DOCSLIB.ORG

AS English Literature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AS English Literature AS English Literature Sample Assessment Materials Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature (8ET0) First teaching from September 2015 First certification from 2016 Issue 5 Summary of Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature SAMs Issue 5 changes Summary of changes made between previous issue and this current Page issue number Paper 2: Prose (8ET0/02) The assessment time of this paper has been increased from 1 hour to 1 hour 15 minutes. 59 This increased duration will take effect from the assessment in Summer 2019. If you need further information on these changes or what they mean, contact us via our website at: qualifications.pearson.com/en/support/contact-us.html. Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualification websites at www.edexcel.com, www.btec.co.uk or www.lcci.org.uk. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world's leading learning company, with 40,000 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com References to third party material made in these sample assessment materials are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this document is correct at time of publication. Original origami artwork: Mark Bolitho Origami photography: Pearson Education Ltd/Naki Kouyioumtzis ISBN 9781446944745 All the material in this publication is copyright © Pearson Education Limited 2018 Contents Introduction 1 General marking guidance 3 Paper 1: Poetry and Drama 5 Paper 1 Mark scheme 31 Paper 2: Prose 59 Paper 2 Mark scheme 77 Introduction The Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature is designed for use in schools and colleges. It is part of a suite of GCE qualifications offered by Pearson. These sample assessment materials have been developed to support this qualification and will be used as the benchmark to develop the assessment students will take. Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature – Sample Assessment Materials 1 Issue 5 – November 2018 © Pearson Education Limited 2018 2 Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature – Sample Assessment Materials Issue 5 – November 2018 © Pearson Education Limited 2018 General marking guidance • All candidates must receive the same treatment. Examiners must mark the last candidate in exactly the same way as they mark the first. • Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than be penalised for omissions. • Examiners should mark according to the mark scheme – not according to their perception of where the grade boundaries may lie. • All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the answer matches the mark scheme. Examiners should also be prepared to award zero marks if the candidate’s response is not worthy of credit according to the mark scheme. • Where some judgement is required, mark schemes will provide the principles by which marks will be awarded and exemplification/indicative content will not be exhaustive. • When examiners are in doubt regarding the application of the mark scheme to a candidate’s response, a senior examiner must be consulted before a mark is given. • Crossed-out work should be marked unless the candidate has replaced it with an alternative response. Marking guidance – specific The marking grids have been designed to assess student work holistically. The grids identify which Assessment Objective is being targeted by each bullet point within the level descriptors. One bullet point is linked to one Assessment Objective, however please note that the number of bullet points in the level descriptor does not directly correlate to the number of marks in the level descriptor. When deciding how to reward an answer, examiners should consult both the indicative content and the associated marking grid(s). When using a levels-based mark scheme, the ‘best fit’ approach should be used: ● examiners should first decide which descriptor most closely matches the answer and place it in that level ● the mark awarded within the level will be decided based on the quality of the answer and will be modified according to how securely all bullet points are displayed at that level ● in cases of uneven performance, the points above will still apply. Candidates will be placed in the level that best describes their answer according to each of the Assessment Objectives described in the level. Marks will be awarded towards the top or bottom of that level depending on how they have evidenced