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How to nail a Frankenstein essay

September 7, 2017

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Whether you consider yourself a Frankenstein expert, or someone who is a bit taken back by the density of the novel and Shelley’s writing, do not fret! Below I will outline 3 tips which, will hopefully give you a clearer perspective on how to approach writing on Frankenstein! Let’s get started!

1. ALWAYS TRY TO TALK ABOUT SHELLEY’S CONCERNS

Since the book was set during the Age of Enlightenment and the Romantic era, Shelley essentially used Frankenstein as a vessel to criticise and warn readers against many of the values upheld during her era. It’s therefore crucial that you address this!

The late 18th century and the first decades of the 19th century were exciting times for science and exploration. Shelley’s two main protagonists, Walton and Frankenstein, both passionately sough to discover what had previously been hidden. Walton wanted to be the first to find a passage through the Arctic Circle; Frankenstein wanted to be the first to create manmade life, to uncover the mysteries of Nature.  Both men claimed to be desirous of benefitting humankind but both wanted glory more. This obsession to win accolades for their discoveries will destroy Victor, and turn Walton for a while into a hard taskmaster over his crew.

Juxtaposed against these two characters is Henry Clerval. Clerval, too, has an inquiring mind but he also cares about humanity, family and friends. He represents the balanced human being who is sociable, compassionate, intelligent and loyal to his friends. Victor’s ability to reanimate the dead, to bring to life his gigantic Creature using the newly discovered electricity, makes him a genius but also a monster. In his inexperience he botches the work producing a hideous and terrifying creature with, ironically, initially all the virtues of the ideal man of he world. Repulsed by his amateurish handiwork, Victor abandons his creation, setting in place the vengeance that will unfold later.

Try to ground any response to Shelley’s text in the enormous enthusiasm for new discoveries and new geographic phenomena that attracted lavish praise for those who went where others feared to tread. It was this praise that drove Walton and Frankenstein to exceed reasonable expectations becoming reckless and careless of the consequences of their actions.

2. ALWAYS TRY TO DRAWS LINKS AND CONTRAST DIFFERENT CHARACTERS AND THEMES!

Walton, Frankenstein and the Creature are interconnected in so many ways – whether it be their isolation, ambition, desire for companionship, desire for vengeance or the Romantic values they share. I’ve also noted that it is also really easy to connect themes in Frankenstein as the tragic story-arc of the novel is built upon many different causes. What I mean by this is that there is a clearly define relationship between isolation, ambition and vengeance (and ultimately tragedy) in the sense that isolation is what led to the brewing of unchecked ambition which essentially causes the resultant tragedy.

Take Frankenstein for example: having left his loving family and friends, who provided him with love and companionship for Ingolstadt, there was no one to hold him back from his natural tendencies towards unchecked ambitions, leading him to creating the monster who out of spite towards society kills all of Frankenstein’s loved ones, leading them towards the desire for mutual destruction. Being able to see these links and draw them together will not only add depth to your writing but it also arms you with the ability to be able to deal with a wider array of prompts.

3. ALWAYS TRY TO LOOK FOR MORE NUANCED EXAMPLES AND DISCUSSIONS!

While Walton, Frankenstein and the Creature can be discussed incredibly thoroughly (and by all means go ahead and do it), but it is also very important to consider the novel as a whole and talk about, if not more thoroughly, on the minor characters. While characters such as the De Laceys, villagers and the rustic in the forest can be used to highlight the injustices brought upon the creature and people’s natural instincts of self preservation and prejudice, innocent characters such as Elizabeth and Justine can be used to emphasise the injustice of society and the consequences of unchecked ambition and isolation.

Henry Clerval (like previously mentioned) can be contrasted against Walton and his best friend Frankenstein to show that as long as we have a balanced lifestyle and companionship, ambition will not lead us to ruin. Characters such as the Turkish merchant can also have parallels drawn with Frankenstein in telling how our selfish desire and actions, born out of inconsideration for their consequences, can backfire with great intensity. Lastly the character of Safie (someone I used a lot in my discussions) can be compared and contrasted with the Creature to show the different treatment they receive despite both being “outsiders” to the De Laceys due to their starkly different appearances.

Mentioning these characters and utilising these contrasts can be monumental in showing your understanding of the novel and by extension, your English analytical ability.

[Video Transcription]

‍ Hey guys, I'm Lisa, welcome back to Lisa's Study Guides. Today, we're going to be talking about Frankenstein and breaking down an essay topic for it. So in the past, I've done plenty of videos looking at different types of essay topics and breaking them down by looking at keywords and then going into the body paragraphs and looking at those ideas. This time round, the takeaway message that I want you to leave with is understanding what types of evidence you should be using inside your body paragraphs. Specifically, I wanted to talk about literary devices or metalanguage. Mary Shelley, the author of Frankenstein uses so many literary devices that it's impossible to ignore. If you are somebody who is studying this text or other texts that you use and are heavily embedded with literary techniques, then it's really important that you don't just use dialogue as part of your quotes, but actually reading between the lines. I'll teach you on how it's not just about finding dialogue, which you include as quotes inside your body paragraphs, but reading between the lines, so looking at literary devices like metaphors, symbols, imagery, so let's get started. Mary Shelley's Frankenstein constitutes escaping critique of the prioritization of scientific advancement over human welfare and relationship. Dr. Frankenstein is fascinated with science and discovery, he is consumed with the idea of a new and more noble race by stitching up dead body parts from a cemetery. He feverishly works away at his experiment until one day the creature is born. Frankenstein is horrified at the living thing he has made and completely rejects the creature, leaving it without a parental figure. The creature is left alone to look after himself. He educates himself and on repeated occasions tries to approach people in society, however, is rejected every time because of his monstrous appearance. As a result, the creature becomes enraged at humanity and Frankenstein's unfair treatment towards him and consequently exacts revenge on Frankenstein and his family. The essay topic we'll be looking at today is, Our sympathies in this novel ultimately lie with the creature. Discuss. So in previous videos, we've looked at keywords, how to identify them and how to define them. Since it's pretty straightforward for this essay topic, I thought I would skip that part and then go into the more nitty gritty with the body paragraphs. But, if you are unfamiliar with these steps, then I'll link them in the card above and also in the description below so you can have a look at how I went ahead and did the keyword section in my planning, now back to the prompt. Unequivocally within Frankenstein, Shelley portrays sympathy as spread throughout the text through depicting the creature as innately human through his desire for relationship and the challenges he faces at the hands of the prejudice enlightenment society he's born into, Shelley elicits sympathy for his situation. However, through the notable absence of the female gender throughout the text, Shelley portrays those silent within society as most deserving of sympathy. So, with this in mind, here are the potential paragraphs in response to this prompt. Paragraph one, Shelley's depiction of the creature as innately human motivates support for his challenges at the hands of a prejudice society. The action of the creature to open his dull yellow eye, symbolic of his nature as a human being alongside a green wrinkled on his cheeks, with one hand stretched out, indicates his simple desire for paternal connection. Through constructing the creature's actions as innately human Shelley acts proleptically of the inequitable experiences the creature will experience throughout the structural architecture of the text. And through doing so, depicts his character as worthy of support. Similarly, through the metaphor of fire, Shelley explores the duality of progress and innovation of which the creature desires. The fire, one that gives light as well as heat, yet also causes a cry of pain, indicates the hardships of the creature in his isolation, whereby, his forced to withdraw from his desire for education. Upon viewing himself in a pool, the creature becomes "fully convinced that I was in reality [a] monster" with the consequent sensations of despondency and mortification granting the reader the opportunity to sympathize with the creature in order to indicate the intensely negative social prejudices that are inflicted upon the creature. So you can see that we've looked at symbols of the creature's nature and the metaphor of fire to support our topic sentence. Using literary techniques is what's going to make the difference between you and another student who might be saying the same thing. Why? Because when you look at literary devices, it means that you're reading just beyond the lines, just beyond what's in front of you. You're now introducing your own interpretation, so you're looking at fire and thinking about what that means in connection to the text, and why Mary Shelley would use the term of a fire and revolve her discussion around that. So let's see how we keep doing this in the next body paragraph. Paragraph two, Shelley indicates the significance of relationships as a key element of human nature that the creature is denied, motivating affinity from readers. In replacement of human relationships, the creature rather seeks comfort within the natural world. The metaphorical huge cloak that the creature takes refuge within indicates this, illustrative of an ecosystem, the forest allows the creator to surround himself with life. The subsequent attempts to "imitate the pleasant songs of the birds" reveals the desperate urge of the creature for companionship as he is abandoned by the paternal relationship represented by Victor Frankenstein, which forms a core of human relationships. Again, here we've discussed the metaphorical huge cloak and its connection with the forest, I strongly encourage you to have the goal of discussing at least one literary device per body paragraph. And no, there is no such thing as talking about too many literary devices because it's really just about whether or not your argument is concise and whether or not you're backing that up with evidence. Paragraph three. However, it is Shelley's depiction of the submissive female sex within Frankenstein that becomes most deserving of sympathy. Each female character is characterized as passive, disposable, and they're serving a utilitarian function, namely as a channel of action for the male characters within the text. Notably, the complete lack of absence of Margaret Saville, functioning only as an audience for Walton's letters exemplifies this. Margaret's role within the text is simply to enable Walton to relay the story of Frankenstein and as such were the most necessary character of the texts whilst the most distant. This ironic dichotomy enables Shelley to exemplify the difficult role of the female within society, arising sympathy from the readership. Here, even the purposeful emission of a character is discussed as a language technique. So, this type of literary device definitely tops the cake because you're literally looking at what's not even there. That's definitely reading between the lines. Frankenstein is a very complex novel, and sometimes that's what makes it a difficult text to study. But, it lends itself to many unique interpretations and it's heavily dressed with heaps of literary devices or metalanguage, however you want to call it. So, that's what makes it an absolutely fantastic text for high school students to study. If you wanted to find out more on how to nail a Frankenstein essay, then I'll link you to my blog just down below, because there are definitely more tips there to help you excel in this particular text. Thank you so much for watching, and especially even if you're not studying this text, I hope you've been able to take something away from this video. And I'm confident that you have because talking about literary devices is definitely a topic that isn't necessarily the fore front of discussion in classrooms, and it's something that a lot of people struggle with. So, I hope you are able to walk away with a new goal in sight in order to improve your English essays. So, I will see you guys next time, thank you so much for joining me, see you guys soon. Bye!

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‍ Station Eleven is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Breaking Down a Station Eleven Essay Prompt

We've explored themes, characters, symbols and provided a summary of the text over on our Station Eleven by Emily St John Mandel blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

Here, we’ll be breaking down a Station Eleven essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Without further ado, let’s get into it!

The Prompt: ' The distortion of memories can be harmful.' Do you agree?

Step 1: Analyse

The first thing to note about this prompt is that it's a theme-based prompt, focussing specifically on the theme of memory, which plays a significant role throughout the novel! But more specifically, it's asking directly about the impacts distorted (i.e. misrepresentative/twisted/warped) memories have on individuals, and whether this is harmful or not. So ultimately, you have to look at which memories are distorted throughout the novel, and evaluate whether this process is ultimately helpful to the characters or not.

Not sure what we mean by ‘theme-based prompt’? Then, you’ll want to learn more about the 5 types of essay prompts here .

‍ Step 2: Brainstorm

• Many characters' memories are altered significantly from what actually occurred - this is especially relevant for the characters living after the pandemic, as memories naturally distort over a 20-year period
• The two main characters we see whose memories are altered the most are Tyler and Kirsten - both of whom were children during the collapse of civilisation
• For Tyler, his recollections of the past are all dominated by violence and this has a significant impact on his worldview. One could very easily argue that it is this distorted view of reality that ultimately leads to the formation of his cult and the subsequent harm he inflicts
• Thus, in the case of Tyler, it is quite clear that the distortion of memories has been quite harmful
• However, on the other hand, Kirsten has had to commit unspeakable acts, (as implied by her being unable to remember her past/childhood), but this is seen as a coping mechanism, allowing her to move forward in life
• Thus, for Kirsten, the manipulation of her memories through her forgetting is ultimately rather positive!
• Memory distortion doesn't just relate to these two characters - it also affects Clark quite severely
• He is shown to be quite unhappy in the pre-apocalyptic world, which is a stark contrast to his fulfilment by the end of the novel. What causes this?
• This can be attributed to his distortion of memories which allows him to view the old world in a far more positive manner, with significant nostalgia
• Thus, like Kirsten, Clark's distortion of memories is also presented as largely beneficial
• So ultimately, while there are downsides to manipulating one's memories (Tyler), Mandel shows that distorting memories is largely a positive coping mechanism for many characters!

Step 3: Create a Plan

From my brainstorming, I'll be approaching the essay with the following contention: 

Distorting memories can be harmful but more often is beneficial.

Now it's time to work out our paragraph ideas.

P1: Tyler's distortion of memories is largely detrimental and therefore harmful because they are tainted with violence and thus exacerbate his suffering.

P2: However, Kirsten uses this as a coping mechanism, enabling her to move forward from the trauma associated with the collapse of society and therefore the distortion of memories is necessary in her case.

P3: Further, Clark's rose-tinted view of the past world allows him to come to terms with the collapse of society and again is beneficial.

While Emily St. John Mandel's post-apocalyptic novel Station Eleven illustrates the harm which can be associated with the distortion of memories, it ultimately expounds on the benefits which can be garnered by those who alter their perceptions of reality given how this can serve as an invaluable coping mechanism to process trauma. The non-linear structure of her novel, achieved through the interweaving of pre- and post-lapsarian scenes (1) , allows her to sculpt parallels between her characters who are able to accurately recall both the positives and the negatives of the 'modern world'. She thus advocates that whilst the distortion of memories can perpetuate and enable violence, it can alternatively result in tangible benefits when utilised in a positive manner, thus exposing Mandel's credence in how this can actually serve to benefit individuals and entire communities as a whole.

Annotations (1) It is really useful to show an understanding of how the novel has been constructed and why - so through Station Eleven not following a traditional model of time, this allows Mandel to really contrast between her characters - namely Kirsten and Tyler.

Mandel expounds (2) how the distortion of memories can ultimately exacerbate the suffering experienced by vast sectors of the community, arguing that it is this which actively perpetuates harm due to the inability of humans to adequately process trauma, particularly trauma which stems from one's childhood given the loss of innocence which accompanies this. Indeed, Tyler, who was characterised as a young boy during the 'neutron bomb' of the Georgia Flu and the subsequent destruction of civilisation 'had the misfortune of remembering everything', ultimately resulting in dire consequences for the majority of characters who interact with him. Mandel condemns Tyler's innate desire to justify the pandemic, arguing his inability to forget, process and fully comprehend ‘the blood drenched years of the collapse’ drives the creation of his cult which eventually perpetuates great suffering. This ultimately results in significant consequences, thus allowing her to denounce how the distortion of memories (with Tyler's recollections largely being defined by extreme violence and gore) can be extremely harmful. Indeed, 'ruling with a combination of charisma, violence and cherry-picked verses from the Book of Revelations', Tyler damages the overwhelming majority of people he comes into contact with, from having numerous 'child brides' to rendering the town of St. Deborah by the Water 'unsafe' to his cult containing only a few 'true believers', (3) serving as the embodiment of humanity's insatiable lust for power. Through his reciting of only phrases from the Book of Revelations, labelled the most exclusionary and brutal book of the New Testament (4) , Mandel condemns the selectivity of Tyler's beliefs, advocating that his internalisation of only the most harmful and violent phrases exemplifies the lack of benefits associated with violently distorting memories given the inability of humans to process such immense trauma and suffering. Whilst Mandel explains Tyler's actions as stemming from the violence underpinning his childhood, particularly given that he was raised by a 'lunatic' whom others deemed 'unsaveable', she dispels the notion that this excuses them, arguing the degree of hardships inflicted by Tyler himself are unjustifiable, thus further exposing her credence in the necessity of being able to forget harmful memories in order to overcome them. Ultimately, through her portrayal of Tyler's inability to forget his childhood as 'a boy adrift on the road', Mandel reveals the potential for harm to be imposed due to the distortion of memories so that they are marked by violence, arguing that this can indeed be overwhelmingly dangerous.

Annotations (2) It is great to use action words such as 'expounds' instead of the basic 'shows’ as this demonstrates a more in-depth understanding of the author’s views and values (ensuring you meet VCAA Criteria 2: Views and Values ).

(3) When making claims such as that Tyler harms 'the majority of people he comes into contact with', it is great to show multiple examples, so that your claims are properly backed up with appropriate evidence!

(4) This is a really great point to draw out that other students may not consider - Tyler never references any other components of the New Testament and only focuses on the most violent sections of one particular book.

However, Mandel also displays a belief in the positives which can be gleaned by those who inherently distort their memories as a mechanism to process traumatic times in their lives, arguing this can provoke significant, tangible benefits. Conveyed through the non-linear structure of her novel, Mandel sculpts parallels between Tyler and Kristen given their similar ages and respective connections to protagonist Arthur through him serving as their father and father figure respectively, with the significant difference being that only the latter was able to forget 'the year [she] spent on the road…the worst of it' (5) . As such, only Kirsten is able to adequately move on from this extremely traumatic period in her life, exemplifying Mandel's credence in how the distortion of memories can truly serve as an invaluable coping mechanism allowing individuals to overcome significant harm, with Kirsten experiencing a large degree of post-lapsarian fulfilment given her 'friendships' with her fellow members of the Travelling Symphony, her 'only home'. Despite Kirsten's past being underpinned by significant violence, with her having three 'knife tattoos' to commemorate those she has had to kill in order to survive, her continued ability to adapt her memories into less traumatic ones is applauded, with her murders having been portrayed as occurring 'slowly…sound drained from the earth' as a way for her to process 'these men [which she] will carry with [her] for the rest of [her] life', thereby exposing Mandel's credence in the necessity of being able to overcome trauma through distorting memories. As such, she ironically went on to perform Romeo and Juliet following one such event which, given Mandel's depiction of the unparalleled significance of artistic forms of expressionism facilitating human wellbeing as Kirsten 'never feels more alive' than when she performs, exposes Mandel's illumination of how altering false realities (6) can ultimately provoke tangible benefits given Kirsten's ability to simply move on despite the traumatising nature of the truth. Ultimately, through the juxtaposition between Tyler and Kirstens' distortion (7) of memories, Mandel expounds how distorting memories can wield both consequences and benefits, with the latter occurring when employed subconsciously by individuals to process harmful memories.

