Radio Drama & Screenplay Reportage Speech Interview Review Diary

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Student Name: ______Form: ______Teacher: ______Class: ______

OVERVIEW OF COMPONENT 1: 6—8 VOICES IN SPEECH AND WRITING TEXT GLOSSARY 9—12

HOW TO USE THIS BOOKLET 13

1. Article 1.1 Charlie Brooker: ‘Too much talk for one planet: why I’m reducing 14-16 my word emissions’ 1.2 Ian Birrell: ‘As gay people celebrate, the treatment of the 18-19 disabled just gets worse’

*1.3 Caitlin Moran: ‘What we’re doing about the refugee crisis’ 20-21

1. Article: Language and Structural Features Grid 22

2. Autobiography / Biography 2.1 De Profundis by Oscar Wilde 24-25 2.2 Mom & Me & Mom by Maya Angelou 26-28 *2.3 A Journey by Tony Blair 29-30 *2.4 Discovering Dorothea: The Life of the Pioneering Fossil-Hunter 31 Dorothea Bate by Karolyn Shindler 2. Autobiography 32 2. Biography: Language and Structural Features Grid 33

3. Diary / Memoir

3.1 Diary: What I Did in 2013 by Alan Bennett 34-36 3.2 Eye-witness account written by a young radio operator in the First 37-39 World War *3.3 Diary: The start of Maggie’s diary, 1877 40 3. Diary/Memoir: Language and Structural Features Grid 41

4. Digital Text

4.1 Blog by George Scott:‘ A ride of two halves…’ 42-43

4.2 Past Masters Podcast: ‘The Truth is in Here: UFOs at The National 44-45 Archives’ *4.3 Blog by Lisa Eldridge: ‘Dear Lisa’ - An Inspirational Letter’ 46-47 *4.4 Board Gamers Anonymous Podcast: ‘Pownage’ 48-49 4. Blog: Language and Structural Features Grid 50 4. Podcast: Language and Structural Features Grid 51

5. Interview 5.1 BBC Panorama interview between Martin Bashir and Princess Diana. 52-54 5.2 Jay Leno’s interview with President Obama (transcript). 55-57

*5.3 ShortList online magazine interview with Rory Kinnear. 58-59 *5.4 Telegraph Newspaper interview with Adrian Lester. 60-62 5. Interview: Language and Structural Features Grid. 63

6. Radio Drama / Screenplay 6.1 The King’s Speech by David Seidler 65-67 6.2 When I Lived in Peru by Andrew Viner 68-70 *6.3 The Imitation Game by Graham Moore 71-73 *6.4 Shamed: A Radio Play by Furquan Akhtar 74-76 6. Screenplay: Language and Structural Features Grid 77 6. Radio Drama: Language and Structural Features Grid 78

7. Reportage 7.1 Chris Rainier: ‘Tsunami Eyewitness Account by Nat Geo photographer’ 79-81 7.2 Jessica Reid: ‘Experience: I survived an earthquake while scuba diving’ 82-84 *7.3 Joseph Charlton: ‘Refugee Crisis: What life is really like inside the 85-86 ‘Jungle’ in Calais’ 7. Reportage: Language and Structural Features Grid 87

8. Review 8.1 Flemmich Webb on Boxer Handsome by Anna Whitwham 88-89

8.2 Martin Hoyle on television drama The Bridge 90-91

*8.3 The Economist Magazine: Film Review of Burnt starring Bradley Cooper. 92-93

8. Review: Language and Structural Features Grid 94

9. Speech

9.1 John F. Kennedy’s Inaugural Address in Washington on January 20, 1961 96-98

9.2 Colonel Tim Collins to 1st Battalion, Royal Irish Regiment, in Iraq in 2003. 99-101

*9.3 Donald Trump’s address to Republican party members at Trump Tower in 102-103 June 2015 on running for leadership of the Republican party.