each of the descriptor bullet points ● examiners of Advanced GCE English should remember that all Assessment Objectives within a level are equally weighted. They must consider this when making their judgements ● the mark grid identifies which Assessment Objective is being targeted by each bullet point within the level descriptors ● indicative content is exactly that – they are factual points that candidates are likely to use to construct their answer. It is possible for an answer to be constructed without mentioning some or all of these points, as long as they provide alternative responses to the indicative content that fulfils the requirements of the question. It is the examiner’s responsibility to apply their professional judgement to the candidate’s response in determining if the answer fulfils the requirements of the question. Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature – Sample Assessment Materials 3 Issue 5 – November 2018 © Pearson Education Limited 2018 Write your name here Surname Other names Centre Number Candidate Number Pearson Edexcel Level 3 GCE English Literature Advanced Subsidiary Paper 1: Poetry and Drama Sample assessment materials for first teaching Paper Reference September 2015 8ET0/01 Time: 2 hours You must have: Total Marks prescribed texts (clean copies) Instructions • Use black ink or ball-point pen. • Fill in the boxes at the top of this page with your name, centre number and candidate number. • Answer one question in Section A and one question in Section B on your chosen text. • Answer the questions in the spaces provided – there may be more space than you need. Information • The total mark for this paper is 72. • The marks for each question are shown in brackets – use this as a guide as to how much time to spend on each question. Advice • Read each question carefully before you start to answer it. • Check your answers if you have time at the end. Turn over S47530A ©2014 Pearson Education Ltd. *S47530A0126* 1/1/1/1/1 4 Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature – Sample Assessment Materials Issue 5 – November 2018 © Pearson Education Limited 2018 Write your name here Surname Other names Centre Number Candidate Number Pearson Edexcel Level 3 GCE English Literature Advanced Subsidiary Paper 1: Poetry and Drama Sample assessment materials for first teaching Paper Reference September 2015 8ET0/01 Time: 2 hours You must have: Total Marks prescribed texts (clean copies) Instructions • Use black ink or ball-point pen. • Fill in the boxes at the top of this page with your name, centre number and candidate number. • Answer one question in Section A and one question in Section B on your chosen text. • Answer the questions in the spaces provided – there may be more space than you need. Information • The total mark for this paper is 72. • The marks for each question are shown in brackets – use this as a guide as to how much time to spend on each question. Advice • Read each question carefully before you start to answer it. • Check your answers if you have time at the end. Turn over S47530A ©2014 Pearson Education Ltd. *S47530A0126* 1/1/1/1/1 Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Literature – Sample Assessment Materials 5 Issue 5 – November 2018 © Pearson Education Limited 2018 SECTION A: Poetry List of prescribed poems Answer ONE question and write your answer in the space provided. Poems of the Decade: An Anthology of the Forward Books of Poetry 2002–2011 1 Compare the ways in which poets explore the shift from childhood to adulthood in ISBN 978-0571281732 An Easy Passage by Julia Copus (on page 47) and one other poem of your choice, Poem title Poet Page number from the Poems of the Decade: An Anthology of the Forward Books of Poetry 2002–2011. Eat Me Patience Agbabi 13 In your answer you should consider the following: Chainsaw Versus the Pampas Grass Simon Armitage 16 • the poets’ development of themes • the poets’ use of language and imagery Material Ros Barber 20 • the use of other poetic techniques. History John Burnside 35 (Total for Question 1 = 24 marks) An Easy Passage Julia Copus 47 The Deliverer Tishani Doshi 53 OR The Lammas Hireling Ian Duhig 61 2 Compare the ways in which poets use ordinary events to explore universal themes in Chainsaw Versus the Pampas Grass by Simon Armitage (on page 16) and one other To My Nine-Year-Old Self Helen Dunmore 62 poem of your choice from the Poems of the Decade: An Anthology of the Forward Books A Minor Role U A Fanthorpe 67 of Poetry 2002–2011.