Annotations (5) It is quite sophisticated to go back to the construction of the novel throughout the essay (as opposed to just briefly mentioning it in the introduction!). This shows you truly understand why the author structured the novel the way she did, which in this case is to highlight the similarities and differences between Kristen and Tyler.

(6) Try to avoid repeating 'distortion of memories' every single time - it is great to use synonyms such as 'false realities', but make sure you're using the right words (see annotation 2 for more information).

(7) Note how this links back to paragraph 1 (given that these two points are so similar and go off of one another) which makes the essay flow better. We are showing that our argument is well-structured and follows logical patterns.

Furthermore, Mandel similarly explores the benefits of utilising the distortion of memories as a coping mechanism and how, especially when this is done through the lens of nostalgia, it can facilitate unprecedented satisfaction. Indeed, Clark is depicted to be the literal embodiment of post-lapsarian fulfilment (8) given his ability to, albeit through rose-tinted glasses, appreciate the 'taken-for-granted miracles' of the 'former world' through his position as the 'Curator' at the 'Museum of Civilisation'. Subsequently, he serves to expose Mandel's belief in the benefits of altering one's recollections in an overwhelmingly positive manner. As such, Clark 'spend[s] more time in the past…letting his memories overtake him' as he maintains integral cultural artefacts which 'had no practical use but that people wanted to preserve'. This ultimately eventuates into a significant degree of fulfilment for not only Clark himself, but also the other residents of the Severn City Airport, the children of whom 'like all educated children everywhere….memorise abstractions' of the pre-lapsarian society, with the entire Airport community revelling in the everyday 'beauty' of objects not typically appreciated by the general populace. In doing so Mandel highlights her belief regarding the significance underpinning the benefits which can be gained from those whose memories are distorted to cope with losses in a positive manner, arguing this can enable a substantial increase in wellbeing. This is exacerbated through the juxtaposition in Clark's pre- and post-lapsarian fulfilment, for in the former he is denigrated as merely an unhappy 'minimally present...high functioning sleepwalker' (9) . Overall, through her portrayal of Clark's satisfaction despite his elderly status and the loss of everyone dear to him, Mandel exposes her belief in the value of distorting one's memories in an overwhelmingly positive manner, advocating this can facilitate the forming of one's intrinsic purpose and thus fulfilment.

Annotations (8) You want to show how characters correlate to specific themes, and if one embodies a particular idea, then you should clearly state that! It shows examiners you really know your stuff. See this blog for more about the themes and characters in Station Eleven . 

(9) Again, you want to clearly highlight how Clark is distorting his memories, including by providing evidence to back up your claim.

Ultimately, Emily St. John Mandel’s Station Eleven exemplifies the limitations of the human psyche when affected by trauma, arguing that the distortion of memories can have either a positive or negative impact upon the individual. Whilst she cautions her audience against the dangers of adhering to selective recollections, she simultaneously presents the benefits which can be garnered from this, alongside the ability to liberate oneself from such harmful memories.

For more Station Eleven writing samples, check out this blog post , which compares three different paragraphs and analyses how they improve upon one another.

If you found this essay breakdown helpful, then you might want to check out our Station Eleven Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals!

Last updated 20/10/19

Planning is an essential part of any successful text response essay. It helps you ensure that you’re answering the prompt, utilising enough quotes and writing the most unique and perceptive analysis possible! The hard part of this is that you only have about FIVE MINUTES to plan each essay in the Year 12 English exam… (more info on the best way to tackle that challenge in this video !)

So, I developed the FIVE TYPES of essay prompts to help students streamline their planning process and maximise every minute of their SACs and exams.

By identifying the type of prompt you’re being challenged with immediately, a number of parameters or guidelines are already set in place. For a specific type of prompt, you have specific criteria to meet – for example, in a metalanguage-based prompt , you immediately know that any evidence you brainstorm in your planning stage should be based around the literary techniques used in your given text.

If you’d like the full picture on our best FREE advice on Text Response, check out our Ultimate Guide to VCE Text Response here .

1. Theme-Based Prompt

‘Ambition in the play Macbeth leads to success.’ Discuss. ( Macbeth )

When you’re presented with a theme-based prompt, you can automatically shift your brainstorming and planning towards the themes mentioned in the prompt along with any others that you can link to the core theme in some way.

In regard to this Macbeth prompt, for example, you could explore the different ways the theme of ambition is presented in the text. Additionally, the themes of guilt and power are intimately related to ambition in the text, so you can use those other ideas to aid your brainstorming and get you a step ahead of the rest of the state come exam day.

2. Character-Based Prompt

‘Frankenstein’s hubris is what punishes him.’ Discuss. ( Frankenstein )

These prompts are pretty easy to spot – if you see a character’s name in the prompt, there you have it; you have a character-based prompt on your hands.

Once you know this, you can assume that each example you brainstorm has to be relevant to the specific character named in the prompt in some way. Also, you can explore how the actions of characters don’t occur in isolation – they’re almost always interrelated. Remember, however, that the actions of characters are always connected to the themes and ideas the author is trying to convey.

This type of prompt also grants you some freedoms that other types don’t give. For example, unlike a Theme-based prompt, a character-based prompt means that it’s perfectly fine to write about characters in the topic sentences of your body paragraphs.

3. How-Based Prompt

‘How does Grenville showcase Rooke’s inner conflict in The Lieutenant ?’ ( The Lieutenant )

Unlike other prompts, the ‘How’ positions you to focus more on the author’s writing intentions. This can be achieved by discussing metalanguage – language that describes language (read my blog post about it here ). These prompts tell you immediately that you need to be thinking about the literary techniques explored in the text and explain how they affect the narrative.

Rather than using specific techniques to frame your specific arguments, it’s best to use them as evidence to support arguments that attack the main themes/ideas mentioned in the prompt.

4. Metalanguage or Film-Technique-Based Prompt

‘Hitchcock’s use of film techniques offers an unnerving viewing experience’. Discuss. ( Rear Window )

This type of prompt is very similar to How-based prompts, specifically in the fact that the discussion of literary techniques is essential.

For this type of prompt specifically, however, the actual techniques used can form more of a basis for your arguments, unlike in How-based prompts .

5. Quote-Based Prompt

“Out, damned spot!” How does Shakespeare explore the burden of a guilty conscience in Macbeth ? ( Macbeth )

Countless students ask me every year, “What do I do when there’s a quote in the prompt?!” My reply to these questions is actually fairly straightforward!

There are two main things that you should do when presented with this type of prompt. Firstly, contextualise the quote in your essay and try to use it in your analysis in some way. Secondly, interpret the themes and issues addressed in the quote and implement these into your discussion. The best place to do both of these is in a body paragraph – it weaves in seamlessly and allows for a good amount of analysis, among other reasons!

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into? To learn more about brainstorming, planning, essay structures for Text Response, read our Ultimate Guide to VCE Text Response .

Alfred Hitchcock’s classic thriller Rear Window was released nearly 65 years ago. Back then, Hitchcock was a controversial filmmaker just starting to make waves and build his influence in Hollywood; now, he is one of the most widely celebrated directors of the 20th century. At the time of its 1954 release, Rear Window emerged into a world freshly shaken by World War II. The fear of communism riddled American society and Cold War tensions were escalating between the two global superpowers, the USSR and USA. Traditional gender stereotypes and marital roles were beginning to be challenged, yet the ‘old way’ continued to prevail. The culture of the 1950s could hardly be more different to what it is today. Within the Western world, the birth of the 21st century has marked the decline of cemented expectations and since been replaced by social equality regardless of gender, sexual preference and age. So why , six decades after its original release and in a world where much of its content appears superficially outdated , do we still analyse the film Rear Window ?

Rear Window is a film primarily concerned with the events which L.B. (Jeff) Jefferies, a photographer incapacitated by an accident which broke his leg, observes from the window of his apartment. He spends his days watching the happenings of the Greenwich Village courtyard, which enables Jeff to peer into the apartments and lives of local residents. The curiosities which exist in such an intimate setting fulfil Jeff’s instinctual need to watch. The act of observing events from a secure distance is as tempting as reality television and magazines. To this day, these mediums provide entertainment tailored to popular culture. At its roots, Jeff’s role as a voyeur within Rear Window is designed to satisfy his intense boredom in a state of injury. As the film is seen through Jeff’s voyeuristic eyes, the audience become voyeurs within their own right. Until relations between Thorwald and his wife simmer into territory fraught with danger, Jeff’s actions are the harmless activities of a man searching for entertainment.

So, if Rear Window teaches us that voyeurism is a dangerous yet natural desire , does the film comment on the individuals who consent to being watched? Within Greenwich Village, Jeff’s chance to act as an observer is propelled by the indifference of those he observes. Almost without exception, his neighbours inadvertently permit Jeff’s eyes wandering into their apartments by leaving their blinds up. The private elements of others’ lives, including their domestic duties, marital relations and indecencies, are paraded before Jeff. Greenwich Village is his picture show and its residents willingly raise the stage’s curtains . This presentation of Hitchcock’s 1954 statement remains relevant today. Jeff’s neighbours’ consent to his intrusion into their lives bears striking similarities to current indifference. The prevalence of social media enables information to be gathered as soon as its users click the ‘Accept Terms & Conditions’ button. Rear Window is a commentary on social values and provokes its audience to examine habits of their own, especially in a world where sensitive information is at our fingertips. Just as Hitchcock’s 1954 characters invite perversive eyes to inspect their lives, society today is guilty of the same apathy .

The characters of Hitchcock’s thriller are a pivotal element of the film’s construction. They add layers of depth to the text and fulfil roles central to the plot’s development. One of Hitchcock’s fundamental directorial decisions was leaving multiple characters unnamed – within Greenwich Village alone, we meet Miss Lonelyhearts, Miss Torso and Miss Hearing Aid. The stereotypical nature of these labels, based on superficial traits that Jeff observes from his window, exemplifies the sexism prevalent in the 1950s. Jeff’s knowledge of these women is limited to such an extent that he does not know their names, yet considers himself qualified enough to develop labels for each of them. The historical background of stereotypes is imbedded within Rear Window and shares vast similarities with the stereotypes we recognise today.

Hitchcock’s 1954 thriller Rear Window portrays a little world that represents the larger one . Its themes, primarily voyeurism, and character profiles illustrate Hitchcock’s societal messages and provide a running commentary on issues which govern America during the 1950s. In the six decades since the film’s release, the Western world has undergone significant developments both socially and culturally. L.B (Jeff) Jefferies’ perception of women and married life is inconsistent with the relations between men and women that we observe today. Regardless, the timeless views that Hitchcock’s conveys through Rear Window continue to speak volumes about our society. Jeff’s voyeurism, which comprises much of the film’s major plotline, is a channel for Hitchcock to comment about the instinctual desire for individuals to observe others. Additionally, Hitchcock delves into the flip side of this matter, presenting the theory that those he watches are just as guilty of allowing his intrusion into their private lives. Apathetic mindsets in today’s digital world are responsible for the same indifference that Hitchcock explores within his film. Let’s not forget the sexist stereotypes that Jeff develops to label certain women within Greenwich Village. Miss Lonelyhearts, Miss Torso and Miss Hearing Aid are all victims of Jeff’s narrow mindset towards women, emphasised by these superficial and demeaning names. Stereotypes remain as apparent within society today as they were within the world of Rear Window and can be identified within the media’s diverse presentation of social issues. It is easy to assume that Hitchcock’s 1954 thriller, Rear Window , lacks the relevancy we expect from films. Contrary to this perception, its ingrained messages are fundamentally true to this day.

Updated 14/12/2020

Introduction

• Definition of Metalanguage
• Examples of Metalanguage in VCE English

1. Introduction

Although it appears on criteria sheets, many students never really understand the term  metalanguage . Strangely, it is something that is rarely addressed in classrooms. While the word may be foreign to you, rest assured that metalanguage is not an entirely new concept you have to learn. How come? Because you have been unknowingly using metalanguage since the very beginning of high school.

It's a word that is more and more frequently thrown around as you get more advanced in high school. And, it's something that becomes tremendously important in your final year of high school, because the more you include metalanguage discussion in your essays, the more intricate your discussion becomes and the more unique it also becomes.

So, let's find out exactly what metalanguage is.

2. Definition of Metalanguage

Metalanguage is  language that describes language .

So, instead of maybe using the word, "He was sad ", we might say something like, "He felt sorrowful " . The choice in words changes the meaning that is interpreted by the reader, just slightly, but there is still a difference. So, when it comes to studying texts or reading articles, and trying to analyze what the author is trying to do, we look at metalanguage as a way to help give us insight into the ideas that they're trying to portray.

The simplest way to explain this is to focus on part 3 of the English exam – Language Analysis. In Language Analysis , we look at the author’s writing and label particular phrases with persuasive techniques such as: symbolism, imagery or personification. Through our description of the way an author writes (via the words ‘symbolism’, ‘imagery’ or ‘personification’), we have effectively used language that describes language.

Now, if we look at the bigger picture, our analysis of an author’s language can be applied to Text Response, and even Reading and Comparing. To learn more about why metalanguage is important in Text Response, check out our Ultimate Guide to VCE Text Response . Otherwise, for those interested in Comparative, head over to our Ultimate Guide to VCE Comparative .

3. Examples of Metalanguage in VCE English

• Grammar and punctuation
• Characterisation
• Foreshadowing

For example

• Achilles is  characterised as a foetus, for his position is ‘chin down, shoulders hunched’ as though he is inside a womb. ( Ransom , David Malouf)
• In the first scene of All About Eve* , Mankiewicz foreshadows Eve's sinful and regretful actions, as a sorrowful expression is emphasized as she accepts her award

As you can see, the word 'foreshadows' pushes us in a new direction. Rather than just saying what has already happened or telling your teacher or examiner something that they already know, it forces you to actually analyze what's in front of you and to offer your own unique interpretation of why this metalanguage or why this technique has been used.

*If you happen to be studying this text, check out our All About Eve Character Profiles .

• Mise-en-scene
• Camera angles

When Terry leaves Friendly’s bar, the thick fog symbolises his clouded moral judgement as he decides whether he should remain ‘D and D’, or become a ‘rat’. ( On the Waterfront , Elia Kazan)

• Stage direction
• The miniature set Zac creates is designed with a white backdrop, symbolising his desire to wipe away reality since he ‘can’t stand real things'. ( Cosi , Louis Nowra)

In Medea , the motif of animals emphasizes the inhuman and bestial nature of Medea, highlighting how she defies natural norms.

This student has actually given us an analysis of why animal motifs are used. And that is to highlight how Medea defies natural norms, because of her inhuman and bestial nature.

4. Conclusion

As indicated earlier, you should be familiar with many, if not all the terms mentioned above. Take note that some metalanguage terms are specific to a writing form , such as camera angle for films. If you need help learning new terms, we have you covered - be sure to check out our metalanguage word banks for books and our metalanguage wordbank for films .

As you discuss themes or characters, you should try and weave metalanguage throughout your body paragraphs . The purpose of this criteria is to demonstrate your ability to understand how the author uses language to communicate his or her meaning. The key is to remember that the author’s words or phrases are always chosen with a particular intention – it is your job to investigate why the author has written a text in a particular way.

[Modified Video Transcription]

Hey guys, welcome back to Lisa's Study Guides. Today, I'm really excited to talk to you about metalanguage. Have you guys ever heard of metalanguage before? It's a word that is more and more frequently thrown around as you get more advanced in high school. And, it's something that becomes tremendously important in your final year of high school, because the more you include metalanguage discussion in your essays, the more intricate your discussion becomes and the more unique it also becomes. So, let's find out exactly what is metalanguage. Simply put, metalanguage just means language that analyses language. When authors write anything, we make certain decisions when it comes to writing. So, instead of maybe using the word, "He was sad", we might say something like, "He felt sorrowful". The choice in words changes the meaning that is interpreted by the reader, just slightly, but there is still a difference. So, when it comes to studying texts or reading articles and trying to analyse what the author is trying to do, we look at metalanguage as a way to help give us insight into the ideas that they're trying to portray.

Metalanguage comes in really handy, especially if you're somebody who struggles with retelling the story - I have a video on how to avoid retelling the story , which you can watch. Metalanguage essentially takes you to the next level. It prevents you from just saying what happened, and forces you into actually looking at how the ideas and themes are developed by the author through the words that they choose to use. So, let's have a look at a couple of examples to give you a better idea. I'm going to show you two examples. One uses metalanguage and one doesn't, and you'll see how a massive difference in how the student understands the text is really clear.

Number one, foreshadowing.

In the first scene of All About Eve , Mankiewicz emphasizes Eve's sorrowful expression as she accepts her award.

In the first scene of All About Eve , Mankiewicz foreshadows Eve's sinful and regretful actions, as a sorrowful expression is emphasized as she accepts her award. As you can see, as soon as we put in the word foreshadows, it pushes us in a new direction. Rather than just saying what has already happened or telling your teacher or examiner something that they already know, it forces you to actually analyse what's in front of you and to offer your own unique interpretation of why this metalanguage or why this technique has been used. So, in this case, it's foreshadowing. ‍ Let's have a look at another one, motif.

In Medea , Euripides commonly refers to animals when describing Medea's actions and temperament.

See how, in the first example, it was really just telling you what we might already know through just reading the book, but when it comes to the second example, this student has actually given us an analysis of why animal motifs are used. And that is to highlight how Medea defies natural norms, because of her inhuman and bestial nature. So, those are some examples of metalanguage. There are so many more different types of metalanguage out there...

1. Summary 2. What Is Magical Realism? 3. Themes 4. Symbols and Analysis 5. Quotes 6. Sample Essay Topics 7. Essay Topic Breakdown

Flames is a bit of an out-there story right from the beginning: Levi is attempting to build a coffin for his sister Charlotte because the women in their family come back to life after dying. Neither of them is that close to dying - both are young adults. Charlotte doesn’t really want a coffin so she runs away from home, as far as she can while still remaining in Tasmania at least, and Robbie Arnott takes us on this adventure through interweaving perspectives and rich imagery of his home island .

Some of these perspectives are surprising and unexpected, ranging from a hardcore private investigator to a river god in the form of a water rat, but each of them earns their place in the story. Our job when studying this text is to follow these shifts in perspectives and make sense of how they contribute to the overall text. If you’re writing creatively, you may want to play around with this sort of structure as well in your piece.

2. What Is Magical Realism?

Before we get stuck into the text itself, it might be useful to first discuss its genre . Magical realism books tend to be extremely confusing if you’re not familiar with the genre (and sometimes even when you are!). This is because authors in this genre will typically set their stories in the real world (in this case, in Tasmania), but they’ll add supernatural elements , which vary wildly from story to story.