9. Speech: Language and Structural Features Grid 104

10. Travelogue

10.1 Sea and Sardinia by D.H. Lawrence 106-107

10.2 Riding the Iron Rooster: By Train Through China by Paul Theroux 108-109

*10.3 A Walk in the Woods by Bill Bryson 110-112

10. Travelogue: Language and Structural Features Grid 113

PREPARING FOR THE EXAM: SAMPLE EXAM PAPER— 114-115 SECTION A: Voices in 20th and 21st Century Texts

PREPARING FOR THE EXAM: SAMPLE SOURCE BOOKLET — 116-121 SECTION A: Voices in 20th and 21st Century Texts

PREPARING FOR THE EXAM: GENERIC MARK SCHEME — 122 - 124 SECTION A—Voices in 20th and 21st Century Texts

NOTE: This includes all the other questions on the other drama texts. You still only answer 1 question on Streetcar!

A A

based based

extract

assessed). Section B: B: Section Texts Drama One on question essay Desire. Named Streetcar AO3 AO2, (AO1,

comparative essay essay comparative

Section A: A: Section and 20th in Voices Texts Century 21st One unseen one on question from selected extract 21st century 20th or text one and sources anthology. the from AO4 AO3, AO2, (AO1, assessed).

Text glossary 1. Article News stories and feature articles are the staple forms of journalism. An article is a particular section or item in either a printed or broadcast text that forms an independent part of a publication or programme. News stories are immediate and focus on a subject of current interest. Their aim is to be informative and economical as they have limited space. Feature articles discuss an on-going issue and present the views of the writer. They are longer and more detailed than news stories and often include visuals. This category is broad and may include written articles drawn from newspapers, magazines, websites or other printed publications or articles taken from the broadcast media.

2. Autobiography/Biography An autobiography is a written account of the life of a person, written by that person. Autobiographies are subjective by nature – seeing and filtering events through the perspective of the writer. They tend to have a confessional tone and can include reminiscences and anecdotes. The writer is usually aware of the implied audience as he/ she is writing with the intention of publication. Celebrity autobiographies are often ‘ghost’ written, i.e. written by a professional writer who interviews the subject. An autobiographer tries to establish a rapport with the reader on a personal level. A biography is an account of a person’s life written by a professional writer. The subject is usually a famous historical or present-day public figure. Although the writer is more distanced from the subject there is an element of subjectivity as the subject is presented through one person’s perspective. The biographer selects and organises the material to present the subject in a particular way. This type of non-fiction employs many of the characteristics of fiction, e.g. a strong narrative line, descriptions of locations, events and people.

3. Diary/Memoir Diaries and memoirs are personal documents, usually adopting a confessional tone. Diaries are a record of events and may either be very personal to the writer and their life or reflect wider issues, such as diaries of World War I or diaries written by politicians. Diaries are chronological and an immediate record of daily events and observations whereas memoirs are written retrospectively and are often based on diary entries. It might be assumed that diaries are written for the writer only, with a narrow, intimate focus on the writer’s memories, feelings and emotions; however, many diarists do have an objective of eventual publication and some private diaries written by famous people eventually have a public audience and may be useful as historical documents. 9

10. Travelogue A travelogue can be defined as a text which documents the places visited by, or the experiences of, a traveller. Typical travelogues convey a strong sense of place and the detailed accounts help the reader to envisage the experiences of travel through the eyes of the traveller. This category covers a broad range of styles and genres and examples can be drawn from broadcast, multi-modal or printed sources. These Include journals/diaries (online or print-based), broadcast documentaries, guide books and autobiographies.

4. Digital Texts

Blog The term ‘blog’ is an abbreviation of ‘weblog’. A blog is a personal online journal in which an individual records opinions, activities and experiences on a regular basis. Some provide a personal commentary on a particular topic or issue; others function as personal online diaries. Blogs can include hyperlinks provided by the writer which may extend their purpose and often have the facility for readers to respond or comment. Although blogs are written texts they share many features with spoken language and they tend to be transitory, i.e. available for a relatively short space of time. The primary purpose is close interaction with the audience and the language features reflect this. Blogs may be planned and drafted or may be more spontaneous.