Load more

Recommended publications
  • Full Bibliography (PDF)
    SOMHAIRLE MACGILL-EAIN BIBLIOGRAPHY POETICAL WORKS 1940 MacLean, S. and Garioch, Robert. 17 Poems for 6d. Edinburgh: Chalmers Press, 1940. MacLean, S. and Garioch, Robert. Seventeen Poems for Sixpence [second issue with corrections]. Edinburgh: Chalmers Press, 1940. 1943 MacLean, S. Dàin do Eimhir agus Dàin Eile. Glasgow: William MacLellan, 1943. 1971 MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. London: Victor Gollancz, 1971. MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. (Northern House Pamphlet Poets, 15). Newcastle upon Tyne: Northern House, 1971. 1977 MacLean, S. Reothairt is Contraigh: Taghadh de Dhàin 1932-72 /Spring tide and Neap tide: Selected Poems 1932-72. Edinburgh: Canongate, 1977. 1987 MacLean, S. Poems 1932-82. Philadelphia: Iona Foundation, 1987. 1989 MacLean, S. O Choille gu Bearradh / From Wood to Ridge: Collected Poems in Gaelic and English. Manchester: Carcanet, 1989. 1991 MacLean, S. O Choille gu Bearradh/ From Wood to Ridge: Collected Poems in Gaelic and English. London: Vintage, 1991. 1999 MacLean, S. Eimhir. Stornoway: Acair, 1999. MacLean, S. O Choille gu Bearradh/From Wood to Ridge: Collected Poems in Gaelic and in English translation. Manchester and Edinburgh: Carcanet/Birlinn, 1999. 2002 MacLean, S. Dàin do Eimhir/Poems to Eimhir, ed. Christopher Whyte. Glasgow: Association of Scottish Literary Studies, 2002. MacLean, S. Hallaig, translated by Seamus Heaney. Sleat: Urras Shomhairle, 2002. PROSE WRITINGS 1 1945 MacLean, S. ‘Bliain Shearlais – 1745’, Comar (Nollaig 1945). 1947 MacLean, S. ‘Aspects of Gaelic Poetry’ in Scottish Art and Letters, No. 3 (1947), 37. 1953 MacLean, S. ‘Am misgear agus an cluaran: A Drunk Man looks at the Thistle, by Hugh MacDiarmid’ in Gairm 6 (Winter 1953), 148.
    [Show full text]
  • Shakespeare Merchant of Venice Unit 3: Detective Fiction Unit 4
    Year 7 UNIT 1: Origins of Literature Unit 2: Shakespeare Unit 3: Detective Fiction Unit 4: The Effects of war and Conflict Unit 5: Novel Merchant of Venice OVERVIEW An introduction to, and exploration Students will begin to explore the effects of Students will consider how writers present the effects of TBC—Not of, a range of Greek Myths. Students are introduced to language and structure across a range of texts, war and conflict across poetry, fiction and non-fiction. being taught Students are introduced to the Shakespeare and read the whole considering the purpose and effects of writers’ They will be introduced to poetic form and methods in 2020-2021 structure and features of myths, text as a class. methods: used, develop analytical skills and then compare the in response to consider the plot and structure effects of war in two poems. Covid. and then write their own. Throughout the unit, students will: Adventures of Sherlock Holmes Develop their understanding of The Speckled Band short story AN exploration of Aim of unit Shakespeare’s language/grammar The Red Headed League Fiction: will be to: Orpheus and Eurydice patterns. The Final Problem Private Peaceful- Michael Morpurgo Explore Demeter and Persephone Explore characterisation. The Bone Sparrow characters, Theseus and the Minotaur Discuss and develop Other extracts Non-Fiction: ideas and Cyclops and Odysseus understanding of themes, ideas The Cuckoo’s Calling Major Gerald Ritchie 8th (Yorkshire) parachute regiment, themes in Prometheus and structural devices. A Murder is Announced letter to his sister (WW2) texts. Pandora’s Box Practice and develop their skills in Siegfried Sassoon: Letter of Defiance Analyse Hercules annotation and analysis.