Let’s unpack the genre a bit more, in particular, what it involves and why it’s used.

Elements of Magical Realism

The most important element of magical realism is that it blends the real world with fantastical elements . In Flames , the most obvious example is gods : gods don’t exist as far as we know, but they walk among humans and play key roles in this text. Less obvious examples of fantastical elements include the wombat farm at Melaleuca (fortunately nobody actually skins wombats) as well as the Oneblood tuna and (unfortunately!) the pet seals.

The fact that these examples are narrated as perfectly normal is another element of magical realism: the author usually operates as if the fantastical elements are perfectly real. We, as readers, enter a world where the existence of these magical things is taken for granted by the characters.

Purpose of Magical Realism

This blurring of the lines between real and magical is primarily supposed to suspend our disbelief : we can’t really be sure what’s real about the novel’s world and what isn’t. All we know is that in many respects, it looks like our own. Within this familiar setting, Arnott lets his own imagination run wild and leaves the reader to figure out the rest. This helps to create a sense of wonder , as if these elements could be real and as magical as described.

These elements also contribute to the story in other ways: in particular, they open up new possibilities for commentary . For example, the voice of the South Esk god is used to highlight the impacts of colonialism and the “blood-tasting tang of iron” that was brought with it.

Other Magical Realism Books

If you’re liking the sound of this genre and/or if you enjoyed Flames , there’s plenty more to discover in the way of magical realism. It’s a hallmark of Latin American literature (Isabel Allende, Gabriel García Márquez), and it’s also been picked up in Japan by the likes of Haruki Murakami. A prominent Australian example is Carpentaria by Alexis Wright.

Death and Grief

Let’s move more closely into Flames , starting with its central theme of death and grief. It’s what defines this central point of tension between Levi and Charlotte throughout the novel, since it starts with their divergent responses to their mother’s death (and reincarnation etc.). Their divergent responses suggest that there’s no one way to cope with death, and their father’s reaction on top of that introduces further complexity: he disappears from their lives altogether, “not want[ing] to be close to them when they [died]”. Between the three of them, there are three very different expressions of grief .

But Edith McAllister is not the only death of significance in the novel. Another standout is the passing of Karl’s seal , after which he becomes haunted by “clicks”; he subsequently leaves tuna-hunting behind. The death of the South Esk god is also explored as causing grief, this time in the form of divine emotional outpouring, “a cloud’s sorrow”. Arnott is thus exploring many processes of grieving, from solitude and callousness to physical and emotional labour.

Family Relationships

Outside of these moments of grieving, Arnott explores the background relationships between family members as well. Again, Levi and Charlotte are central to this. As siblings , they don’t always see eye to eye: “Levi and I have never understood each other”. However, that does not diminish their love for each other, particularly as they were left alone after their mother’s death. Their father Jack again makes this dynamic more complicated: he sees an “unbridgeable gap” between himself and Levi for example, but the omniscient third-person narrator in that chapter knows otherwise. Consider what difference it makes when Arnott writes in first person from within these relationships (as he does with Charlotte) versus when he writes in third person , observing from outside.

We also see interesting relationships between Karl and his daughter Nicola. Unlike the McAllisters, the two of them are remarkably close despite his ongoing grief for his seal: “nothing could match the blaze of love in her father’s smile”.

Romantic Relationships

Nicola crops up again under this theme, as she begins to navigate a relationship with Charlotte. In a book review for The Guardian , Sam Jordison argues that this is a bit trite, but we can think of it as one perspective on how relationships begin : organically and sincerely, and out of a desire to protect someone else. By contrast, the start of Jack and Edith’s relationship was founded on something more artificial and manipulative, a “tiny spark” which he ignited in her mind.

This is bookended with romantic relationships that have come to an end , as explored through the eyes of the private investigator: her and her ex-husband, Graham Malik, have settled into something of an “ecosystem”. With these various beginnings and endings, Arnott shows how it can be natural - or supernatural - to fall in and out of love.

Colonisation

Finally, this novel touches on the impacts of colonisation . It’s a few quiet allusions here and there, but they are important: Arnott acknowledges the impact of colonisation on the natural landscape of his birthplace. He does this firstly through the eyes of the South Esk god, who observes the “foul industries” of the “loud, pale apes” when they first arrived on palawa and pakana land, the land we now know as Tasmania.

Arnott also explores colonisation through the eyes of Jack, who experiences racism when taking on the human form of an Aboriginal person. He wanted to learn more about how European colonisers were using fire, but he found “they reacted poorly to his dark appearance”. Meanwhile, First Nations people in Tasmania were being “hunted in their own homeland”, and he chooses not to intervene.

As immortal outside observers, their perspectives are the only ones in the novel that can really trace this history. Arnott might be including them so readers take his descriptions of nature with a grain of salt: even as we appreciate Australia’s beautiful landscape, it’s worth acknowledging its custodians who have kept it that way for tens of thousands of years.

4. Symbols & Analysis

Supernatural creatures.

We’ve traced the major purposes of these deities already, but to reiterate them here these ‘gods’ symbolise different parts of nature and the wonder Arnott derives from them. Although nature is already alive, these figures help it feel even more so. They also serve the important purpose of highlighting and acknowledging Tasmania’s colonial history , as well as the disconnect between humankind and nature .

The one natural element worth discussing as its own symbol is water. There are many bodies of water identified in the novel, from rivers and lakes to the ocean , and they each have their own significance. For example, rivers connect parts of the natural landscape while lakes (particularly Crater Lake) represent a getaway, solace, solitude and peace.

The ocean is the most complex of these symbols though: it’s all around the island of Tasmania, and it appears to be a vicious and unforgiving place filled with orcas and tunas the size of “mountains”. But it’s also a place that brings calm to Edith and Charlotte, and even Levi as a child. Arnott canvasses all of these different relationships to nature through the different manifestations of water. Water even exists as rain , which in the novel’s denouement represents a new beginning, a washing away of past tensions and conflicts.

• “My sister is struggling to cope with the loss…I cannot allow her pain to continue.”
• “They (Levi and Jack) were so alike” 
• “The tears were flames, and they were coming from within Charlotte.”
• “Levi and I have never understood each other” 
• “Some wore fur and feathers and watched over the creatures they resembled… Some, like a blood-hungry bird spirit he encountered deep in the southwest, were cruel. Most were calm, seeking only to care for the creatures and land that they felt drawn closest to.”
• “He (the South Esk god) continued on, soothing his rage in a simple, humble way - by nipping screws out of the hull of an idle jetski”
• “Living with humans did not work”

6. Sample Essay Topics

• More than anything else, Flames illustrates the importance of family. Discuss.
• Levi McAllister is the hero of Flames . Do you agree?

How does genre contribute to the storytelling effect of Flames ?

• What is the effect of shifting narrative perspectives as used in Flames ?
• “I could have spoken to him but he would not have listened.” What does Arnott say around family? 

7. Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

When talking about the genre of this text, we’ll definitely need to discuss magical realism . The question here is about how magical realism enriches or contributes to the story, so it might be worth breaking down the elements of magical realism and thinking through each of them one-by-one. The fact that this prompt is framed as a ‘how’ question (one of the 5 types of essay questions ) also means we’ll have to bring in Arnott and how he chooses to tell the story.

Step 2: Brainstorm

One magical realism element Arnott adopts is the gods, who play a few roles symbolically in the novel, but there are other elements too: the seals, the flames, the cormorants and so on. Do these elements add as much as the gods, and if so, what are they adding?

Consider also not just the elements as they appear, but also how Arnott is treating them . The fact that a lot of them are taken for granted as perfectly normal is in itself another genre element.

Instead of talking about the elements too disparately or separately, I think a lot of them revolve around this central question of how humans relate to the earth and to one another . This will help connect my ideas to one another.

Paragraph 1 : Elements of magical realism show how humans adversely impact nature

• Nature is a huge part of the story: around the island, we see everything from beaches and rivers to “undulating moorlands of peat and buttongrass”. Sometimes, these elements are personified as deities (e.g. South Esk god) – this is where genre comes in, since these deities are supernatural or ‘magical’, though they are written to exist in our world.
• These voices, made possible by magical realism, highlight the impact of human industry on the environment: for example the “blood-tasting tang of iron” that seeps into Tasmania’s waterways.
• Even Jack and Edith’s relationship could be seen as a metaphorical take on our incompatibility with nature: “living with humans did not work”.

Paragraph 2 : At the same time, not all humans contribute equally to this pollution, and magical elements also facilitate commentary on this perspective

• Before European colonisers arrived in Australia, the land had been tended to by the First Nations peoples for over 60,000 years - and pollution had been minimal. We cannot blame the entire human race equally for the deteriorating natural environment (see this Instagram post for an explanation!).
• This is pointed out by the South Esk god: it is the “pale apes” who are trying to “swamp[] over everything”.
• Jack, the deity of flame, also recognises this, although he is far more complicit: “he liked learning from the pale people more than he wanted to help” Aboriginal people.
• Magical realism adds this historical and political dimension to the narrative.

Paragraph 3 : However, Arnott’s use of magical realism also shows possibilities for ‘ideal’ relationships between humans, and between humans and nature

• This paragraph gets to draw on some examples that aren’t just the deities: the seals for example coexist really poetically with humans, “the half of themselves they had been born without” (these were inspired by dogs , by the way).
• Plus, even though Jack and Edith’s relationship was founded on a lie, Arnott is able to use that as a point of contrast for the relationship between Charlotte and Nicola, born from Nicola’s “desire to help”, plus her “fast and firm” attraction to Charlotte. This relationship is highly organic, and the ‘magical’ relationship between Charlotte’s parents proves a useful foil.
• Even though some textual elements are exaggerated because of genre, Arnott still manages to use magical realism to highlight what might be possible , inviting the reader to imagine possibilities for harmony between people and nature within their own worlds.

Flames is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Stories We Tell is a different beast to anything many of you will have encountered previously in your English studies. This blog is a continuation of the above Stories We Tell YouTube video so make sure you watch it first!

With interviews, archival footage, extradiegetic film and sound elements alongside recreated scenes, the documentary can seem very overbearing and convoluted upon first viewing. However, once you have a holistic understanding of the text a plethora of opportunity for high-level analysis and discussion presents itself. Stories We Tell is usually studied in the Australian curriculum under Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

To begin, watch our introduction covering background and themes below:

Video Transcription

Stories We Tell centres around director Sarah Polley attempting to piece together her family history. While she endeavours to understand who her mother Diane was and finally learn the identity of her biological father, Director Polley also poses a number of questions to viewers surrounding the nature of the truth and the importance of stories in our lives. The film is comprised of interviews with Diane’s loved ones, home movies from the Polley family, extra-diegetic newspaper clippings, recreated Super 8 footage and excerpts from other productions - all of which contribute to Sarah’s inquisition into the notion of truth, and demonstration that how a story is told can shape how it is received.

NB: I have used ‘Sarah’ when discussing Sarah Polley as a character, and ‘Polley’ when describing her as the director.

The idea of the truth, and what comprises it is a constant question being answered through the documentary. Before exploring Polley’s depiction of the truth, it’s important that we fully understand what the truth is. One definition characterises it as the burden of confirming with fact or reality, and with this in mind it becomes easier to appreciate and analyse the intricacies of Stories We Tell . Polley creates a distinction between universal truths - which are accepted by all as fact, and subjective truths which can vary on individual interpretations. For example, Michael conflicts with the rest of the family while discussing his relationship with Sarah after Diane’s passing. Mark details Michael’s obsession with “playing solitaire” , Susy depicts the house as one of “complete and utter disuse” , while Joanna observed him “smoking all day” and perceived Sarah as “just a little kid who nobody was looking after.” Michael, however, has fond memories of his time spent with Sarah - he believed he was “lucky to have her to look after as well as himself” , called their time together a “great period” - eventuating in him feeling “closer to [Sarah] than any of the other children.” ‍

Individual recollections of Michael’s actions and demeanor during this period belong to each storyteller, and form the basis for what they consider to be the ‘truth’ regarding Michael and Sarah’s relationship. By presenting contrasting accounts of the same event, Polley reveals her stance on the idea of truth - being that it is entirely subjective and open to interpretation, centred around the perceptions of each individual at any moment in time. It is entirely possible that Michael did “smoke all day” and feel a sense of increased “close[ness]” with Sarah, but due to the variability of the human memory, this is impossible to state with any certainty - illustrating the fallible nature of universal truths. ‍

Storytelling

Stories and how they are told are a constant factor during the documentary - beginning with the title, ‘ Stories We Tell’ and concluding with Geoff’s admission that he and Diane did sleep together during their days acting in Montreal. For example, Polley’s use of the inclusive ‘we’ signifies her interest in storytelling on a grand scale; not merely the stories she unravels onscreen. As a result, one can argue that her purpose for the documentary extends far beyond the action captured onscreen and in fact involves Polley encouraging others to share their own stories - enabling them to “create shape out of mess” as she has done through the presentation of her own family story.

By placing Geoff’s confession at the conclusion of the documentary (and casting doubt on all of the discoveries she has made throughout Stories We Tell) Polley emphasises how storytelling allows a “clearer picture” of the past to develop - as he had previously denied any sexual history with Diane, labelling them just friends. As such his admission of a relationship with her symbolises the manner in which the truth can be “refracted” over time, leading to many “shifts and fictions” while clouding “what really happened.” Therefore, Polley reveals how storytelling can provide some semblance of closure to us, in a world where the truth is “ephemeral” and “difficult to pin down.”

While Polley undoubtedly utilises Stories We Tell to express her views on truth and storytelling, fundamentally it remains a story of the Polley family, and what holds it together. The narrative begins with the ‘storytellers’ providing loving, yet somewhat conflicting recollections of Diane as Polley seeks to understand who she was. Family members buoyantly describe her as “infectious” and “enthusiastic” , while friends paint a more mysterious picture of Diane as a “woman of secrets” , alluding to her alleged infidelity. The closeness of the Polley family is evident throughout their discussion of Diane’s first marriage, universally criticising the outcome of the court case in which she was labeled “ unrepentant ” for “ allow[ing] her desire for a career to overtop her “domestic duties” - resulting in Diane losing custody of John and Susy, which proved to be a major strain on Diane and the family.

Despite this closeness, Mark expresses his disappointment in Diane following the confirmation of Harry being Sarah’s father - detailing the she “broke the rules” and “broke a kind of taboo” when she had the affair. This is the only real example of any member of the family disapproving of Diane’s past - indicating Polley’s desire to demonstrate that families are not perfect, and bring their own faults and shortcomings. In spite of this, however, their care the family shows for one another is clearly demonstrated through their interviews with Polley, highlighting to the audience that by staying close, families can better cope with the trauma of losing a loved one and in time, be able to honour their memory by sharing their stories.

Putting it all together

While analysing the themes in isolation can provide a good foundation for success studying Stories We Tell , looking at how they interact and interrelate enables students to demonstrate their higher-order skills. Truth, storytelling and family are intrinsically linked - for example: Polley’s presentation of conflicting accounts and recollections of Diane demonstrates the complexity of her family, while showcasing her stance on the inability of individuals to find universal truths. As a result of this, the importance of storytelling is highlighted as a means to provide some understanding of our past - and how it affects us in the present and shapes who we are. Including different interpretations of the text and the context in which Polley grew up and created the text can also help to improve your writing to A+ standard - and this will be covered in the blog post that acts as a continuation of this video! *end video*

Following on from the video, the content below is an expansion upon Stories We Tell .

Author views and values

One of the golden rules of A+ essay writing is to understand that everything contained within the text is seen to be a deliberate choice by the author. With this in mind, we can start considering how Polley’s choice to include certain snippets or position footage in a particular way highlights her views.

The truth is ephemeral - can it ever be known?

Throughout Stories We Tell , Polley continually emphasises the impossibility of knowing a truth with absolute certainty. Her stance is shaped by the clouded nature of her paternity and family history, exemplified within the text by the varying accounts of Diane’s personality. Portraying her as “infectious” and “enthusiastic”, Polley captures Diane dancing - cleverly lighting up her face, thus symbolising her warm nature. However, juxtaposing this is Deidre’s assertion that Diane was a “woman of secrets” - bolstered by Polley’s recreation of a covert phone call in which Diane ponders the identity of Sarah’s biological father. Through her presentation of contrasting recollections of her mother, Director Polley showcases the relativity of truth within her own family, inviting the audience to question the meaning of truth in their own lives, highlighting that “you can never get to an answer.” As a result, Stories We Tell predominantly displays the impossibility of one knowing a singular truth.

Subjective truths can be found

Continuing the theme of ambiguity within her synthetic documentary, Sarah Polley demonstrates that individuals can develop their own interpretations of the truth, in spite of her stance on the validity of singular truths. Within Stories We Tell, Polley illustrates this by depicting the contrasting recollections of Michael’s relationship with Sarah as a child. Supporting Joanna’s assertion that Sarah was “just a little kid that nobody was looking after”, Polley ironically captures a full shot of Michael in the middle of the couch, portraying him as a distinctive presence in the scene in spite of Joanna’s belief that Michael isn’t present in Sarah’s life. Conversely, Michael recalls his time with Sarah as “a great period in [his] life” - a claim reinforced by Polley, via recreated Super 8 footage of the pair assembling a snowman, symbolising their construction of a new beginning following Diane’s death. Through this interaction, Polley portrays Michael as a compassionate and loving father - juxtaposing this with Joanna’s description, revealing to her audience the ability of individuals to find subjective truths - encouraging them to do so in their own lives in spite of searching for universal truths.

The importance of stories

Building on her depiction of the truth as fallible, Polley thus emphasises our need to tell stories, illustrating how they allow one to better understand themselves, their families and the world around them. Within Stories We Tell, unearthing the ‘story’ of Diane takes centre stage for a majority of the production, and Polley hints towards this goal via her inclusion of Bon Iver’s folk ballad Skinny Love. The line “pour a little salt, we were never here” plays on the use of salt to heal wounds - implying that the storytellers aim to ‘heal’ their pain felt from Diane’s death via telling “the whole story” they have developed from their memories of her. Moreover, the phrase “who the hell was I” addresses Polley’s attempt to “form [Diane]” by piecing together the various second hand accounts and layers of connected stories from her loved ones - allowing her to ascertain a clearer understanding of her family history. Polley utilises stories to “[clear] up...the smoke” in her past,” praising the idea that such tales shed a light on areas of confusion and uncertainty - while also allowing one to “[cope]” and make sense of their heritage. Through her demonstration that stories enable individuals to move past the “small and large details that vary”, Polley prompts the audience to seek more information about their own families, and relay their own family stories.

