display their knowledge, at the high and low ends. And when viewed in combination, I think it is hard to argue that that Question 1b allowed students to do this.

Was this was a fair examination, then? I’m not sure. In some ways I think that this was a good exam that was unnecessarily obscure in at least one of its questions for section 1b. Personally I’m tired of the needless obscurity that examiners seem to habitually indulge in: but I’m not sure that this is a prime example of this habit since this exam began three years ago.

I’m going to throw this question out to others– to you, the students who sat it.

Good Luck!

As if the revision wasn't going bad enough, suddenly a flock of angry owls, led by a cat having a stroke, attacked the hapless student.

So it’s the night before your big exam.

Or it is if you’re sitting your AQA AS English Literature examination tomorrow. There are a lot of you out there for whom Monday is your big day– at any rate, the viewing figures for this site have gone through the roof. Move Him Into The Sun hit a remarkable milestone today: over 25,000 hits in this, its first year. We’ve had over 1,000 hits today alone. That’s a lot of people revising! It can’t just be the members of my fabulous class at Southfields.

So doubtless you’re a little nervous. Perhaps even anxious. Or desperate. Or terrified!

All these responses are natural. I guess you’ll know in your heart of hearts whether you’ve put in the hours throughout the year. If you have, try not to worry. Even if the exam tomorrow is an absolute nightmare, you’ll still find a way to show off your knowledge. If the question you’re asked isn’t perfect, first, take a breath. Don’t panic. Remember how interlinked so many aspects of the war are, and contemplate how you can link what you do know to what you’ve been asked. You’ll find a way. Remember, too, that the person marking your paper isn’t a monster. They’re looking to reward you for what you write. So after that initial sinking feeling, don’t freeze.

Some of you will know that you could have, should have worked harder. We’ve all been there. Well, the first thing to say is that, even if everything goes terribly tomorrow, you’ll have the chance to resit again in 8 months: that’s a lot of time to work to make things better. Some of you will be kicking yourselves because you’ll have only discovered what a fascinating subject you’re doing as you desperately try to catch up. Well, if that’s the case, you’ve learnt something precious– and who knows? Perhaps the exam will ask you about those things you do know well. Optimism is as good as pessimism at this point.

What will come up tomorrow? Who knows. You can only make educated guesses at this kind of thing. If I were setting the exam, I’d say that we were overdue for something on Sassoon or Brooke– something related to patriotism and protest. I’m also waiting for Isaac Rosenberg to crop up sometime– his ‘Break of Day in the Trenches’ is such a richly associative poem, of such quality, that I’m sure we’ll see it feature one year in question 1b.

But I’m useless at predicting these things. Honestly. Don’t let me panic you: historically, I’ve had a 0% hitrate at this kind of guessing game. At the end of the day, it’s preparation that counts, not soothsaying.

So, one last piece of advice: get to bed nice and early tonight, and when you get up tomorrow, have a nice, big breakfast before getting to school in plenty of time. Rest your brain and body before the test ahead!

Good luck. I’ll be thinking of you tomorrow.

(especially you, Southfields students!)

Three months to go! So…

Tick tock...

That’s right! Today is the 23rd of February, 2011. An auspicious day. Yet, we must leave. Let us climb aboard our time machine.

We hop on board the rickety machine, you and I.

Night follows day like the flapping of a black wing as we speed to the morning of the 23rd of May, 2011, three months from now.

There, we climb off the machine. It is a typical early summer’s day in London. From a black sky drops hail the size of golf balls, smashing violently all around us: we run towards the nearest building, and find ourselves outside a curious hall.

There are a strange people here. They seem a little like you– but different somehow. They are thin, and seem to lack sleep. Some have their eyes closed as they mumble to themselves. Words? Numbers? It is hard to tell. One male, tall, seemingly energetic, laughs nervously as he looks from his papers to his watch.

You suddenly halt. At the entrance to the hall, a door opens. You grab my arm. There!– at the front of the queue!– who is that person that looks– so much like– you?

It is you.

This is the moment before you sit your AS level English paper, on May 23rd, 2011.

Don’t Panic! Here’s where you can get AQA Past Papers and Markschemes to prepare for the times ahead.

[Once you’ve linked to the page, you’ll see a tab called ‘Key Materials’ underneath the four handsome Aryans that AQA have chosen to advertise their qualifications. Click on this and go down to ‘Past Question Papers and Markschemes’. Then select one of the three exams that have been held so far. Good luck!]