    [Show full text]
  • Gcse English Literature (8702)
    GCSE ENGLISH LITERATURE (8702) Past and present: poetry anthology For exams from 2017 Version 1.0 June 2015 AQA_EngLit_GCSE_v08.indd 1 31/07/2015 22:14 AQA GCSE English Literature Past and present: poetry anthology All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing on any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the publisher, except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of the licence issued by the Copyright Licensing Agency. Notice to teachers: It is illegal to reproduce any part of this work in material form (including photocopying and electronic storage) except under the following circumstances: i) where you are abiding by a licence granted to your school or institution by the Copyright Licensing Agency; ii) where no such licence exists, or where you wish to exceed the terms of a licence, and you have gained the written permission of The Publishers Licensing Society; iii) where you are allowed to reproduce without permission under the provisions of Chapter 3 of the Copyright, Designs and Patents Act 1988. Photo permissions 5 kieferpix / Getty Images, 6 Georgios Kollidas/Fotolia, 8 Georgios Kollidas/Fotolia, 9 Georgios Kollidas/Fotolia, 11 Georgios Kollidas/Fotolia, 12 Photos.com/Thinkstock, 13 Stuart Clarke/REX, 16 culture-images/Lebrecht, 16,© Pictorial Press Ltd/Alamy, 17 Topfoto.co.uk, 18 Schiffer-Fuchs/ullstein
    [Show full text]
  • Unseen Poetry Preparation Anthology
    Unseen Poetry Preparation Anthology The Pearson Edexcel AS and A level English Literature Unseen Poetry Preparation Anthology can be used to prepare for Component 3 of your assessment Pearson Edexcel GCE in English Literature Approaching Contemporary Unseen Poetry: An Anthology of poems and resources For use with: GCE English Literature A level (9ET0) Component 3 Published by Pearson Education Limited, a company incorporated in England and Wales, having its registered office at Edinburgh Gate, Harlow, Essex, CM20 2JE. Registered company number: 872828 Edexcel is a registered trade mark of Edexcel Limited © Pearson Education Limited 2014 First published 2014 17 16 15 14 10 9 8 7 6 5 4 3 2 1 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 9781446913505 Copyright notice All rights reserved. No part of this publication may be reproduced in any form or by any means (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner, except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London, EC1N 8TS (www.cla.co.uk). Applications for the copyright owner’s written permission should be addressed to the publisher. See page 65 for acknowledgements. Contents 1 Introduction 4 2 How to approach
    [Show full text]
  • Simon Armitage Walking Home Travels with a Troubadour on the Pennine Way
    simon armitage Walking Home TravelswithaTroubadour onthePennineWay 24229.indd 3 02/05/2012 15:19 First published in 2012 by Faber and Faber Ltd Bloomsbury House 74–77 Great Russell Street London wc1b 3da Typeset by RefineCatch Limited, Bungay, Suffolk Printed in the UK by CPI Group (UK) Ltd, Croydon, cr0 4yy All rights reserved © Simon Armitage, 2012 The right of Simon Armitage to be identified as author of this work has been asserted in accordance with Section 77 of the Copyright, Designs and Patents Act 1988 A CIP record for this book is available from the British Library Map © Eleanor Crow, 2012 isbn 978–0–571–24988–6 2 4 6 8 10 9 7 5 3 1 24229.indd 4 02/05/2012 15:19 Map of the Pennine Way from Kirk Yetholm to Edale 24229.indd 5 02/05/2012 15:19 24229.indd 6 02/05/2012 15:19 24229.indd 7 02/05/2012 15:19  A Preamble In the West Yorkshire village of Marsden where I was born and grew up, a peculiar phenomenon took place every year. Starting round about May, usually in the late evenings, foreign creatures in big leather boots and mud-splattered over-trousers began descending from the moor to the south. They carried on their backs the carapaces of huge rucksacks and, from a distance, silhouetted on the horizon, they looked like astronauts. Up close, they smelt of dubbin, Kendal Mint Cake and sweat. And having just completed the first and arguably most daunting section of the Pennine Way, they wore on their faces a variety of expressions.