Throughout the documentary, Polley demonstrates, both explicitly and implicitly, a number of her inherent values. Drawing upon these, referring to them in your essays and (most importantly!) connecting them to your analysis of the text is a great way to get ahead of the pack and maximise your marks both in your sac and the exam.

NB: Much of the excerpts contained here are analysing specific scenes/motifs, and then linking such thinking to the theories listed below. I found this to be a coherent and structured way of including this deeper level of thinking in the publication of my own essays!

Feminist lens on the social values of 1960’s Canada

By depicting extradiegetic footage of Diane singing Ain’t Misbehavin, Director Polley provides a feminist commentary on the dominant social values of 1960’s Canada; the lyrics “I walk the streets to balance the sheets” and “what is an honest girl to do” metaphorically representing the perception of Diane by the court and wider society - denied “custody” of her children due to her “adultery.”

By inserting a newspaper clipping criticising Diane’s choice to let her “desire for a career” to supercede her “domestic duties”, Polley illustrates the difficulties faced by aspirational women in such a restrictive society - condemning the treatment of her mother while calling on female viewers to continually campaign for equality of opportunity in their societies.

Outlining the fact that Diane was not considered “ladylike”, Polley sardonically ridicules the “controlling” nature of such rigid gender stereotypes and their effect on Diane losing her children - exhibiting her desire to empower her female audience to “save [themselves]” from similar situations and “ma[ke] a choice to live.”

Postmodernist interpretation of the truth

As I’ve discussed at length in this blog post, Polley continually reminds us as an audience that the truth is not set in stone and is in fact a flexible, relative concept. Such a line of thinking directly correlates to the postmodernism literary theory - notable for being hostile to absolutes such as truth, and not creating a text in isolation. ‍

Polley continually blurs the line between fact and fiction within Stories We Tell - an ode to the postmodernist school of thought she is following. Depicting recreated Super-8 footage capturing herself directing the actress Rebecca Jenkins who ‘plays’ the ‘role’ of the younger Diane, Polley seeks to somewhat deceive her audience as to what is real and what is derivative - prompting the audience to “consider what was real and what wasn’t… in their own minds.” As a result, she seeks to promote the validity of the postmodernist critical theory, prompting philosophical discussions between individuals about the variability of memory and whether any absolute truths can ever be truly known.

Intertextuality

Another feature of postmodernism in literature is the relationship between one text to another. In her creation of Stories We Tell , Sarah Polley exacerbates this relationship, including a number of extradiegetic elements such as newspaper clippings, emails, songs and segments from other productions in order to add greater meaning to the documentary. For example, Polley presents her email exchange with Harry, illustrating her desire for the story to include “everyone’s point of view”, as it is only then that the “whole picture” can be established. While reciting the email aloud, Polley delicately pauses when articulating that the story must include “[her] experience, [Harry’s] experience” and her “family’s [experience]”, emphasising her desire to give “equal weight” to all versions of the story.

Different Interpretations

In my experience studying the text, this documentary can be interpreted two ways:

1. as a self-reflective memoir following the journey of Sarah finding her father and gaining a more mature understanding of her mother, or;

2. A philosophical and, at-times political commentary on the way stories are told and the nature of truth. Both interpretations (and others you find or develop through your own viewing) are great to use in your writing, just ensure that they are relevant to the specific prompt/idea you are discussing!

Let's dive into each a little further:

1. Stories We Tell is a commentary on how stories are told - specifically, how the way a story is told can shape how it is received and the meaning one can draw from it

Upon first glance this point may seem rather convoluted, and several viewings of the text are necessary to fully engage with this line of thinking. Essentially, this centres around the idea that the different forms, mediums and extradiegetic elements present in the documentary can significantly influence how we as an audience react to the story that is being told.

The best way to explain this is to acknowledge the level of credibility and the associations attached to each individual medium used to tell the story.

For example, what impact does the newspaper clipping (detailing her custody battle and fight for equality in a restrictive society) have on our sympathy for Diane? Does the sense of credibility and validity drawn from an upstanding publication such as a newspaper elicit a greater sense of trust and acceptance of fact from viewers - therefore making us as an audience more inclined to view her in a positive light? Conversely, are viewers more accepting of Diane’s affair with Harry following testimony from those who witnessed her unhappiness with Michael first hand - her friends and family?

Moreover, in spite of her declaration that “equal weight” will be given to all experiences, does Polley’s use of Michael as narrator and his constant presence in the formal setting of a recording studio provide his version greater significance than Harry’s - who notwithstanding his involvement in the story as Sarah’s biological father, is resigned to providing his interview somewhat informally in a home setting, in the same vein as the rest of the storytellers?

Feel free to apply this line of thinking to other aspects of the text - such a deeper engagement with the philosophical ideas of the text are far more likely to score highly, as opposed to shallow pieces that merely discuss the storytellers in isolation - and not what they represent.

2. Stories We Tell is a commentary on the ephemeral nature of truth

The notion of truth seems to be just as much of a theme through this blog as it is in the documentary!

This is for good reason, however, as I found this to be the primary theme running through Stories We Tell , through the journey to discover Sarah’s paternity, the affair and conflict over whose story it is to tell. Truth affects a number of other ideas within the texts, such as storytelling, intertextuality, the variability of memory, production and identity - thus, using the ephemeral nature of the truth to explain why certain ambiguities exist in Harry’s “faulty” recollections, for example is an excellent way to show a greater depth of understanding of the interrelationships in the documentary.

Essay Topic Breakdown

Essay topic from the 2018 vcaa exam:.

“To save all hurt, why not leave things as they are?”

Why does Sarah not “leave things as they are?”

Initial thoughts:

This prompt does not ask you to discuss a specific theme or character - instead it guides you toward providing an analysis on Sarah Polley’s purpose for creating Stories We Tell. While authorial intent should always be included in any text response essay, it is essential that the purpose is central in response to this type of prompt - essentially, providing points of discussion as to why Sarah is unable to “leave things as they are.”

Essay Plan:

1. Unable to leave things as they are - wanted to question the concept of traditional family structures, by contrasting the influence of biological connections and emotional relationships on her development.

I discussed the effect of both Harry and Michael on Sarah’s development - concluding that while both of them had a significant role to play in her becoming the woman she is today, Michael’s influence was significantly stronger. Polley implies this by giving him a greater voice in the documentary through his role as the narrator.

2. Unable to leave things as they are - wanted to comment on the ephemeral nature of the truth in our lives.

Central to this paragraph is Polley’s use of recreated Super-8 footage. Using three prime examples (the opening scene with Diane and Michael crossing the bridge, Polley directing the actress that ‘plays the role’ of Diane in recreated footage, and the staging of Diane’s funeral) I aim to display Polley’s postmodern perspective on the truth and how this is conveyed through her deliberate creation of Stories We Tell.

3. Unable to leave things as they are - Emphasise the importance of storytelling in our lives to gain some understanding of the past.

Due to her depiction of the truth as a “mystery of nothingness”, Polley highlights the role that stories play in our lives. Within Stories We Tell, Polley attempts to understand herself by recreating Diane’s story on screen - allowing her to create “shape out of mess” and form a clearer picture of how she became who she is. Moreover, Polley also reveals how stories enable individuals to maneuver through the “wreckage” of the truth and “recreate the past.”

Before you start diving into Jamie's incredible In Cold Blood study guide, I'd highly recommend that you check out LSG's free Ultimate Guide to VCE Text Response .

Introduction and Narration ‍

• Although its structure and cinematic plot development resemble that of crime fiction, Truman Capote’s In Cold Blood is a ‘nonfiction novel’ detailing the 1959 murders of four members of the Clutter family in Holcomb, Kansas. Put simply, the book was conceived of journalism and born of a novelist. 

• The novel is a product of years of extensive research by Capote and his friend and fellow author Harper Lee, who followed the trails of the Kansas criminals across numerous US states. In Cold Blood revolutionised the American ideals of journalism and literature, blurring the lines between these labels.

• A notable technique Capote employed in order to access classified information was becoming personally acquainted with the criminals of the case. For example, Capote became extremely close to Perry Smith, one of the main murderers in the case, which gave him exclusive information on the personal motives of the killers. 

• In Cold Blood reflects this relationship with the murderer through Capote’s narration of the book as an objective bystander. On page 23, we see the almost endearing way that Capote describes Perry; “his voice was both gentle and prim– a voice that, though soft, manufactured each word exactly, ejected it like a smoke ring issuing from a parson’s mouth.” As such, Capote’s friendship with Perry allows him to present the killer to the audience with a certain humanity and empathy, showcasing a broader picture of criminals than just a merciless murderer.

True facts of the Case

• On the 15th of November, 1959, all four members of the small farming Clutter family were brutally murdered, including Herbert Clutter, his wife Bonnie Clutter and their two teenage children, Nancy and Kenyon.

• The family was discovered bound and shot in the head. Herb’s throat had also been slashed. After ransacking the entire house, the criminals had left without finding any cash, carrying with them no more than fifty dollars, a pair of binoculars and a transistor radio.

• Perry Edward Smith and Richard Eugene ‘Dick’ Hickock were convicted of the crime. The two men had become acquainted during serving time at the Kansas State Penitentiary, and soon confessed to the crime, claiming that that they had heard from another prisoner that Herb Clutter was extremely wealthy, and kept his money in an easy-to-reach safe in his house.

• After the confession, the two murderers were flown from Nevada to Garden City, where they stood trial for their crimes. On 29 March, 1960, they received a guilty verdict, and were sentenced to the death penalty. For the following five years, Smith and Hickock lived on death row in Leavenworth, Kansas and were executed by hanging on the 14th of April, 1965.

Character Analysis

Perry edward smith.

One of the two murderers of the Clutter case, Smith is portrayed as a sensitive and artistic man haunted by his turbulent and lonely childhood. Described by Capote as a man of ‘actorish’ good looks, he disfigured both of his legs due to a motorcycle accident, which gave him chronic pain and an addiction to aspirin. His criminal actions are often directly linked to his childhood, described as ‘no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another’. Smith’s father was extremely abusive towards his wife, Flo Buckskin, and his four children, and so Buckskin later divorced him, taking the children with her. However, on her own she became an alcoholic and died by choking on her own vomit when Smith was only thirteen years old. He was then transferred to a Catholic orphanage, where he suffered from psychological, sexual and physical abuse from the nuns, one of whom attempted to drown him. Smith’s father and two of his siblings committed suicide during his time on death row. Smith eventually befriended Capote through their extensive interviews, and is believed to have shared personal information with him, believing him to be a true friend.

Richard Eugene ‘Dick’ Hickock

The second murderer of the Clutter case. Having grown up in Kansas, Hickock was a popular football player before turning to a life of crime after realising that he could not afford to go to college. During the course of the Clutter murder investigations, Hickock persistently blamed all of the murders on his partner in crime, Smith, claiming that ‘Perry Smith killed the Clutters…. It was Perry. I couldn’t stop him. He killed them all.’ Capote later states that during the murder, Smith was the one who stopped Hickock from raping the 16-year-old Nancy Clutter, as Hickock harboured pedophilic tendencies.

Herbert Clutter

A well-liked and kind-hearted wheat farmer in Holcomb, Kansas. Proprietor of the large River Valley Farm, Herb is described as a hardworking and valued citizen before his murder, who lead a relatively quiet life other than a troubled marriage with his wife due to her chronic depression.

Bonnie Clutter

Described as an ‘anxious woman’, it is revealed that Bonnie has a history of numerous mental illnesses, one of which is postpartum depression. Capote states that she and Herb had not slept in the same bed for many years.

Nancy Clutter

Described as the ‘darling of the town’ - the class president and future prom queen Nancy was the 16 year old daughter of the Clutters.

Kenyon Clutter

Athletic but introverted, Kenyon was the 15 year old son of Herbert and Bonnie Clutter.

Alvin Dewey

A personal friend of the Clutters, Dewey was the primary investigator in the Clutter murder case and worked for the Kansas Bureau of Investigation.

Themes and Motifs

The american dream.

The novel is Capote’s reflection upon the American Dream, as he portrays both the lives of those who epitomise it and those who are tragically out of its reach. Herb Clutter’s position as an upstanding American citizen with a prosperous farm elicits the reader’s interpretation of his character as the rags-to-riches ideal. In stark contrast with this, the rootless and criminal Dick Hancock and Perry Smith are presented as individuals for whom the Dream is perpetually unattainable. Their attempt to finally become ‘rich’ materialises through their attempt to rob the Clutters’ home, the failure of which ironically results in their brutal murders of the people who successfully represented the American Dream.

In accordance with the American Dream, In Cold Blood also explores the concept of what is considered ‘normal’ in America, and what can be revealed as the darker underbelly of its white picket fence ideal. Dick asserts throughout the novel that he is ‘normal’, but from an external, objective perspective, he is clearly far from such; he has distorted physical features and has committed a terrible, vicious murder. Capote also explores the idea of normal mental health, as Bonnie Clutter seems to have the perfect marriage and life with Herb, and yet suffers from extreme bouts of ‘nervousness’ and chronic depression which result in her hospitalisation.

What is evil is primarily explored through the character of Perry, who has conflicting ideals about what can be considered truly ‘evil’. The more feminine and gentler of the two murderers, Perry possesses conflicting morals, as despite being a ruthless murderer, he does feel remorse and is affected by what he has done. He even thinks to himself that Herb Clutter is a ‘very nice gentleman’ even in the midst of slitting his throat. Capote in the novel reveals that there are numerous facets to the meaning of true ‘evil’, and the blurred borders that exist between each of these.

Masculinity

Symbolising the idea of dominance and power, Dick and Perry, who have a complementary and polarised gender relationship, feed off each other in order to boost their own masculinity. Described as ‘aggressively heterosexual’, Dick is evidently the more stereotypically masculine counterpart, having had numerous relations with women. Perry, on the other hand, is more feminine and submissive, as Dick often calls him names such as ‘sugar’ and ‘honey’. Both men in the novel utilise the other in order to make themselves feel more masculine in their highly restrictive and conservative society — while Dick emphasises Perry’s feminine qualities, Perry admires Dick and craves his words of affirmation that he, too, is masculine.

Essay Writing for In Cold Blood

Below are some possible prompts for In Cold Blood , and possible ideas to begin writing an essay.

Theme-based Essay Prompt

"I think it is a hell of a thing that a life has to be taken in this manner. I say this especially because there's a great deal I could have offered society. I certainly think capital punishment is legally and morally wrong.”

Is In Cold Blood merely a novelistic argument against the death penalty? Discuss.

To learn more about LSG’s Five Types of essay prompts, I’d highly recommend checking out this blog post . It’s a super unique strategy developed by the founder of LSG, Lisa Tran. The Five Types method, outlined in the top-rated How To Write A Killer Text Response eBook , takes the stress of students and gives them easy to follow rules and tips so that they know how to approach every essay topic, every time.

• The best way to approach any essay prompt is to recognise the limiting and/or important words of the essay question. In this thematic prompt these words are: ‘legally and morally’, and ‘merely’.

• Secondly, for prompts which incorporate a quote, it is helpful to understand the context of the quote. In this case, the quote was said by Perry as his last words before his execution by hanging. Consider the importance of this; these words are especially more meaningful as they symbolise the last direct influence he leaves upon society. They are remorseful words of a murderer reproaching the justice system, which begs the question - does Capote position the reader to agree with the murderer’s view?

• Planning this essay can be structured along three arguments...

1. Capote argues against capital punishment through eliciting pathos for the murderers and portraying them as more than mere monsters.

• Evidence for this argument could be based mostly on the descriptive elements of Capote’s writing, or his emotional attachment to the murderers, particularly Perry.

• Capote paints Perry particularly sympathetically, highlighting his sensitivity as well as his broken and abusive childhood. Quotations from the novel make it clear that his character is romanticised to an extent, such as “It was a changeling's face, and mirror-guided experiments had taught him how to ring the changes, how to look now ominous, now impish, now soulful; a tilt of the head, a twist of the lips, and the corrupt gypsy became the gentle romantic.”

2. In Cold Blood supports the anti-death penalty argument through its structure and organisation.

• The epigraph of the novel is a verse of the poem, ‘Ballade des pendus’ by Francois Villon, that he composed whilst on death row in 1463. Villon’s criminal circumstances were strikingly similar with Dick and Perry’s, as he murdered a priest and stole from his strongbox before being arrested and sentenced to death. Despite this, Villon was ultimately charged with a 10 year banishment from Paris, whereas the Clutter family murderers are hanged - a strikingly different outcome. Thus, Capote employs this poetic epigraph to strengthen his argument against the unjust executions of Perry and Dick.

• In addition to this, the structure of the novel is also used to argue against capital punishment. Although Part One focuses on the lives of both the Clutter family members and Dick and Perry preceding the murder, Part Two skips over the actual murders themselves and recounts the aftermath of its events. This allows Capote to further develop Dick and Perry into real, complex people rather than merely cold blooded murderers; people who do not deserve such a cruel fate.  

3. However, Capote does ostensibly condemn the cruelty of the murders and presents the opposing argument that capital punishment is not, in fact, ‘legally and morally wrong’.

• The brutality of the Clutter murders are emphasised through the novel, as Larry Hendricks, who discovers the bodies along with the police, provides the gruesome details of the bodies - ‘each tied up and shot in the head, one with a slit throat’.

• As Perry later admits to the murder in his extended confession, Dewey highlights the fact that the Clutters ‘had suffered’ due to the ‘prolonged terror' inflicted by the murderers, and orders them, as such, to be ‘hanged back to back’.

• The argument for capital punishment in In Cold Blood is also supported by religious beliefs. As a small and predominantly Christian town, Kansas and its residents can be perceived interpreting the words of the Bible literally; at the end Dick and Perry’s trial, the prosecuting attorney Logan Green reads an excerpt from Genesis in the Holy Bible: ‘Whoso sheddeth man's blood, by man shall his blood be shed.’ Rejecting the notion that Christianity preaches forgiveness, Green strives to punish the killers for failing to abide by the laws and prophecies of the Old Testament.

Character essay prompt

Perry Smith, despite Capote’s authorial sympathy towards him, is really a cold and merciless monster. Discuss.

When approaching character-based prompts, you must depart slightly from examining the holistic messages of the author, as you would in a theme-based prompt, but rather analyse how the specific character develops this authorial message. The above essay question could be brainstormed in the following way:

1. Capote’s description of Perry shows that he is far from a ‘monster’, but a human being of great sensitivity and emotion.