Podcast A podcast is an audio or video programme which is formatted to be played on a portable media player. The term is derived from ‘broadcast’ and ‘pod’ in reference to the iPod. It is very much a horizontal media form: producers are consumers and consumers can become producers and engage in conversations with each other.

5. Interview An interview is a conversation conducted by an interviewer such as a TV reporter, chat show host, prospective employer or police/court official in which facts or statements are elicited from another. The interview may be transcribed and reproduced or recorded/broadcast. Interviews provide opportunities to comment on the differing language structures and purposes employed by the interviewer to elicit information and by the interviewee.

6. Radio Drama/Screenplay Drama is a form of fiction that is typically represented in performance. Drama scripts or screenplays may be drawn from TV, radio, stage, film or documentary. Their language is shaped by their multiple audiences (technical/performer/viewer) and the varied functions served by this language. Drama presents opportunities to explore the language used to construct texts designed for broadcast/performance with a particular focus on the voices of characters or participants and the dynamic between them.

7. Reportage Reportage is a first-hand account of, or commentary on, an event. Accounts can be drawn from a variety of sources – broadcast, online, recorded or print-based. Reportage is most commonly, but not exclusively, linked with the media and journalism – for example, outside broadcasts by reporters at the scene of an event. As such they can be linked to interviews and commentaries and are often supplemented by the impressions and experiences of the reporter.

8. Review Reviews offer critical, often personal, appraisal of a publication, product, service, event or performance. They may be drawn from online, broadcast or traditional print-based sources and may cover any art form, product or service. Reviews may be favourable or may adopt a more negatively critical approach. Many reviewers employ a humorous style in order to add entertainment value for the reader. Rhetorical and persuasive techniques are frequently features of review writing. Reviews assume shared knowledge of their particular subject and an interest in the genre on the part of their readers.

9. Speech Public speaking is the process of delivering a speech in a structured way intended to inform, influence, motivate or entertain a listening audience. Speeches may come from a range of sources and contexts: politics, courtroom address/summing up, eulogy and motivational address. Speeches are planned and carefully crafted and rely heavily on rhetorical devices and metaphorical language, although the speaker may shift the style by introducing colloquial phrases to engage more intimately with listeners. Rhythm is crucial in a speech and is achieved by the speaker’s use of lexis and structure. Speeches are intended to inspire and motivate the audience in some way therefore their main function is persuasive but they must also include features that will maintain the attention of the audience. You should be aware of the discourse structure, i.e. the shape and direction of the argument.

CLOSE READING AND WRITING TASKS

This anthology includes the texts from the Component 1: Voices in Speech and Writing Anthol- ogy, as well as additional ‘unseen’ text examples. Each time you explore a text type: 1. Make detailed notes. Highlight key language and structural features. Annotate the texts with your ideas. 2. Complete the ‘Language and Structural Features Grid’ for each text type that you explore. This will provide you with the features you need to comment upon when one of these modes comes up as the unseen text type, or as the anthology selection. 3. Each time you look at a text type, you will be asked to go away and look at another example in your own time. Use your ‘Language and Structural Features Grid’ and your notes from the earlier style models to thoroughly annotate the text. 4. You will sometimes be set comparative writing tasks as classwork and homework. Make sure you use your notes to support your writing so that your commentary is as thorough as possible. This will better prepare you for the exam. 5. You will also use these notes to support you with your creative coursework, where you will be asked to produce a non-fiction text in a particular mode and based on a style mod- el. If you prepare your non-fiction anthology notes carefully, you will find it much easier to produce your own text because you will have a stronger understanding of the language and structural features of your chosen mode and what readers will expect to see. It will also give you more to reflect upon in your writing commentary. (Your teacher will talk to you about the coursework in more detail when it is time to move onto that unit.)

What else can I do? Whenever you look at a particular text type, it is a good idea to go away and see if you can find other examples of the mode. Find and read a selection of newspaper articles, blogs, diaries, memoirs, and so on… See if you can identify the language and structural features you would expect to see based on your notes in class. Wider reading like this will better prepare you to comment on the ‘unseen’ text when it comes up in the exam.