    [Show full text]
  • Power and Conflict Poetry
    Poetry of Power and Conflict 1. William Blake: ‘London’ 1794 2. William Wordsworth: ‘The Prelude: Stealing the Boat’ 1798 3. Percy Bysshe Shelley: ‘Ozymandias’ 1817 4. Robert Browning: ‘My Last Duchess’ 1842 5. Alfred Lord Tennyson: ‘The Charge of the Light Brigade’ 1854 6. Wilfred Owen: ‘Exposure’ 1917 7. Seamus Heaney: ‘Storm on the Island’ 1966 8. Ted Hughes: ‘Bayonet Charge’ 1957 9. Carol Ann Duffy: ‘War Photographer’ 1985 10. Carol Rumens: ‘The émigree’ 1993 11. John Agard: ‘Checking Out Me History’ 1996 12. Imtiaz Dharker: ‘Tissue’ 2006 13. Simon Armitage: ‘Remains’ 2007 14. Jane Weir: ‘Poppies’ 2009 15. Beatrice Garland: ‘Kamikaze’ 2013 16. Approaching an unseen poem 1 Introduction 1 Power and conflict 2 All of the poems in this anthology take as their subject the themes of power and conflict. These themes can be 3 seen in all the poems, but are rarely identical: we see the power of nature and the power of man; physical 4 conflict like war and emotional conflict, taking place in a person’s inner psychology. 5 6 In times of conflict, people often write poetry, as we learned in year 9. Conflict, where the normal aspects of 7 people’s lives are uprooted, often spurs people to write contemplatively or in protest at what is happening. 8 Many of these poems are linked to specific historical conflicts: Tennyson’s ‘The Charge of the Light Brigade’ is 9 written about the 1854 Battle of Balaclava in the Crimean War, Wilfred Owen’s ‘Exposure’ is about World War 10 One, as is Ted Hughes’ ‘Bayonet Charge’, Simon Armitage’s ‘Remains’ is about an unidentified modern conflict, 11 and Beatrice Garland’s ‘Kamikaze’ imagines a Japanese suicide bomber in World War II.
    [Show full text]
  • Pearl a New Verse Translation Simon Armitage
    1 / 2 Pearl A New Verse Translation Simon Armitage by AC Watts · 1984 · Cited by 36 — The poem begins with the speaker's grief over the loss of his jewel (sec. 1). The speaker ... roff (Pearl: A New Verse Translation xiv), Claude Luttrell, and W. A. .... Jul 18, 2016 — Simon Armitage's new translation of the fourteenth-century poem Pearl follows his energetic 2008 translation of the same anonymous poet's Sir .... May 23, 2016 — Simon Armitage's Translation of Pearl - Review. Phil Brown Poet, poetry editor and English teacher. Simon Armitage's Translation of Pearl -.. Anon , Pearl , trans . Victor Watts ( London : Enitharmon Press , 2005 ) . Anon , Pearl : A New Verse Translation , trans . Simon Armitage ( London : Faber and .... Feb 14, 2017 — Winner • PEN Award for Poetry in Translation From the acclaimed translator of Sir Gawain and the Green Knight, a spellbinding new.. Aug 9, 2016 — Among other poems bound in the same manuscript was the allegory Pearl, that now appears in a new translation by Simon Armitage.. On Still Life with Feeding Snake, a new collection of poems by John Burnside. ... On a new translation of Pearl, a Middle-English long poem, by Simon Armitage.. The anonymous poem Pearl, is one of the masterpieces of Middle English ... but the fifteenth set contains an extra stanza, which brings the total number of stanzas ... Simon Armitage, who translated the poem in 2016, writes that this is 'a sort of .... Feb 22, 2017 — ... PEN Award for Poetry in Translation, which was won by Simon Armitage for translating Pearl: A New Verse Translation from Middle English.
    [Show full text]
  • Recommended New Collections
    RECOMMENDED NEW COLLECTIONS The Unaccompanied, Simon Armitage, Faber & Faber The poems in Simon Armitage’s latest collection are set in a world we all recognise, a world of supermarkets, new technologies and to-do lists. In sharp images and pitch-perfect language he analyses 21st century life with wit and affection, and sometimes anger too. Ambitious, accessible, memorable. Kumukanda, Kayo Chingonyi, Chatto and Windus Translating as ‘initiation’, kumukanda is the name given to the rites a young boy from the Luvale tribe must pass through before he is considered a man. Kayo Chingonyi’s poems explore this passage: between two worlds, ancestral and contemporary; between the living and the dead; between the gulf of who he is and how he is perceived. ‘An essential collection from one of the UK's most exciting poets. Kayo's poetry is beautiful, thoughtful, musical and nostalgic.’ Nikesh Shukla Velkom to Inklandt, Sophie Herxheimer, Short Books In this unforgettable collection Sophie Herxheimer brings vividly to life the voice of her no-nonsense Grent Muzzer, Liesel, whose somewhat abrasive Perspektiff she has never been able to forget. Playing on the difficulties of the English Lenkvitch, the poems tell of an immigrant’s attempts to fit in and make her home in a new country. Funny and moving, it demands to be read aloud! Milk and Honey, Rupi Kaur, Andrews McMeel Publishing / Simon and Schuster Rupi Kaur is a phenomenon, a 21st century poetry superstar with a huge Instagram following. With themes of love, loss and healing, and grounded in her own experiences, her poems connect powerfully and directly with millions of readers.