• During his confession of the Clutter murders, Perry’s comment, ‘There's got to be something wrong with somebody who'd do a thing like that,’ shows that he, to some extent, understands the gravity of his actions and regrets them.

• Perry is also described by his sister as ‘gentle’, and someone who ‘used to cry because he thought the sunset was so beautiful’. Likewise, even in moments of cruelty, he often shows mercy and a wide moral compass, even stopping Dick from raping Nancy Clutter during their murder spree.

2. Perry is also depicted as someone ‘weakened’ by the tragic events of his past and his own insecurities, rather than an inherently ‘cold and merciless’ person.

• Capote often links Perry’s violent tendencies with his childhood, described as ‘no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another’, as he was raised ‘with no rule or discipline, or anyone to show [him] right from wrong’.

• In addition to this, Perry can be perceived to be the more insecure and submissive of the two killers, as while Dick often calls him stereotypically feminine names such as ‘sugar’ and honey’, Perry admires his ‘aggressive’ masculinity and craves his words of affirmation in order to feel as masculine and strong as his counterpart.

3. Despite this, Capote does not entirely erase the murderous aspects of Perry’s character.

• Due to the prompt and seemingly nonchalant way in which he kills the clutters, Dick becomes convinced that Perry is that rarity of a person,"a natural killer.”

• Thus, Capote, despite his empathetic portrayal of Perry, never allows the reader to forget the  extent of his criminality, and how easily he was able to fire those ‘four shotgun blasts that, all told, ended six human lives.’

Reckoning & The Namesake are studied as part of VCE English's Comparative. For one of our most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative .

• Inheritance of Trauma 
• Identity and Naming
• Memory and Retrospect

Magda Szubanski’s memoir, Reckoning, and Jhumpa Lahiri’s bildungsroman, The Namesake, follow misguided protagonists as they attempt to reconcile and ‘reckon’ with complicated family histories. Magda is burdened by her father’s legacy, whilst Ashoke’s distressing train accident lays the foundation for Gogol’s uncertainty, exposing the inescapable and often inscrutable marks that trauma leaves on the identities of later generations. With a large focus on inherited trauma , identity and memory , we’ll be breaking down some crucial quotes from each of these texts to better understand these key themes. 

For a deeper look into some of the themes in Reckoning and The Namesake , check out this earlier post . And, if you need a refresher on how to properly embed quotes in your writing, take a look at How To Embed Quotes in Your Essay Like a Boss . 

1. Inheritance of Trauma

Whether it be the hardships of war or the adversity of misfortune, both texts observe family timelines steeped in history and trauma. Magda and Gogol are inadvertently burdened by their parents’ experiences, which remain obscure and confusing to the two protagonists and only complicate their identities. 

We were tugboats in the river of history, my father and I, pulling in opposite directions. He needed to forget. I need to remember. For him, only the present moment would set him free. For me, the key lies buried in the past. The only way forward is back. (p. 13)

This quote is intrinsic to the authorial intent behind Szubanski writing her cathartic memoir. The experiences of Magda’s father in war-torn Poland are, as Magda expresses, ‘passed on genetically’. Yet, with Zbigniew’s instinct to ‘[clamp] down tight on all feeling’, his trauma remains unrevealed and unexamined during much of Magda’s life. This impenetrable history impresses onto Magda as intergenerational trauma, which leaves her an ‘unregulated mess’, constantly  ‘ricocheting between feeling nothing and feeling everything’. 

As Magda accurately describes, both she and her father are metaphorical ‘tugboats in the river of history’, drawn in completely opposite directions to resolve their traumas. For her, digging into the ‘buried’ past is vital to understanding her father and herself. As she puts it, ‘the only way forward is back’. This is entirely the opposite for Zbigniew, who is unwilling and unable to articulate his trauma in anything other than ‘incoherent…jottings’ and ‘fragments’. Burdened by his past, Zbigniew prefers living in the present moment where he can suppress and avoid the past. However, this difference in how the two approach trauma leads to a strained father-daughter relationship founded upon a lifetime of misunderstandings and secrecy that only deepen their inability to understand one another. 

‘ Even at that young age,’ Mum told me, ‘I knew, I knew I had done something wrong.’ When she told me this her face caved in, stricken with remorse. Actors can never replicate this look. Meg didn’t punish her, but ‘Oh! The look of disappointment on my poor mother’s face.’ Now, today, more than eighty years later, my mother still feels the stinging sense of guilt.  History repeats. That story of how, when I was six, I got blood on my best dress before a trip to take Dad to hospital. Mum slapped my leg in hasty anger. I understand now, of course, that it was herself she was slapping. Her life-loving, disobedient six-year-old self. We are bookends, she and I. (p. 346)

Intergenerational trauma surfaces as ‘patterns’ within the Szubanski family, where regret and resentment are passed down as ‘hand-me-down trinkets of family and trauma’. Magda uses the metaphor of ‘bookends’ to describe her and her mother’s remarkably similar experiences dealing with familial trauma. In other words, both Magda and Margaret are mirror images of each other, both having a shared experience of supporting and living with ill fathers. When Magda gets ‘blood on [her] best dress’ before another trip to the hospital, Margaret ‘slap[s her] leg’. Although Magda initially mistakes this reaction as ‘hasty anger’, hindsight allows her to understand that Margaret was preoccupied with a ‘stinging sense of guilt’, and was reprimanding herself - the ‘disobedient six-year-old self’ who had similarly ruined her own ‘special dress’. This realisation suggests that even though trauma ‘repeats [like]…history’, there is a generational difference in the way individuals are able to process and respond to situations of grief, poverty and war. 

‍ The Namesake

And suddenly the sound of his pet name, uttered by his father as he has been accustomed to hearing it all his life, means something completely new, bound up with a catastrophe he has unwittingly embodied for years. "Is that what you think of when you think of me?" Gogol asks him. "Do I remind you of that night?" "Not at all," his father says eventually, one hand going to his ribs, a habitual gesture that has baffled Gogol until now. "You remind me of everything that followed." (p. 124)

Just as Magda inherits Zbigniew’s harrowing war experience, Ashoke’s own ‘persistent fear’ from the train derailment that cripples him lives on through his son’s name. His chance rescue whilst ‘clutching a single page of ‘The Overcoat’’ is meaningful and life-altering. For Ashoke, naming his child after the ‘Russian writer who had saved his life’ emphasises his profound appreciation for surviving the accident. His son Gogol is a comforting reminder of ‘everything that followed’. In this way, Gogol acts as a symbol of both redemption and hope, representing Ashoke’s optimistic appraisal of his accident and his determination to make the most of his miraculous rescue. 

But for Gogol, the memory of his father’s accident is entirely foreign and lacks any real meaning for him. His childhood pet name ‘Gogol’ - which he has always resented for making him feel out of place around other kids - suddenly becomes ‘something completely new’ when he discovers the truth about Ashoke’s accident. Gogol feels enormous pressure to live up to his father’s expectations as he represents a ‘catastrophe he has unwittingly embodied for years’. This is the source of much of Gogol’s guilt, confusion and resentment (towards his name, father, family and entire culture) and gradually erodes his sense of self. However, this inscrutability of the past only deepens Ashoke’s and Gogol’s similarity, whilst complicating and straining their father-son dynamic. Ashoke is unable to recognise the burden he has placed on his child, whilst Gogol alternatively cannot appreciate or truly understand being a miracle and source of salvation for Ashoke. Like with Magda and Zbigniew, here, father and child are unable to understand each other, creating a schism in their relationship which they are never able to reconcile. In any case, Lahiri conveys that the actions of enduring and processing trauma are intertwined and often leave permanent traces across future generations.

But Gogol is attached to them. For reasons he cannot explain or necessarily understand, these ancient Puritan spirits, these very first immigrants to America, these bearers of unthinkable, obsolete names, have spoken to him, so much so that in spite of his mother’s disgust he refuses to throw the rubbings away. He rolls them up, takes them upstairs, and puts them in his room, behind his chest of drawers, where he knows his mother will never bother to look, and where they will remain, ignored but protected, gathering dust for years to come. (p. 71)

Lahiri also indicates generational similarities in how individuals relate to trauma. As a second-generation migrant who has always felt displaced from his culture, Gogol’s graveyard field trip allows him to experience a semblance of belonging in Massachusetts for the first time and relate to America’s ‘very first immigrants’. While Ashoke profoundly connects to the Russian writer Nikolai Gogol, his son Gogol refuses to get rid of the etchings of archaic names. These ‘ancient Puritan spirits’ with similarly ‘unthinkable, obsolete names’ like his own provide Gogol with a source of relief and offer proof that he is not alone in his differences. He feels protective of them - conveying his own desires to defend himself against childhood bullies, and also providing a way to preserve this first true moment of belonging. 

Just as ‘The Overcoat’ resonates with Ashoke, Gogol feels connected to the etchings and conceals this single page from his mother Ashima, who is resentful of the peculiar American school excursion. Similarly, Ashoke struggles to convey the deep significance behind his own liberating ‘single page’ from the Russian book. In this way, both pages remain ‘ignored but protected’ and, for both father and son, symbolise the power of literature and storytelling to salvage their profoundly intimate and life-altering moments that are unfathomable to others. 

2. Identity and Naming

Both Reckoning and The Namesake suggest that hasty personal reinventions can only temporarily suppress, rather than truly resolve, trauma. The ‘self-made man’ Gogol strives to be, and the ‘mostly-self created…Little Englishman’ identity that Zbigniew carves for himself, are simply ‘bandaids plastered over’ unresolved grief and hardships. Cut off from family and history, these facades only worsen their inner discontent and complicate identities. 

For my father Australia was love at first sight. The moment we landed he knew he had done the right thing. The blast-furnace heat invigorated him. Only mad dogs and my father would go out in the midday Australian sun. He wouldn’t just go out in it…he would mow the lawn in it. We had a big, bumpy, untamed backyard and when the mercury hit 103 degrees Fahrenheit he’d be out there dragging the lawnmower across every inch of it. Wearing Bombay bloomers and a terry-towelling hat, singing Polish songs over the din of the mower. (p. 44)

Escaping battle-scarred Poland and the origins of his trauma, Zbigniew is a migrant who ‘could not shed his Polishness fast enough’. He ‘crosse[s] the world to get away’ from his destroyed and tarnished home. Zbigniew begins a ‘second life’ as Peter, and like the Polish amber Magda’s cousin gifts her, Zbigniew is ‘transformed by pressure’ (a metaphor for the natural formation of amber) into the ‘Little Englishman’. This persona is a role he takes with grave determination - an echo of the ‘killer instincts’ he suppressed from his abandoned life as a Polish assassin. Bewildering the rest of his family, Zbigniew relishes the ‘invigorat[ing]…blast-furnace heat’ of Australia, and acts the part of a true Aussie in his ‘Bombay bloomers’ and ‘terry-towelling hat’. This characteristically Australian ensemble essentially functions as another battle armour he equips himself with to protect his blemished soul, tainted by a history so ‘bizarrely awful’ that his only way to survive is by ‘clamping down tight’ through an ironclad persona. 

Magda recalls him ‘forever trying to tame th[e] lumpen block’ of ‘untamed’ and ‘unpredictable’ soil in their yard, ‘dragging the lawnmower across every inch’. This crystallises the truth of his life: no matter how committed Zbigniew is to perfecting any project, simply plastering order (trying to tame the lawns by mowing them) over chaos (heat + lumpen, untamed, unpredictable soil) leaves the trauma unresolved.

The rest of it went smoothly and before too long I had my entire sharpie uniform. Only one thing was missing—a Conti. This smart striped cardigan, worn high and tight, was the centrepiece of the ensemble, the definitive wardrobe item of the sharpie. But none was available, not in Croydon anyway. We had to settle for a plain cardie, rolled up at the bottom until it sat under my boobs. I never did get a Conti. I think it was a sign. (p. 126)

Like her father, Magda toys with personas herself. Identity is fluid and inconstant for Magda, often fluctuating between a form Zbigniew would be proud of, one she hopes would trigger any emotional reaction from him, and one desperate to fit within the social climate of Croydon. She cultivates a variety of comic personalities and, like her father, pursues her own ‘tennis madness’ by becoming madly obsessed with the sport and playing competitively. Magda also attempts to embrace the dutiful Catholic ‘good girl’ personality she believes would satisfy her father, but she rebels when he continues to ‘display [no] emotion at all’ and embraces the Sharpie youth gang uprising in her neighbourhood. However, Magda ruefully mocks the contradictory nature of her Sharpie persona, describing her conversion as a hybrid - a ‘convent-school Sharpie’ - rather than the ‘true Sharpie chick’ she aspires to be. But, while all of these personas attempt to unite the ‘disparate, confusing parts’ of her identity, they just suppress the ‘real girl’ behind the mask and leave her more dissociated from herself than ever before. 

Magda goes to great lengths to ‘smoothly’ acquire the perfect Sharpie disguise, but even with the ‘entire Sharpie uniform’, her facade is flawed; she lacks the Conti cardigan, which is the ‘definitive wardrobe item of the sharpie’. Her Sharpie identity becomes a parody of the authentic Australian youth gang. The flaws behind her imitation persona are worsened when Magda tries to replace the Conti ‘centrepiece’ with a simple ‘plain cardie, rolled up at the bottom’. Magda only realises this when she barely avoids a ‘beating’ by a ‘predatory Sharpie’ whilst vulnerable, dressed in her convent-school uniform, and unrecognisable as a fellow gang member. Here, she is finally able to concede that she has only been ‘playing at being a bad girl’ and laments, ‘I never did get a Conti. I think it was a sign’ - wryly foreshadowing the inevitable dissatisfaction of teenage facades. 

The Namesake

"I'm Nikhil now," Gogol says, suddenly depressed by how many more times he will have to say this, asking people to remember, reminding them to forget, feeling as if an errata slip were perpetually pinned to his chest. (p. 119)

Gogol’s place in the world as an ‘American Born Confused Deshi’ (ABCD) is his own ‘awkward [truth]’. Like his own name which he scornfully labels a ‘scratchy tag’, his status as an ‘ABCD’ is another brand he is ‘forced permanently to wear’. He is both ashamed and resentful toward his second-generation migrant identity and feels ‘neither Indian nor American’ whilst mocked for his nickname that is ‘of all things Russian’. Indeed, Gogol’s entire adolescent experience is eclipsed by his confusion about ‘who he is’ as he struggles to obtain any stable foundation for his identity. 

Unlike the costumes and disguises that Magda and Zbigniew embrace, Gogol takes action by solemnly changing his name to Nikhil, the ‘one that should have been’ given to him all those years ago. But even Gogol is acutely aware that this ‘scant’ persona leaves him having to repeatedly reinforce and assure others (and himself) of his identity. Gogol actually rejects the name ‘Nikhil’ on his first day of preschool, foreshadowing the inward dissociation he experiences later in life. He is again ‘afraid to be Nikhil, someone he doesn’t know.’

Similarly, the flask Gogol’s sister Sonia gives to him for his thirtieth birthday, inscribed with his new initials NG, becomes a symbol of his inability to ‘break from that mismatched name’. Lahiri indeed suggests that identities are unavoidably ‘engraved’ with the layered ‘randomness’ of their lives and cannot be easily dissolved. 

And then he returned to New York, to the apartment they’d inhabited together that was now all his. A year later, the shock has worn off, but a sense of failure and shame persists, deep and abiding. There are nights he still falls asleep on the sofa, without deliberation, waking up at three A.M. with the television still on. It is as if a building he’d been responsible for designing has collapsed for all to see. And yet he can’t really blame her. They had both acted on the same impulse, that was their mistake. They had both sought comfort in each other, and in their shared world, perhaps for the sake of novelty, or out of the fear that that world was slowly dying. Still, he wonders how he’s arrived at all this: that he is thirty-two years old, and already married and divorced. His time with her seems like a permanent part of him that no longer has any relevance, or currency. As if that time were a name he’d ceased to use. (pp. 283-284)

For the majority of his life, Gogol alternates between feeling irritation and resentment for his Bengali heritage, and profoundly longing to be truly Indian. Gogol has several failed relationships and romantic encounters: Kim, with whom he introduces himself as Nikhil ‘for the first time in his life’, then Maxine, who attracted him with the ‘gift of accepting her life’. But, like his indulgence of and immersion in the Ratliff’s self-satisfied American life, the interactions with these women feel like a ‘betrayal of his own’ culture, family and identity. 

It is ‘familiarity’ that draws him to Moushumi, a childhood Bengali family friend with whom he ’s[eeks] comfort’ in their shared culture. For Gogol, his relationship with Moushumi represents the possibility of salvaging a childhood he spent disliking, but for Moushumi it’s a betrayal of her principles of independence. She has ‘turn[ed] her back’ her Indian and American ties to embrace a third culture in France, a country with ‘no claim’ on her and none of the cultural pressures of her heritage. 

Gogol longs - ironically - for stability and ‘fall[s] in love with Gothic architecture’; he equates his failed marriage with Moushumi to a ‘building he’d been responsible for designing’. This is essentially Gogol’s way of dealing with the trauma of his divorce, translated into a form he can understand and process. And yet, even a year after their separation, a ‘sense of failure and shame persists, deep and abiding’ - Lahiri suggests that trauma, grief and heartbreak are embedded into our identities and we don’t require a set length of time to accept them. 

Both Moushumi and Gogol come to realise that they were sustained merely by ‘the same impulse’ to erase discomfort, their marriage ‘collaps[ing] for all to see’. Their relationship becomes meaningless and their time together dissolves like a ‘name [Gogol had] ceased to use’. Lahiri conveys that re-entering and recreating a life once discarded (as harshly as Gogol discards his own name) is impossible, even irrational. 

3. Memory and Retrospect

It is no surprise that retrospect and remembrance emerge as central themes in both Reckoning and The Namesake . Gogol’s resented ‘namesake’ itself is a conduit for redemptive memory, whilst Magda ascertains the value of history to ‘salvage’ the present.