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1.1 Charlie Brooker: ‘Too much talk for one planet: why I’m reducing my word emissions’ This is an article from the Guardian newspaper by Charlie Brooker, the English satirist and broadcaster. He has worked in television, radio, print and online media. Too much talk for one planet: why I’m reducing my word emissions

I’ve been overwhelmed by the amount of jabber in the world—it’s a vast cloud of blah agle-eyed readers may have spotted I haven’t been writing this column for a while. E Roughly two people noticed its absence, until the other day when a paragraph in Private Eye claimed I’d asked Alan Rusbridger, editor of the Guardian, to switch off the reader comments underneath my articles (not true), and that he’d refused to do so (also not true), so I’d quit (not entirely true). This led to an intense flurry of activity, by which I mean four people asked me about it. Although the Private Eye story wasn’t completely wrong – I have stopped doing this particular column for a while, for reasons I’ll explain in a moment – I was all set to write to their letters page to whine in the most pompous manner imaginable, something I’ve always secretly wanted to do, when I figured I might as well respond here instead, for money. Incidentally, I’m aware this is Olympic-level navel gazing, but you’re a human being with free will who can stop reading any time. Here, have a full stop. And another. And another. There are exits all over this building. Anyway, I haven’t quit the newspaper, but I have, for the meantime, stopped writing weekly, partly because my overall workload was making that kind of timetable impossible, and partly because I’ve recently been overwhelmed by the sheer amount of jabber in the world: a vast cloud of blah I felt I was contributing to every seven days. If a weatherman misreads the national mood and cheerfully siegheils on BBC Breakfast at 8.45am, there’ll be 86 outraged columns, 95 despairing blogs, half a million wry tweets and a rib-tickling pass-the-parcel Photoshop meme about it circulating by lunchtime. It happens every day. Every day, a billion instantly conjured words on any contemporaneous subject you can think of. Events and noise, events and noise; everything was starting to resemble nothing but events and noise. Firing more words into the middle of all that began to strike me as futile and unnecessary. I started to view 14

1.1 myself as yet another factory mindlessly pumping carbon dioxide into a toxic sky. This is perhaps not the ideal state of mind for someone writing a weekly column in a newspaper. Clearly it was time for a short break. Reader comments form part of the overall wordstorm described above, and it’s true I’m not a huge fan of them, but that’s chiefly because I’m an elderly man from the age of steam who clings irrationally to the outmoded belief that articles and letters pages should be kept separate, just like church and state. I guess conceptually I still think ’I m writing in a “newspaper”, even though the reality of what that means has changed beyond measure since I started doing it. So now I’m sitting grumpily in a spaceship with my arms folded, wearing a stovepipe hat. Ridiculous. These days most newspaper sites are geared towards encouraging interaction with the minuscule fraction of readers who bother to interact back, which is a pity because ’I m selfishly uninterested in conducting any kind of meaningful dialogue with humankind in general. I’d say Twitter’s better for back-and-forth discussion anyway, if you could be arsed with it. Yelling out the window at passersby is another option. When it comes to comments, despite not being as funny as I never was in the first place, I get an incredibly easy ride from passing wellwishers compared with any woman who dares write anything on the internet anywhere about anything at all, the ugly bitch, boo, go home bitch go home. Getting slagged off online is par for the course, and absorbing the odd bit of constructive criticism is character-building. The positive comments are more unsettling. Who needs to see typed applause accompanying an article? ’It s just weird. I don’t get it. But then right now I don’t “get” most forms of communication. There’s just so much of it. Everybody talking at once and all over each other; everyone on the planet typing words into their computers, for ever, like I’m doing now. I fail to see the point of roughly 98% of human communication at the moment, which indicates I need to stroll around some- where quiet for a bit. After my break, and a rethink, ’I ll quietly return later in the year, to write something slightly different, slightly less regularly (probably fortnightly). In other words, ’I m reducing my carbon emissions. And whatever the new thing I’m writing turns out to be, it’ll appear both online, still accompanied by the requisite string of comments, and in the newspaper, which is a foldable thing made of paper, containing words and pictures, which catches fire easily and is sometimes left on trains. Now get out.