    [Show full text]
  • Yorkshire Poetry, 1954-2019: Language, Identity, Crisis
    YORKSHIRE POETRY, 1954-2019: LANGUAGE, IDENTITY, CRISIS Kyra Leigh Piperides Jaques, BA (Hons) and MA, (Hull) PhD University of York English & Related Literature October 2019 This work was supported by the Arts & Humanities Research Council (grant number AH/L503848/1) through the White Rose College of the Arts & Humanities. ABSTRACT This thesis explores the writing of a large selection of twentieth- and twenty-first- century East and West Yorkshire poets, making a case for Yorkshire as a poetic place. The study begins with Philip Larkin and Ted Hughes, and concludes with Simon Armitage, Sean O’Brien and Matt Abbott’s contemporary responses to the EU Referendum. Aside from arguing the significance of Yorkshire poetry within the British literary landscape, it presents poetry as a central form for the region’s writers to represent their place, with a particular focus on Yorkshire’s languages, its identities and its crises. Among its original points of analysis, this thesis redefines the narrative position of Larkin and scrutinizes the linguistic choices of Hughes; at the same time, it identifies and explains the roots and parameters of a fascinating new subgenre that is emerging in contemporary West Yorkshire poetry. This study situates its poems in place whilst identifying the distinct physical and social geographies that exist, in different ways, throughout East and West Yorkshire poetry. Of course, it interrogates the overarching themes that unite the two regions too, with emphasis on the political and historic events that affected the region and its poets, alongside the recurring insistence of social class throughout many of the poems studied here.
    [Show full text]
  • Anthology of Named Poems and Study Guide
    AS (Paper 1) and A Level (Paper 3) English Literature Anthology of Named Poems and Study Guide Please note that biographical detail is included for information purposes only, to support you with your knowledge and possible further reading on each poet. There is no expectation that you would refer to any such materials in your assessment at either AS or A level. Contents Page in this Page in Poem Poet booklet Anthology Eat Me Patience Agbabi 3 3 Chainsaw Versus the Pampas Simon Armitage 7 6 Grass Material Ros Barber 11 10 Inheritance Eavan Boland 17 22 A Leisure Centre is Also a Sue Boyle 21 23 Temple of Learning History John Burnside 25 25 The War Correspondent Ciaran Carson 30 29 An Easy Passage Julia Copus 36 37 The Deliverer Tishani Doshi 41 43 The Map Woman Carol Ann Duffy 46 47 The Lammas Hireling Ian Duhig 53 51 To My Nine-Year-Old Self Helen Dunmore 58 52 A Minor Role U A Fanthorpe 62 57 The Gun Vicki Feaver 66 62 The Furthest Distances I’ve Leontia Flynn 70 64 Travelled Giuseppe Roderick Ford 74 66 Out of the Bag Seamus Heaney 78 81 Effects Alan Jenkins 85 92 The Fox in the National Robert Minhinnick 90 121 Museum of Wales Genetics Sinéad Morrissey 95 125 From the Journal of a Andrew Motion 99 127 Disappointed Man Look We Have Coming to Daljit Nagra 104 129 Dover! Fantasia on a Theme of James Sean O’Brien 108 130 Wright Please Hold Ciaran O’Driscoll 112 132 You, Shiva, and My Mum Ruth Padel 117 140 Song George Szirtes 122 168 On Her Blindness Adam Thorpe 126 170 Ode on a Grayson Perry Urn Tim Turnbull 131 172 Sample Assessment Questions 137 Sample Planning Diagrams 138 Assessment Grid 143 2 Patience Agbabi, ‘Eat Me’ Biography Patience Agbabi (b.