I wanted to know; I didn’t want to know. Without realising it I plotted a course somewhere between the two. My father, unable to get any further with his own attempts at a reckoning, had simply closed the door on the past. And now I was about to open that door. (p. 290)

Retrospect specifically becomes a vital motif in Reckoning as Szubanski uses her memoir to ‘join up the dots of [her]self’ and gain perspective on her father’s ‘unresolved and unexamined feelings’. Through her adult perspective, she reflects on her early doubts as she is finally able to appreciate and understand her heritage, reading ‘ Dni Powstania ’ and ‘Exodus’ on the Poles’ shame. Although Magda and Zbigniew ‘[pull] in opposite directions’ for most of her life, only by becoming the ‘collector of [Zbigniew’s]…stories’ and taping his ‘confession’ are the two brought to some level of understanding. Magda is finally able to ‘ rozumiesz ’ (to understand) that her father had ‘never helped the Nazis’, and on some level, ‘feel the feelings [her] father could not allow himself’. Perhaps more importantly, Zbigniew is able to share the paradoxical nature of his guilt - ‘what he had done in the name of good’ - feeling neither ‘ashamed’ nor ‘proud’ of his past. His reflection through the outlook of a ‘half old, half young’ version of himself mirrors Magda’s own introspection - in this sense, the ways in which Magda and Zbigniew are resolving (or at least learning to accept) trauma are ‘repeat[ing like]…history’ in their family. 

I was never told anything much about Luke. But my mother’s eyes—beneath the humour—were haunted by a deep, fretting sadness. Behind the querulous hypervigilance, the nitpicking, the irritability, there cowered a terrified child. A child full of panicky uncertainty about everything. I wanted to reach back and grab her hand and pull her through time and…what? I wanted to hug my mother when she was a child, to tell her everything was all right. (p. 336)

Szubanski observes how generations of poverty and war have shaped her mother’s ‘flinty’, unyielding determination to ‘just…get on with it’ and move on from adversity. Her ‘deep, fretting sadness’ hidden ‘beneath [her] humour’ is compassion and grief for her father, Luke, who ‘woke every night screaming’ after the war. This resonates strongly with Magda because her own father’s war experience mirrors Luke’s. The two families (Magda’s family, and her mother’s family) are forced to ‘[walk] on eggshells for fear of detonating [them]’. 

However, Magda is able to understand that her mother’s capricious tendency to ‘cling like a python then turn and snap like a crocodile’ is a product of her trauma, which allows Magda to understand Margaret’s character on a more intimate and genuine level. Magda, as a neglected and ‘terrified child’ with ‘panicky uncertainty’ herself, empathising with Margaret’s own troubled childhood allows Magda to offer her mother the comfort and support she craved when struggling alone beneath Zbigniew’s ‘exacting…standards’. Through this, Szubanski seems to suggest that although the legacy of trauma is an ongoing and deeply complex process, ‘reach[ing] back’ to process unresolved traumas together becomes a precious and vital way to ‘salvage’ bruised relationships. 

There is no question of skipping this meal; on the contrary, for ten evenings the three of them are strangely hungry, eager to taste the blandness on their plates. It is the one thing that structures their days: the sound of the food being warmed in the microwave, three plates lowered from the cupboard, three glasses filled. The rest of it—the calls, the flowers that are everywhere, the visitors, the hours they spend sitting together in the living room unable to say a word, mean nothing. Without articulating it to one another, they draw comfort from the fact that it is the only time in the day that they are alone, isolated, as a family; even if there are visitors lingering in the house, only the three of them partake of this meal. And only for its duration is their grief slightly abated, the enforced absence of certain foods on their plates conjuring his father's presence somehow. (pp. 180-181)

Even in death, Ashoke’s spirit is able to heal his fractured, grief-ridden family - truly and ultimately ‘transcend[ing] grief’, fulfilling the destiny his name’s meaning set out for him. Surrounded by meaningless condolences and forced sympathy - the ‘calls’, the ‘flowers’ and the ‘visitors’ - the Ganguli family is left ‘unable to say a word’ or process their loss in a safe and judgement-free space. The ‘mourner’s diet’ that sustains them, even in all its ‘blandness’, is able to ‘slightly [abate]’ their grief; it ‘conjur[es Ashoke’s] presence’ and unites the ‘isolated’ Gangulis ‘as a family’. Ironically, these cultural traditions that young Gogol so adamantly refused become the ‘only thing that seems to make sense’. Preserving and honouring Ashoke’s memory, this forsaken custom becomes an unanticipated lifeline for a family torn apart by cultural expectations, irreconcilable differences and shared tragedy. 

"Try to remember it always," he said once Gogol had reached him, leading him slowly back across the breakwater, to where his mother and Sonia stood waiting. "Remember that you and I made this journey, that we went together to a place where there was nowhere left to go." (p. 187)

Unlike Magda and Zbigniew who are able to reconnect in life, Gogol’s own poignant flashbacks with his father are cherished only after his death. However, it is only with this hindsight that Gogol is truly able to appreciate these initially resented, perhaps forgotten, moments as meaningful connections to his family. Gogol’s relationship with his father is tragically underpinned by a lifetime of misinterpretations and misunderstood trauma, the two unable to understand each other’s disparate outlooks on life and culture. However, when they visit Cape Cod both Gogol and Ashoke are, if only momentarily, pioneers. They are exposed to the world, just as Ashoke had been when he migrated to America; the two travelling ‘together to a place where there was nowhere left to go’. 

Gogol indeed grapples with a desire for stability and meaning throughout his entire life, bewildered by the ‘unintended’ series of ‘defining and distressing’ events. However, family indeed becomes the source of true security for Gogol. ‘Remember[ing]…always’, he preserves the memory of his father, and resistant to time and change, it remains a comforting constant amidst the ‘randomness’ that characterises and complicates his family’s life.

Have you ever wondered how you can read your books so efficiently that you will be able to identify the most important passages, quotes, symbols, author’s views and values etc. all in one go? Well, I’m going to share some handy tips you can adopt while annotating a novel that will hopefully help you achieve this. Warning – if you are a reader who likes to preserve their books and keep them crispy clean, this study guide probably isn’t for you. However, keep in mind that annotating texts is a powerful step in getting to know your text and optimising your essay responses.

Before we get started, what exactly is ‘annotating’? To annotate means to add notes to a text where you provide extra comments or explanations (usually in the margins of the book). It is very much an activity for yourself, because it allows you to become an  active reader –  where you are engaged in thinking about the plot, themes, characters etc. as you are reading and jotting down key thoughts. As a result, active readers are more likely to become immersed in the story, absorb the ideas better, be more open-minded and therefore usually develop their own unique interpretation of the text. While annotating may not come so naturally to some of you, this guide below should definitely equip you with a good starting ground!

1. Think of your text as a colouring book.  Use different coloured highlighters for different themes. This way when you’re rummaging through your book to find a certain quote to support a theme, say you specifically only highlight ‘romance’ theme in pink, it’s much easier for you to find the pink than to look through a whole book highlighted all in green. Think of it as creating a trail for you to follow throughout the book. Creating a legend at the start of the book (for example, in the contents page) can help you keep track of which colour stands for which theme.

2. Circle new vocabulary.  Look it up and then write their definitions next to the word. Next, keep a word bank in a workbook or on a word document containing any words you’ve learnt. Now you’ve successfully killed two stones with one bird –  you’ve broadened your vocabulary and you’ve got a handy sophisticated vocabulary list you can always refer to when it comes to essay writing!

3. Write notes in the margins.  Here you can summarise the significant points of a passage without needing to re-read the whole thing again. Use a pencil rather than pen. If you don’t like writing on paper, you can always use sticky notes and stick them to the pages. However, avoid writing full comprehensive notes in the margins. You’re not trying to write another book inside the empty sections of a book. Use a separate workbook or a word document for that!

4. Be open to different interpretations.  Just because your teacher or a study guide interprets the text in particular way, doesn’t mean that you need to agree. If you see things from a different angle, that’s an advantage for you. Remember that you can be ambiguous with your ideas, understanding a certain character or theme from multiple perspectives offers you a variety of ideas that can be applied in your essay. This idea is echoed by English assessors in the VCAA 2013 Examination Report,

…students should be encouraged to have confidence in their own reading and demonstrate a personal understanding of their text, rather than relying exclusively on commercially produced material. All texts are complex works of art with a wealth of opportunity for exploration. There is no ‘expected’ response to a topic, and the most successful pieces were those that were thoughtful and fresh.

5. Got burning questions that pop up?  Don’t dismiss what you don’t understand! Put down a question mark and do some research. The better you understand your text now, the greater understanding you will have of events that occur later in the text.

6. Mark literary devices.  Symbols, metaphors, alliteration, assonance – the list goes on. Use shapes such as circles, triangles, squares and create a legend in order to keep track of the different literary devices that present themselves throughout the text. Bear in mind that the best essays always include a well-rounded discussion about the author’s choices in literary techniques and how they develop specific themes and/or characters.

7. Dog-ear important passages . Some key passages can be lengthy (spreading over several pages), and it can be a pain to highlight pages and pages of a book (it might too much for your eyes to handle too – ouch!) so instead, fold the corners of those pages down so that you know exactly where that key event occurs.

8. Find unique phrases/quotes.  You’ll come across the same quotes that are repeatedly mentioned in class, study guides and essays that other students have written. To stand out, you should try to find those quotes that are equally powerful but are somewhat overlooked or underrated.

9. Annotate study notes and study guides.  These notes are written by another reader who has developed their own ideas about the text – this doesn’t mean that you necessarily have to share the same ideas as there is always opportunity to disagree with another’s opinion. Draw smiley faces or frowns in areas where you agree or disagree. This can be the basis of an interesting discussion in your own essay.

10. Don’t be afraid to destroy that book!  Yes, it’s nice to have a book crispy and clean, but think of annotating as a way to own that book! Show that you know the in and outs of the text so well that if someone else were to pick it up, they would have no idea where to even begin! Having proper notes in the right places and annotations will make the biggest difference.

Keep in mind that annotating does not equal skimming (where you briefly speed-read through your text). If you’re planning to only flick through the book, you are probably not going to find those unique passages or under-used yet powerful quotes. Take it slow and easy!

Finding out that your school has selected to study a Shakespeare play as your section A text can be a pretty daunting prospect. If I’m honest, I wasn’t all too thrilled upon discovering this either...it seemed as though I now not only had to worry about analysing my text, but also understanding what Shakespeare was saying through all of his old-fashioned words. 

However, let’s not fret - in this post, I’ll share with you some Measure for Measure specific advice and tactics, alongside excerpts of an essay of mine as a reference. 

Before you start reading, How To Approach Shakespeare: A Guide To Studying Shakespeare is a must read for any student studying Shakespeare.

Historical Context 

Having a basic understanding of the historical context of the play is an integral part of developing your understanding of Measure for Measure (and is explored further in Measure for Measure by William Shakespeare ). For example, for prompts that open with “What does Shakespeare suggest about…?” or “How does Measure for Measure reflect Shakespeare’s ideas about…?” it can be really helpful to understand Shakespeare’s own position in society and how that influenced his writing. 

There’s no need to memorise certain parts of Shakespeare’s history - as that would serve no purpose - just try to gauge an understanding of what life was like in his time. Through understanding Shakespeare’s position in society, we are able to infer his stances on various characters/ideologies in the play. 

• Measure for Measure is often regarded as an anti-Puritan satire. Although Shakespeare’s religion has been a subject of much debate and research, with many theories about his faith being brought forward, many believe that he was a secret Catholic. He is believed to be a ‘ secret’ Catholic, as he lived during the rise of the Puritans - those who wished to reform the Church of England and create more of a focus on Protestant teachings, as opposed to Catholic teachings. It was often difficult for Catholics to practice their faith at this time. 
• Angelo and Isabella - particularly Angelo, are believed to embody puritanism, as shown through their excessive piety. By revealing Angelo to be “yet a devil,” though “angel on the outward side,” Shakespeare critiques Puritans, perhaps branding them as hypocritical or even unhuman; those “not born of man and woman.” Thus, we can assume that Shakespeare would take a similar stance to most of us - that Angelo wasn’t the greatest guy and that his excessive, unnatural and puritanical nature was more of a flaw than a virtue. 

Tips for Moving Past the Generic Examples/Evidence Found in the Play 

It’s important to try and stand out with your examples in your body paragraphs. If you’re writing the same, simple ideas as everyone else, it will be hard for VCAA assessors to reward you for that. Your ideas are the most important part of your essay because they show how well you’ve understood and analysed the text - which is what they are asking from you, it’s called an ‘analytical interpretation of a text,’ not ‘how many big words can you write in this essay.’ You can stand out in Measure for Measure by: 

1. Taking Note of Stage Directions and Structure of Speech

Many students tend to simply focus on the dialogue in the play, but stage directions can tell you so much about what Shakespeare was really trying to illustrate in his characters. 

• For example, in his monologue, I would often reference how Angelo is alone on stage, appearing at his most uninhibited, with his self-interrogation revealing his internal struggle over his newfound lust for Isabella. I would also reference how Shakespeare’s choice of syntax and structure of speech reveal Angelo’s moral turmoil as he repetitively asks himself “what’s this?” indicating his confusion and disgust for his feelings which “unshapes” him. 
• Isabella is shown to “[kneel]” by Mariana at the conclusion of the play, in order to ask for Angelo’s forgiveness. This detail is one that is easily missed, but it is an important one, as it is an obvious reference to Christianity, and symbolises Isabella’s return to her “gentle and fair” and “saint” like nature. 

2. Drawing Connections Between Characters - Analyse Their Similarities and Differences. 

Drawing these connections can be a useful way to incorporate other characters not necessarily mentioned in your prompt. For example, in my own English exam last year, I chose the prompt “ ...Power corrupts both Angelo and the Duke. Do you agree? ” and tried to pair Angelo and Isabella, in order to incorporate another character into my essay (so that my entire essay wasn’t just about two characters).

• A favourite pair of mine to analyse together was Angelo and Isabella. Although at first glance they seem quite different, when you read into the text a little deeper you can find many similarities. For example, while Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, “nun,” Isabella, wishes to join the nuns of Saint Clare where she “must not speak with men” or “show [her] face.” Shakespeare’s depiction of the two, stresses their seclusion, piety and restriction from the “vice” plaguing Vienna. What’s important about this point is that you can alter your wording of it to fit various points that you may make. For example, you could use this example to prove to your assessor how Isabella’s alignment with Angelo signals Shakespeare’s condemnation of her excessive puritanical nature (as I did in my body paragraph below) or, you could use these same points to argue how Angelo was once indeed a virtuous man who was similar to the “saint” Isabella, and that it was the power that corrupted him (as you could argue in the 2019 prompt). 
• Another great pair is the Duke and Angelo. Although they certainly are different in many ways, an interesting argument that I used frequently, was that they both were selfish characters who abused their power as men and as leaders in a patriarchal society. It is obvious where Angelo did this - through his cruel bribery of Isabella to “lay down the treasures of [her] body,” however the Duke’s behaviour is more subtle. The Duke’s proposal to Isabella at the conclusion of the play, as he asks her to “give [him her] hand,” in marriage, coincides with the revelation that Claudio is indeed alive. It appears that the Duke has orchestrated the timing of his proposal to most forcefully secure Isabella and in this sense, his abuse of power can be likened to Angelo’s “devilish” bribery. This is as, through Shakespeare’s depiction of Isabella, it is evident that she has little interest in marriage; she simply wishes to join a convent where she “must not speak with men,” as she lives a life of “strict restraint.” The Duke is aware of this, yet he demands Isabella to “be [his]”-  wishing to take her from her true desire and Shakespeare is able to elucidate Isabella’s distaste through her response to this: silence. By contrasting Isabella’s once powerful voice - her “speechless dialect” that can “move men” - with her silence in response to the Duke’s proposal, Shakespeare is able to convey the depth of the Duke’s selfishness and thus his similarity to Angelo.

We've got a character list for you in Measure for Measure by William Shakespeare (just scroll down to the Character section).

What’s important to realise about these bits of evidence is that you can use them in so many different prompts, provided that you tailor your wording to best answer the topic. For example, you could try fitting at least one of the above examples in these prompts: 

• ‘Give me your hand and say you will be mine…’ The characters in ‘ Measure for Measure’ are more interested in taking than giving. Discuss. 
• ‘More than our brother is our chastity.' Explore how Shakespeare presents Isabella's attitude to chastity throughout Measure for Measure .
• ‘I have seen corruption boil …' To what extent does Shakespeare explore corruption in Measure for Measure , and by what means? 
• ‘Measure or Measure presents a society in which women are denied power.’ Discuss.

How To Kick Start Your Essay with a Smashing Introduction

There’s no set way on how to write an introduction. Lots of people write them in many different ways and these can all do well! This is the best part about English - you don’t have to be writing like the person sitting next to you in order to get a good mark. I personally preferred writing short and sweet introductions, just because they were quick to write and easy to understand. 

For example, for the prompt...

“...women are frail too.” 

To what extent does ‘Measure for Measure’ examine the flaws of Isabella? 

...my topic sentences were...

• Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo. 
• Shakespeare explores the hypocrisy and corruption of Isabella as a flaw, as she deviates from her initially “gentle and fair” nature.
• Despite exploring Isabella’s flaws to a large degree, Shakespeare does indeed present her redemption at the denouement of the play. 

...and my introduction was: 

William Shakespeare’s play, ‘Measure for Measure’ depicts a seventeenth century Viennese society in which disease, misconduct and licentiousness are rife. It is upon a backdrop of such ordeals that Shakespeare presents the character of Isabella, who is initially depicted as of stark contrast to the libertine populate of Vienna. To a considerable extent, ‘Measure for Measure’ does indeed examine the flaws of the “gentle and fair” Isabella, but Shakespeare suggests that perhaps she is not “saint” nor “devil,” rather that she is a human with her own flaws and with her own redeeming qualities. 

Instead of rewording my topic sentences, I touched on them more vaguely, because I knew that I wouldn’t get any ‘extra’ points for repeating them twice, essentially.  However, if you feel more confident in touching on your topic sentences more specifically - go ahead!! There are so many different ways to write an introduction! Do what works for you! 

Body Paragraphs 

This body paragraph included my pairing between Angelo and Isabella. My advice would be to continue to incorporate the language used in the prompt. In this paragraph, you can see me use the word “flaw” quite a bit, just in order to ensure that I’m actually answering the prompt , not a prompt that I have studied before. 

Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo. Where Angelo is “of ample grace and honour,” Isabella is “gentle and fair.” Where Angelo believes in “stricture and firm abstinence,” Isabella too believes that “most desire should meet the full blow of justice.” This similarity is enhanced by their seclusion from the lecherous society in which they reside. Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, whilst Isabella desires the life of a nun where she “must not speak with men” or “show [her] face.” This depiction of both Angelo and Isabella stresses their seclusion, piety and restriction from the “vice” that the libertine populate is drunk from. However, Shakespeare’s revelation that Angelo is “yet a devil” though “angel on the outward side,” is perhaps Shakespeare’s commentary on absolute stricture being yet a facade, a flaw even. Shakespeare presents Isabella’s chastity and piety as synonymous with her identity, which ultimately leaves her unable to differentiate between the two, as she states that she would “throw down [her] life,” for Claudio, yet maintains that “more than our brother is our chastity.” Though virtuous in a sense, she is cruel in another. Although at first glance, Shakespeare’s depiction of Isabella’s excessive puritanical nature appears to be her virtue, by aligning her with the “devil” that is Angelo, it appears that this is indeed her flaw. 

Conclude Your Essay by Dazzling Your Assessor!  

My main tip for a conclusion is to finish it off with a confident commentary of the entire piece and what you think that the author was trying to convey through their words (in relation to the topic). For example, in pretty much all of my essays, I would conclude with a sentence that referenced the entire play -  for example, how it appeared to be such a polarising play, with largely exaggerated, polarising characters/settings (eg. Angelo and the Duke, or the brothels that stood tall next to the monastery): 

Ultimately, Shakespeare’s play ‘Measure for Measure,’ depicts Isabella as a multifaceted character. She is not simply one thing - not simply good nor bad -  her character’s depiction continues to oscillate between the polar ends of the spectrum. Although yes, she does have flaws, so too does she have redeeming qualities. Though at times deceitful and hypocritical, she too is forgiving and gentle. Thus, as Shakespeare’s play, ‘Measure for Measure,’ does centre on polarising characters in a polarising setting, perhaps through his exploration of Isabella’s flaws alongside her virtues, he suggests that both the good and the bad inhabit us.

Measure for Measure is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Not gonna lie, this novel is a bit of a tricky one to introduce. World War II, arguably one of the darkest events of human history, has been the basis of so much writing across so many genres; authors, academics, novelists have all devoted themselves to understanding the tragedies, and make sense of how we managed to do this to one another. Many reflect on the experiences of children and families whose lives were torn apart by the war.

In some ways, Doerr is another author who has attempted this. His novel alludes to the merciless anonymity of death in war, juxtaposes individualism with collective national mindlessness, and seeks out innocence amidst the brutality of war.

What makes this novel difficult to introduce is the way in which Doerr has done this; through the eyes of two children on opposite sides of the war, he explores how both of them struggle with identity, morality and hope, each in their own way. Their storylines converge in the bombing of Saint-Malo, demonstrating that war can be indiscriminate in its victims—that is, it does not care if its victims are children or adults, innocent or guilty, French or German. However, their interaction also speaks to the humanity that lies in all of us, no matter how deeply buried.

A very quick history lesson

Fast Five Facts about World War II:

• Lasting 1939-1945, the war was fought between the Axis powers (Germany, Japan and Italy) and the Allies (basically everyone else, but mainly England, France, and later the US). Whilst it was Germany who started the war, the intervention of the US at the end of five long years of fighting ultimately helped the Allies win.
• Various forms of technology were first used, or found new uses, during the war. Aircraft carriers and various planes (fighters, bombers etc.) became more important than ever, while Hitler’s use of tanks allowed him to take over much of Europe very quickly.
• Other forms of new technology included one of the world’s first electronic computers that was used to codebreak (stop reading now and watch The Imitation Game if you haven’t already! Totally counts as studying, right?), as well as radio and radar, used to communicate and also to detect enemies in the field.
• World War II is also referred to as the Holocaust, the name given to Hitler’s attempted genocide of the Jewish people. 6 million Jews died in the war, and as many as 15 million others died in total.
• Germany’s initial conquest of Europe was swift and brutal. Within a month, Poland had already surrendered and within a year, so had France. However, there were also resistance groups all over these countries which sought to undermine the Nazi regime in a number of ways, both big and small.

My best attempt to give a general plot overview of this very long book

Disclaimer: this is a very, very broad overview of the novel and it is absolutely not a substitute for actually reading it (please actually read it).

Chronologically, we start in 1934, five years before the war. Marie-Laure is a French girl who lives with her father Daniel Leblanc, working at the Museum of Natural History in Paris. As she starts to go blind, Daniel teaches her Braille, and makes her wooden models of their neighbourhood to help her navigate. Six years later, the Nazis invade France, and they flee the capital to find Daniel’s uncle Etienne, who lives in the seaside town of Saint-Malo; Daniel was also tasked with safeguarding a precious gem, the Sea of Flames, from the Nazis.

In Saint-Malo, Daniel also builds Marie-Laure a model of the town, hiding the gem inside. Meanwhile, she befriends Etienne, who suffers from agoraphobia as a result of the trauma from the First World War. He is charming and very knowledgeable about science, having made a series of scientific radio broadcasts with his brother Henri (who died in WWI). She also befriends his cook, Madame Manec, who participates in the resistance movement right up until she falls ill and dies.

Her father is also arrested (and would ultimately die in prison), and the loss of their loved ones prompts both Etienne and Marie-Laure to begin fighting back. Marie-Laure is also given a key to a grotto by the seaside which is full of molluscs, her favourite kind of animal.

On the other side of the war, Werner is, in 1934, an 8 year-old German boy growing up in an orphanage with his sister Jutta in the small mining town of Zollverein. They discover a radio, which allows them to listen to a broadcast from miles away (it was Henri and Etienne’s), and Werner learns French to try and understand it. One day, he repairs the radio of a Nazi official, who recruits him to the Hitler Youth on account of his ingenuity (and his very blonde hair and very blue eyes, considered to be desirable traits by the regime). Jutta grows increasingly distant from Werner during this time, as she questions the morality of the Nazis.

Werner is trained to be a soldier along with a cohort of other boys, and additionally learns to use radio to locate enemy soldiers. He befriends Frederick, an innocent kid who was only there because his parents were rich—Frederick would eventually fall victim to the brutality of the instructors, and Werner tries to quit out of solidarity. Unfortunately, he is sent into the army to apply his training to actual warfare. He fights with Frank Volkheimer, a slightly ambiguous character who a tough and cruel soldier, but also displays a capacity to be kind and gentle (including a fondness for classical music). The war eventually takes them to Saint-Malo.

Also around 1943 or so, a Nazi sergeant, Reinhold von Rumpel, begins to track down the Sea of Flames. He would have been successful ultimately had it not been for Werner, who stops him in order to save Marie Laure.

As America begins to turn the war around, Werner is arrested and dies after stepping on a German landmine; Marie-Laure and Etienne move back to Paris. Marie-Laure eventually becomes a scientist specialising in the study of molluscs and has an extensive family of her own by 2014. Phew.

What kind of questions does Doerr raise through this plot? To some degree, the single central question of the novel is one of humanity, and this manifests in a few different ways.

Firstly, to what extent are we in control of our own choices? Do we truly have free will to behave morally ? The Nazi regime throws a spanner in the works here, as it makes incredibly inhumane demands on its people. Perhaps they fear punishment and have no choice—Werner, for instance, does go along with everything. At the same time, his own sister manages to demonstrate critical thinking and moral reasoning well beyond her years, and it makes you wonder if there was potential for Werner to be better in this regard. There’s also the question of whether or not he redeemed himself in the end.

That being said, Werner is far from the only character who struggles with this—consider the perfumer, Claude Levitte, who becomes a Nazi informer, or even ordinary French citizens who simply accept the German takeover. Do they actually have free will to resist, or is it even moral for them to do so?

Hannah Arendt famously coined the phrase “the banality of evil,” referring to how broader movements of inhumanity (such as the Holocaust) can be compartmentalised until individual actions feel perfectly banal, commonplace and ordinary. This is what allowed people to do evil things without actually feeling or even being inherently evil—they were just taking orders, after all. Consider the role of free will in this context.

This brings us to the broader ‘theme’ of war in general: in particular, what kinds of acts are  suddenly justifiable in war? Etienne and Madame Manec, for instance, even disagree on the morality of resistance, which can frequently involve murder. Etienne’s pacifist stance is a result of the scale of deaths in the previous world war. At the same time, the climactic event of the novel is an allied bombing of Saint-Malo, a French town, just because it had become a German outpost. Risking lives both French and German, this also highlights the ‘necessity’ of some inhumane actions in times of war.

On a more optimistic note, a human quality that Doerr explores is our natural curiosity towards science . This is abundant in the childhoods of both protagonists, as Werner demonstrates dexterity with the radio at a very young age, and Marie-Laure a keen interest in marine biology. In particular, her blindness pushes her into avenues of science which she can experience without literal sight, such as the tactile sensations of mollusc shells. The title may hint at this—for all the light she cannot see, she seeks enlightenment through knowledge, which in turn gives her hope, optimism and purpose.

At the same time, the human desire to better understand the world can also be used inhumanely—Werner used radio to learn through Etienne and Henri’s broadcasts, but he would later in life also use it to help his compatriots murder enemy soldiers. This alludes to the banality of evil again; by focusing on his very technical role and his unique understanding of the science behind radios, he is able to blind himself to the bigger picture of the evils he is abetting. Science is something that is so innately human, yet can also be used inhumanely as well.

For these reasons, I’d suggest humanity is at the heart of the novel. There is a certain cruel randomness to death in war, but just because so many did perish doesn’t mean that there aren’t human stories worth searching for in the destruction. This is the lens that Doerr brings to the WWII narrative.

Some symbols

To some degree, a lot of these symbols relate to humanity, which I’ve argued is the crux of the novel. I’ll keep this brief so as to not be too repetitive.

One major symbol is the radio , with its potential for good as well as for evil. On one hand, it is undoubtedly used for evil purposes, but it also acts as a source of hope, purpose, conviction and connection in the worst of times. It is what ultimately drives Werner to save Marie-Laure.

Along the same vein, whelks are also a major symbol, particularly for Marie-Laure. While an object of her fascination, they also represent strength for her, as they remain fixed onto rocks and withstand the beaks of birds who try to attack them. In fact, she takes “the Whelk” as a code-name for herself while aiding the resistance movement. It’s also noteworthy that, given the atrocities of war, maybe animals are the only innocent beings left. As Saint-Malo is destroyed and the Sea of Flames discarded, it is the seaside ecosystem that manages to live on, undisturbed. In this sense, the diamond can be seen as a manifestation of human greed, harmless once removed from human society.

Finally, it’s also worth considering the wooden models that Daniel builds for Marie-Laure. They represent his immense love for her, and more broadly the importance of family, but the models also attempt to shrink entire cities into a predictable, easily navigable system. As we’ve seen, this is what causes people to lose sight of the forest for the trees—to hone in on details and lose track of the bigger picture around them. The models are an oversimplification of life, and an illusion of certainty, in a time when life was complicated and not at all certain for anyone.

Identity, morality and hope—these things pretty much shape what it means to be human. Throughout All the Light We Cannot See though, characters sometimes struggle with all three of them at the same time.

And yet they always manage to find something within themselves, some source of strength, some sense of right and wrong, some humanity in trying times. Doerr explores this capacity amply in this novel, and in this sense his novel is not just another story about WWII—it’s a story about the things that connect us, always.

Essay prompt breakdown

Transcription

Through the prompt that we’ll be looking at today, the main message I wanted to highlight was to always try and look for layers of meaning. This could mean really being across all of the symbols, motifs and poetic elements of a text, and it’s especially important for a novel as literary as this one.

You might not have been particularly happy to find out you’re going to have to study All The Light We Cannot See— it is probably the longest text on the entire text list—but it’s also a really beautiful, well-written book that deservedly took out the Pulitzer Prize for fiction in 2015.

In this novel, Anthony Doerr tells the World War 2 story through a unique lens, or rather a unique combination of lenses, as he sets a 16-year-old French girl and a 17-year-old German boy on an unlikely path of convergence. Through the dangers and difficulties that they face, Doerr’s novel is one of growth and self-assuredness in a time when this seemed virtually impossible.

The essay topic we’ll be looking at today is:

All The Light We Cannot See is a literal title for the novel, in that it exposes the darkness, evil and cruelty of which humans are demonstrably capable. Is this an accurate interpretation?

As usual, let’s define some keywords.

I want to leave ‘darkness’ for a little later, but let’s start with ‘evil and cruelty.’ By themselves, they generally just mean immorality or inhumanity, but also keep in mind how they come across in characters’ actions, since those will be the focus of our analysis. The word ‘demonstrably’ highlights this, since it means that any ‘evil’ you discuss needs to be demonstrated or proven.

With ‘darkness’, that’s a bit more of a tricky term because it can mean any number of things. Here, it might be taken to mean bad intentions, corruption or anything like that, because it fits with ‘evil and cruelty’. However, this is where the ‘interpretation’ aspect of the prompt comes in—an interpretation being a way of explaining meaning, how do you explain the meaning of ‘darkness’ in relation to the title? Darkness in this sense could be any number of things.

Now, how should we plan for this topic? Let’s first consider if there’s any room to challenge, since the prompt seems to only focus on the more negative, pessimistic side of the book. I’d argue that with darkness, there is also some light in the form of kindness, charity and hope.  

This all sounds pretty profound, but I’m just trying to link it back to the book’s title! I mean, that’s what the topic is asking about, right?

Let’s break this down into paragraphs.

For our first paragraph, a good starting point might be analysing the literal forms of darkness in the novel, and seeing what other interpretations we can get from those. A character that comes to mind is Marie-Laure, the French girl who cannot see any ‘light’ due to her blindness. The title could be seen as an allusion to her character and by extension, the hopelessness that blindness might cause in the midst of a war. We could compare Marie-Laure’s situation with that of Werner, who faces the industrialization of his childhood town, watching it become more and more enveloped in ‘darkness’ and as such, hopelessness.

For our next paragraph, we might drill down to deeper levels of interpreting darkness, because it’s often used as a metaphor for inhumanity. It isn’t difficult to find inhumanity in the novel. There’s plenty of it peppered throughout Werner’s storyline, particularly at Schulpforta, where the Hitler Youth were ‘trained’, (to put it lightly). He and his peers are routinely drilled to “drive the weakness from the corps” in humiliating exercises led by cruel instructors. They are also sometimes driven to cruelty towards one another, and Frederick, Werner’s bunkmate, is relentlessly bullied for his perceived weakness.

So by now, it’s clear that the novel demonstrates the human capacity for experiencing ‘darkness’ as well as inflicting it upon others. But, across these two layers of meaning, could there perhaps be some room to challenge these interpretations? This is something we should look at for our final paragraph.

Here, I would probably argue that just as Doerr explores various forms of darkness, there is also enough ‘light’ which allows some characters to overcome or escape from the darkness. These manifestations of light also require you to think about the different symbolic layers of the novel. On one level for example, looking at light literally, there’s the message on Werner’s radio that teaches us that, even though the brain is sealed in darkness, “the world it constructs…is full of light.” A deeper level of meaning to this may refer to the sense of scientific wonder and discovery which sometimes brings light to Werner, and also Frederick, his bunkmate at Schulpforta, when their lives there are at their most dark.

Consider how, just as darkness has levels of interpretation and symbolism in this book, so does light and hope and joy, rather than just evil and cruelty.

And that’s it! Always delving deeper for meaning helps you to really make use of the symbols, imagery and motifs in a text, and I hope this novel in particular illustrates that idea.

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Frankenstein - Free Essay Samples And Topic Ideas

Frankenstein is a novel by Mary Shelley, often heralded as one of the first pieces of science fiction, exploring themes of creation, ambition, and the moral implications of scientific advancement. Essays on “Frankenstein” could delve into these themes, the character analysis of Victor Frankenstein and the Creature, and the novel’s enduring legacy in literature and popular culture. Moreover, discussions might extend to the novel’s influence on the genre of science fiction and horror. A substantial compilation of free essay instances related to Frankenstein you can find at Papersowl. You can use our samples for inspiration to write your own essay, research paper, or just to explore a new topic for yourself.

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How To Write an Essay About Frankenstein

Introduction to mary shelley's frankenstein.

Mary Shelley's "Frankenstein" is a seminal work of Gothic literature that explores themes of creation, responsibility, and the nature of humanity. In the introduction of your essay, set the stage by briefly summarizing the novel's plot, which centers around Victor Frankenstein, a young scientist who creates a sentient creature in an unorthodox scientific experiment. Highlight the novel's key themes, such as the dangers of unchecked scientific ambition, the quest for knowledge, and the moral implications of playing God. This introduction should provide a snapshot of the novel’s key elements and the thematic explorations you will delve into, laying the groundwork for a critical examination of Shelley's work.

Analyzing Themes and Characters

In the body of your essay, focus on a detailed exploration of the novel's central themes. Discuss the theme of creation and the consequences of Victor Frankenstein's pursuit of scientific discovery without ethical boundaries. Analyze the creature’s development and his quest for identity and companionship, which turns into a desire for revenge against his creator. Explore the novel's exploration of isolation, both self-imposed and societal, as experienced by Victor and his creature. Additionally, examine the characters' relationships and how they contribute to the novel's themes, using specific examples from the text to support your analysis. Each paragraph should focus on a different theme or character, weaving a comprehensive understanding of Shelley’s narrative.

The Novel's Context and Shelley's Writing

It's important to contextualize "Frankenstein" within its historical and literary background. Discuss the significance of the novel being written during the early 19th century, a time of significant scientific advancement and romantic literary movement. Explore how Shelley’s personal experiences and the scientific context of her time influenced the themes and style of "Frankenstein." Additionally, consider the novel's structure, narrative technique, and use of symbolism and imagery. This part of the essay should demonstrate an understanding of how "Frankenstein" not only reflects the time in which it was written but also contributes to the genre of science fiction.

Concluding Reflections

Conclude your essay by summarizing the key points of your analysis and reaffirming the novel's significance in literary history. Reflect on the enduring relevance of "Frankenstein" in modern times, particularly in discussions about scientific ethics, the boundaries of human endeavor, and the consequences of technological advancement. Consider the novel's impact on readers and its role in shaping subsequent literary and cultural narratives. A strong conclusion will not only encapsulate your insights but also underscore the novel's continued importance, encouraging readers to reflect on its themes in the context of today's world.

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Essays About Frankenstein: Top 5 Examples Plus Prompts

Mary Shelley’s Frankenstein is one of the greatest works of literature; if you are writing essays about Frankenstein, you can start by reading some essay examples. 

When we think of Frankenstein, we often picture a hulking monster. However, “Frankenstein” refers to one of two things: The novel Frankenstein by Mary Shelley, or Dr. Victor Frankenstein, the scientist who created the great beast. The monster is Frankenstein’s monster, not Frankenstein himself.