    [Show full text]
  • Poet Laureate Simon Armitage Receives First Bottles of His Own Specially Labelled Sherry
    Press Release: Immediate July 2020 Page 1 of 3 Poet Laureate Simon Armitage Receives first bottles of his own specially labelled Sherry. The Sherry producers of Jerez in Spain were delighted when Simon Armitage visited Jerez to choose his gift of Sherry and sign the barrel. The wine has now been delivered to him. On receiving the Sherry, Simon Armitage responded: “After the inevitable delay given current circumstances, I’m excited these special bottles have now arrived. I hope to put them to good use - as gifts and prizes to raise money in the name of poetry – now needed more than ever before. My wife drew the image of the cuckoo on the front label - the bird has a folklore connection with the village of Marsden where I grew up and where so many of my poems are rooted. My dialect poem “The Phoenix” appears on the reverse of the label and tells a version of the Marsden cuckoo story. There’s an annual Cuckoo Festival in the village - perhaps some sherry will be involved in forthcoming years and become part of the tradition itself!” Consejo Regulador de las Denominaciones de Origen “Jerez-Xérès-Sherry”, “Manzanilla-Sanlúcar de Barramdea” y “Vinagre de Jerez” Avda. Álvaro Domecq nº 2. 11405 Jerez de la Frontera (Cádiz). Tfno. 956 332 050 Fax 956 338 908 E-mail [email protected] Press Release: Immediate July 2020 Page 2 of 3 Poet Laureate Simon Armitage receives first bottles of his own specially labelled Sherry Notes: The Consejo Regulador de los Vinos de Jerez y Manzanilla (CRDO) is the regulating body of the Sherry industry representing all the interests concerned, whether they be growers, producers or exporters.
    [Show full text]
  • Carcanet New Books 2011
    N EW B OOKS 2 0 1 1 Chinua Achebe John Ashbery Sujata Bhatt Eavan Boland Joseph Brodsky Paul Celan Inger Christensen Gillian Clarke Donald Davie Hilda Doolittle (H.D.) Over forty years of great poetry Iain Crichton Smith Elaine Feinstein Carcanet Celebrates 40 Years...from Carcanet... Louise Glück Jorie Graham W.S. Graham Robert Graves Ivor Gurney Marilyn Hacker Sophie Hannah John Heath-Stubbs Elizabeth Jennings Brigit Pegeen Kelly Mimi Khalvati Thomas Kinsella R. F. Langley Hugh MacDiarmid L ETTER FROM THE E DITOR As this catalogue goes to press, I’m editing New Poetries V, an introductory anthology of work by writers several of whom will publish Carcanet first collections in coming years. They come from the round earth’s imagined corners – from Singapore and Stirling, Cape Town and Cambridge, Dublin and Washington – and from England. They share a vocation for experimenting with form, tone and theme. From India, Europe and America a Collected Poems by Sujata Bhatt, and from South Africa and Yorkshire a new collection by Carola Luther, indicate the geographical scope of the Carcanet list. For eight years readers have waited to accompany Eavan Boland on her critical Journey with Two Maps: in April, at last we set out. We also encounter an anthology of British surrealism that changes our take on the tradition. Translation, classic and contemporary, remains at the heart of our reading. John Ashbery’s embodiment of Rimbaud’s Illuminations is his most ambitious translation project since his versions of Pierre Martory. Fawzi Karim from Iraq, Toon Tellegen from the Netherlands, the Gawain Poet from Middle English and Natalia Gorbanevskaya from Russia explore historical, allegorical and legendary landscapes and bring back trophies… And from America, a first European edition of the most recent US Poet Laureate, Kay Ryan.
    [Show full text]