Dr. Frankenstein defies nature in the novel and creates sentient body-stitched body parts. Unfortunately, his creation turns on him, and the scientist eventually dies. The novel is a good reminder of our very nature as human beings and our place in the world. 

If you want to write a good essay about Frankenstein, read these essay examples and prompts for inspiration. 

1. Frankenstein by Mary Shelley: Critical Essay by Andrew Eliot Binder

2. suspense in frankenstein by sophie tyler, 3. dr. frankenstein’s three big mistakes by charlotte gordon, 4. frankenstein is a tragedy, not a romantic novel by jennifer n. adams, 5. frankenstein & gender roles by frederick hopkins, 1. why can readers empathize with the monster , 2. is franknstein “the modern prometheus”, 3. the true monster of the story, 4. lessons we can learn from frankenstein, 5. does frankenstein deserve its fame, 6. the influence of frankenstein.

“Shelley immediately likens Frankenstein to his own creation through the word “wretched,” and, in doing so, present an irony. Frankenstein deserts his “wretched” creation, who then becomes hungry and harassed by society. But when the roles are reversed, and Frankenstein is described as “wretched,” he is given “soup,” shelter, and protection from being “tormented.”

Binder’s essay compares the characters of Walton and Frankenstein, showing the importance of human relationships. Despite their similar upbringing and personality, Walton craves companionship while Frankenstein isolates himself; the former survives while the latter perishes. Binder believes that Shelley intends to show the importance of being part of society, for we will not survive without it.  

“The message of the novel is that scientists should have self-control in their work to avoid becoming obsessed, otherwise this will lead to their ‘destruction’ as was the case with Frankenstein. In the novel Captain Walton learned from Frankenstein and decided to put an end to his obsession of reaching the north..”

In her essay, Tyler discusses how Shelley creates suspense in Frankenstein through word choice, the symbolism of darkness, pacing, and short sentence structure. Put together, Shelley evokes a dark, foreboding tone, showing the scientist’s terror as the novel progresses and, consequently, the message that scientists must not overstep their bounds and have restraint in their work.

“Artificial intelligence isn’t likely to kill us all—but the more people work on the problem, the more the odds go down. Frankenstein’s creature did not have to be a blight on society. He devolved into a monster of revenge because he was abandoned by his creator.”

Gordon writes about the rise of artificial intelligence and its similarity to Shelley’s Frankenstein . He describes Dr. Frankenstein’s mistakes, unwillingness to share his research with others, neglecting his creation until it was too late to stop it, and poor design due to inadequate resources. A.I. researchers can learn from these mistakes to ensure that their creations do not prove detrimental to others’ lives, as in Frankenstein or society. 

“What Mary Shelley had written, was a tragedy. Both characters, Frankenstein and the monster suffered great tragedies in their life; Frankenstein suffered from the continuous loss of family and friends from his own mistake and the monster suffered a life of solitude and not having known love, kindness, or friendship.”

Adams poses a theory that Frankenstein is a tragic work of literature rather than a romantic novel. Frankenstein and the monster suffer greatly, and conflict is demonstrated against each other and in their heads. Their actions throughout the novel are a result of their tragedies. Adams does an excellent job of conveying her beliefs and presenting evidence to support her claim. 

“Jane Austen once wrote ‘hate to hear you talk about all women as if they were fine ladies instead of rational creatures. None of us want to be calm waters all our lives’. This helps to sum up the possible mention of the need for the emancipation for women throughout Shelley’s book. We are introduced to varying female roles throughout the book, from Elizabeth to Safie, the ‘gender roles’ have varied in empowering one character while leaving the other to be the representation of the ‘times’.”

Hopkins’s essay discusses how Frankenstein reflects Shelley’s views on gender roles. For example, the character Justine is a “passive, submissive” woman of the time; she meets an unfortunate end. Safie, on the other hand, is more independent and brings joy to everyone when she is present. These examples, among others, reflect Shelley’s desire for society to change its attitude towards women. 

Prompts on Essays about Frankenstein

A significant aspect of the story is the monster’s “humanity.” Readers can identify with his character and relationship with society. It is interesting to discuss why this could be the case. Delve into the question, “how do we relate to the monster?” Write about the different ways the monster appears more human and “worthy of empathy,” so to speak.

Interestingly, Frankenstein is suggested to be a modern version of the Greek god. Look into who Prometheus was in mythology and consider the similarities between him and Dr. Frankenstein. How is he a “modern Prometheus?” Use sources to support your findings, and create a compelling argumentative essay.

On a surface level, Frankenstein’s creation is the “monster” in the novel. However, some argue that the true monster is Frankenstein, for tampering with the creation of organic life. So who is the monster to you? There is abundant evidence to support either character; for an engaging essay, get quotes from the novel and online sources. 

Behind Frankenstein lies a set of truths about humanity and some values and lessons we can learn from. What do the story and characters reveal about our inherent nature, and what lessons can we apply to our own lives? You can write about one or more, but be sure to explain them in detail.

Frankenstein is regarded as one of the most famous works of literature, on par with Romeo and Juliet, Moby Dick, and other classics. Should it be considered “one of the greats?” Based on readings and research, decide on your response and defend your position.

Particularly in the world of horror, Frankenstein has had a tremendous impact. Your essay can discuss the novel’s lasting legacy and its effects on pop culture, the science-fiction and horror genres, and literature. In addition, you should include examples of works that exhibit noticeable influence from the novel and its characters. 

Check out our guide packed full of transition words for essays .

If you’re still stuck, check out our general resource of essay writing topics .

Martin is an avid writer specializing in editing and proofreading. He also enjoys literary analysis and writing about food and travel.

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Frankenstein: Texts and Contexts

• Library Resources
• Background Literature
• Suggested Reading on the Romantic Age
• Parents: William Godwin and Mary Wollstonecraft
• Husband: Percy Bysshe Shelley
• Friend: Lord Byron
• The Literary Response to the Year without a Summer
• Food Scarcity and Bread Riots
• Suggested Reading on Food Scarcity and Bread Riots
• Online Reference Resources
• Suggested Reading on Arctic Exploration
• Suggested Reading on Automata and Mechanical Devices
• Suggested Reading on Life
• Suggested Reading on Franklin and Galvani
• 'Frankenstein' on Film
• Suggested Reading on the Idea of Monstrosity
• The Mad Scientist in Literature
• Suggested Reading on 18th Century Medicine
• Bodysnatching
• Tyburn: Execution and Dissection
• Suggested Reading on Radical Politics
• Suggested Reading on Women in the 18th Century
• Pregnancy and Childbirth
• Suggested Reading on Pregnancy & Childbirth
• Child-rearing
• Suggested Reading on Child-rearing in the 18th Century
• E-books on Post/Transhumanism

Frankenstein, or, The Modern Prometheus: Texts

• 'Frankenstein' (1818 edition) This Planet Ebook edition may be downloaded in ePUB, PDF, or MOBI formats.
• 'Frankenstein': The Pennsylvania Electronic Edition A hypertext version of the 1818 edition. Contains an extensive online collection of supplementary materials and criticism.
• Frankenbook A collective reading and collaborative annotation experience of the original 1818 text of Frankenstein.
• Shelley-Godwin Archive: 'Frankenstein' Manuscripts Draft and fair copy manuscripts from Oxford's Bodleian Library.

Resources on Frankenstein

• 'Frankenstein': Critical Articles A useful selection of criticism from scholarly studies on the novel. From the Pennsylvania Electronic Edition website.
• 'Frankenstein' at 200 – Why Hasn't Mary Shelley Been Given the Respect She Deserves? Fiona Sampson, author of 'In Search of Mary Shelley: The Girl Who Wrote Frankenstein', looks at the intellectual and social background of the novel.
• 'Frankenstein' Reflects the Hopes and Fears of Every Scientific Era Author Philip Ball writes that Frankenstein is more complicated than a story of science gone awry; that each era makes Frankenstein in its own image.
• Anonymous Review of Frankenstein-British Library
• British Library: Discovering Literature: Romantics and Victorians A rich collection of primary sources, articles, themes, images, and works by British Romantic and Victorian authors.
• Charles E. Robinson: Introduction to the 'Frankenstein' Notebooks Robinson discusses the history of the manuscripts.
• Eighteenth Century Collections Online (U Michigan) Searchable database of 18th century texts in HTML.
• The Frankenstein Meme This digital project from the California State University at Fullerton offers "a public, crowd-sourced, searchable database of literary works (novels, short stories, plays, and graphic novels) influenced by Mary Shelley’s novel over the last two hundred years."
• Golems: Mysticism, History, Biology, and More This Kenyon University website examines the Yiddish legend of the Golem, an anthropomorphic figure made of clay or wood, and endowed with life by its creator.
• An Introduction to 'Frankenstein' By Stephanie Forward of the Open University (UK).
• It's Alive! Frankenstein At 200 (Podcast) In this episode of "On Point", 'Frankenstein' is discussed by historian Jill Lepore; physics professor Sidney Perkowitz; and Ed Finn, editor of "'Frankenstein': Annotated for Scientists, Engineers and Creators of All Kinds."
• NYPL: 'Frankenstein', The Afterlife of Shelley's Circle Primary sources, images, and contextual essays on a wide range of topics surrounding 'Frankenstein'.
• The Political Geography of Horror in Mary Shelley's 'Frankenstein' Fred V. Randel contends that the Bavarian setting of 'Frankenstein' is key to understanding its political dimensions.
• Review of 'Frankenstein' by Percy Bysshe Shelley Published in The Athenaeum Journal of Literature, Science and the Fine Arts, 10 November 1832: fourteen years after the initial publication of the novel.
• The Strange and Twisted Life of 'Frankenstein' Historian Jill Lepore examines the neglected birth and child-rearing aspects of the novel.
• Was ‘Frankenstein’ Really About Childbirth? Ruth Franklin asks if Mary Shelley's experience of pregnancy lies at the heart of 'Frankenstein'.
• Why Frankenstein is Still Relevant, Almost 200 Years after It Was Published This 2017 article by Josh was the first in a series of articles published on 'Frankenstein' in Slate. Provides links to the other articles.
• “Possessing Nature: The Female in Frankenstein” Anne K. Mellor's feminist analysis of the female and the natural in 'Frankenstein'.
• << Previous: Library Resources
• Next: Background Literature >>
• Last Updated: Feb 22, 2024 8:47 AM
• URL: https://library.wit.edu/guides/frankenstein

Douglas D. Schumann Library & Learning Commons Wentworth Institute of Technology 550 Huntington Avenue Boston, MA 02115

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• Writing Tips

How to Write the Ultimate Essay Hook

4-minute read

• 6th May 2023

Never underestimate the power of an essay hook . This opening statement is meant to grab the reader’s attention and convince them to keep reading. But how do you write one that’ll pack a punch? In this article, we’ll break this down.

What Is an Essay Hook?

An essay hook is the first thing your audience will read. If it doesn’t hook them right off the bat, they might decide not to keep reading. It’s important that your opening statement is impactful while not being too wordy or presumptuous.

It’s also crucial that it clearly relates to your topic. You don’t want to mislead your readers into thinking your essay is about something it’s not. So, what kind of essay hook should you write? Here are seven ideas to choose from:

1.   Story

Everyone likes a good story. If an interesting story or anecdote relates to your essay topic, the hook is a great place to include it. For example:

The key to a good story hook is keeping it short and sweet. You’re not writing a novel in addition to an essay!

2.   Fact

Another great essay hook idea is to lay out a compelling fact or statistic. For example:

There are a few things to keep in mind when doing this. Make sure it’s relevant to your topic, accurate, and something your audience will care about. And, of course, be sure to cite your sources properly.

3.   Metaphor or Simile

If you want to get a little more creative with your essay hook, try using a metaphor or simile . A metaphor states that something is something else in a figurative sense, while a simile states that something is like something else.

Metaphors and similes are effective because they provide a visual for your readers, making them think about a concept in a different way. However, be careful not to make them too far-fetched or overly exaggerated.

4.   Question

Asking your audience a question is a great way to hook them. Not only does it make them think, but they’ll also want to keep reading because you will have sparked their curiosity. For example:

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Try to avoid using questions that start with something along the lines of “Have you ever wondered…?” Instead, try to think of a question they may never have wondered about. And be sure not to answer it right away, at least not fully. Use your essay to do that!

5.   Declaration

Making a bold statement or declaring a strong opinion can immediately catch people’s attention. For example:

Regardless of whether your reader agrees with you, they’ll probably want to keep reading to find out how you will back up your claim. Just make sure your declaration isn’t too controversial, or you might scare readers away!

6.   Common Misconception

Laying out a common misconception is another useful way to hook your reader. For example:

If your readers don’t know that a common belief is actually a misconception, they’ll likely be interested in learning more. And if they are already aware, it’s probably a topic they’re interested in, so they’ll want to read more.

7.   Description

You can put your descriptive powers into action with your essay hook. Creating interesting or compelling imagery places your reader into a scene, making the words come alive.

A description can be something beautiful and appealing or emotionally charged and provoking. Either way, descriptive writing is a powerful way to immerse your audience and keep them reading.

When writing an essay, don’t skimp on the essay hook! The opening statement has the potential to convince your audience to hear what you have to say or to let them walk away. We hope our ideas have given you some inspiration.

And once you finish writing your essay, make sure to send it to our editors. We’ll check it for grammar, spelling, word choice, references, and more. Try it out for free today with a 500-word sample !

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The Novel “Frankenstein” by Mary Shelley: Critical Analysis Essay

Introduction, walter scotts critique, naomi hetherington’s critique, works cited.

Frankenstein’s work has been criticized by many scholars who have tried to come up with other ideas concerning the Novel. Her book contains critical information which cannot be underestimated in the current contemporary society. Her use of hypothetical questions and fiction in the setup of her ideas can be utilized in recent literary works. This essay discusses two critiques by Professor Naomi Hetherington’s and Walter Scott’s analysis of Mary Shelley’s Frankenstein.

Walter Scott, who was a British national, wrote the Romantic Circle Critiques. He was born in Edinburg and attended Edinburgh High School. He further went to Edinburgh University to study arts and law (Romantic Circles). He was involved in the Romantic Movement and participated in various occupational Walter was conducted, including poetry, historical novelist, clerk session, and advocate. His first poem was entitled Minstrelsy of the Scottish Border. Additionally, he published novels like Waverley, Guy Mannering, and Tales of My Land.

Mary’s novel is featured in the romantic fiction of nature which depicts family values and fundamental laws of nature. The author aims to explain the romantic nature by explaining unusual settings and nature components (Romantic Circles). The perceptions which drove Frankenstein, such as the change of species Belle Assemblee are explained. Furthermore, the difficulties and challenges Frankenstein and encounters with demons are illustrated. The changes that occur from life to death and death to stamina are explained. Themes of creation and revenge run across the novel in the urge of Frankenstein to avenge his originator for all the miseries.

Scoots’ analysis goes in hand with the settings and perceptions of Mary’s fiction. The element of imaginary setting and magical narration is the primary focus of the author’s critique. They bring about a better understanding of this novel in a relevant manner. The author supports Mary’s work and critically analysis the novel with matching arguments in a necessary way. He uses romance fiction and the element of vengeance and anger due to demons’ control which generally gives a good narration based on historical events. I agree with the critique since it uses Frankenstein’s ideas and themes which support his arguments. The similarity in the content and the settings are valid and authentic.

Another critique is from Professor Naomi Hetherington, who has a Ph.D. from Southampton University. She has been a teacher in Birkbeck for almost five years at the University of London, where she earned a teaching and scholarship award for her incredible contribution to literature. Naomi’s thesis illustrates that Mary wanted to use myths through fiction, the meaning of being a human being in a universe full of troubles (Hetherington 42). Additionally, she suggests that Mary revised her work to deviate from Lawrence and compare it with Christian Orthodox etiology.

Naomi’s thesis statement is relevant since it illustrates a step-by-step analysis of the novel. The first section of her research relates Frankenstein to Milton’s Paradise Lost and Prometheus legend. On the other hand, the last section describes the book to the religious nature of Mary after her husband dies (Ozherelyev 63). The Miltonic illustrations seen throughout the novel are used to emphasize the origin of evil in the world. The presence of a deity who creates human beings is seen. I agree with Naomi’s Critique since it relates outside resources such as Frankenstein to Milton Paradise Lost and Prometheus legend to support her arguments. She further identifies other themes related to the main content making these resources valid.

In summary, the two critiques by Naomi and Scoot give a better review of the novel provide literature and comprehension of the past event. Factors that contribute to environmental changes are discussed. The themes of creation and vengeance are illustrated to give a clear perspective of Mary’s main aim in writing her book. After the death of her husband, Mary becomes religious and seeks Christian Orthodox etiology ideas. The existence of a deity who creates human beings indicates the origin of life, and its end is seen by death.

Hetherington, Naomi. “Creator And Created in Mary Shelley’s Frankenstein .”Taylor & Francis , vol, 12, no. 5, 2022, pp. 32-85

Ozherelyev, Konstantin A. “Philosophical Contexts in Mary Shelley’S Novel «Frankenstein.» Herald Of Omsk University , vol 25, no. 3, 2020, pp. 61-66. Dostoevsky Omsk State University ,

Romantic Circles. “Belle Assemblee Review of Frankenstein. March 1818, Romantic Circles”. Romantic-Circles.Org , 2022, Web.

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IvyPanda. (2023, August 20). The Novel "Frankenstein" by Mary Shelley: Critical Analysis. https://ivypanda.com/essays/the-novel-frankenstein-by-mary-shelley-critical-analysis/

"The Novel "Frankenstein" by Mary Shelley: Critical Analysis." IvyPanda , 20 Aug. 2023, ivypanda.com/essays/the-novel-frankenstein-by-mary-shelley-critical-analysis/.

IvyPanda . (2023) 'The Novel "Frankenstein" by Mary Shelley: Critical Analysis'. 20 August.

IvyPanda . 2023. "The Novel "Frankenstein" by Mary Shelley: Critical Analysis." August 20, 2023. https://ivypanda.com/essays/the-novel-frankenstein-by-mary-shelley-critical-analysis/.

1. IvyPanda . "The Novel "Frankenstein" by Mary Shelley: Critical Analysis." August 20, 2023. https://ivypanda.com/essays/the-novel-frankenstein-by-mary-shelley-critical-analysis/.

Bibliography

IvyPanda . "The Novel "Frankenstein" by Mary Shelley: Critical Analysis." August 20, 2023. https://ivypanda.com/essays/the-novel-frankenstein-by-mary-shelley-critical-analysis/.

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