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ADDITIONAL NOTES

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1.3 **1.3 Caitlin Moran: ‘What we’re doing about the refugee crisis’ This is an article from The Times newspaper by Caitlin Moran, a columnist and feminist writer.

Caitlin Moran Published at 4:48PM, September 19 2015

‘We’re a middle-aged couple with a broken tumble dryer and two kids. And then this happened...’

The thing about getting married is that you would never, ever guess the weird things you’ll end up doing together.

In the 22 years I’ve been with my husband, we’ve invented both the breakfast pie (sausage, beans and egg: good) and the sherry cappuccino (very bad); run a spectacularly unsuccessful folk club; broken out of a locked park at night; dealt with flea invasions, miscarriage, illness, strokes, comas, car crashes, burglary and a couple of awe-inspiringly bad Christmasses; cried a lot, laughed even more, but dwarfed both of those stats with the sheer quantity of time spent on the M6 visiting our families; finally worked out who the best Beatle is (Paul); made a lot of p***-poor Ikea bookshelves, and two children.

A pretty average run, really. It’s working out pretty well.

But we would never have guessed that, one day, without any warning or pre-discussion, we’d suddenly be running a global campaign about the refugee crisis. Maybe getting a dog – a dachshund, called Colin – that, we had talked about. And whether we should finally mend the blind in the bathroom – both agreed yes, but also acknowledged we may be another year away from actually doing so. But this – no.

And yet, that’s what happened this week: something so big and so fast, we haven’t yet had the chance to even talk about it.

As I type this, he’s writing another piece, ten feet away. Occasionally he’ll look up from his laptop and say, “Yoko Ono and Coldplay just tweeted about it. Shall we have sausages for tea?” I’ll reply, “NBC’s Today is playing the video tomorrow. And Nancy needs a new scientific calculator,” and then we go back to our laptops. We have had very little sleep.

On September 3, the pictures of three-year-old Aylan Kurdi went around the world. As readers of this column will know, I’ve been semi-obsessed with the refugee crisis – the language used;

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its terrifying escalation. When those images came out, the change in public mood was palpable.

Suddenly, people wanted to help: gathering food and tents; loading up vans; holding up “refugees welcome” signs at stations and in football stadiums.

“Now’s the time to do something,” I said to my husband. “There needs to be a focus. All the aid workers say those deliveries to refugee camps – although a beautiful idea – are often useless: high heels, food that can’t be used. This urge to help needs to be fun- nelled into something simple, and effective.”

“I think it should be this,” Pete said, playing Help is Coming by Crowded House. “We put this out, with a film, for Save the Children.”

I explained what happened next in Monday’s Times: Mat Whitecross (The Road to Guantánamo) making the film; David Bowie’s PR taking the campaign; Benedict Cumberbatch coming on board; Stella Creasy getting the Treasury to waive VAT; Newsnight; Channel 4 News; placards on the refugee march quoting the Warsan Shire poem Benedict reads from – “No one leaves home unless/ Home is the mouth of a shark.” All done in eight days flat.

In the middle of all this, Pete and I were still just … a tired middle-aged couple with a broken tumble dryer and two kids. I was trying to razor chewing gum off Nancy’s school skirt when Bob Geldof emailed. Pete was at the doctor with Lizzie (ear infection) when ITN said it wanted to send over a crew in an hour.

When we heard that Help is Coming had, in the first three hours of sales – despite only being available as a download, and with no radio play – gone in at No 25, and #helpiscoming was trending worldwide on Twitter, it was on a hands-free call while we carried a mattress down the stairs, because we currently have builders in and they’d just punched a hole through the ceiling by accident.

When people say, “I love you,” it actually means a million different things. This week, I’ve counted up what we have meant every time we have said, “I love you.”

It means: “I am scared”; “Jesus Christ, what the f*** are we doing?”; “I’m so tired”; “This is insane”; “We have involved so many people that we will die of shame if we give up now”; “This is working!”; “We must never do something like this again”; “We must do something like this again – and bigger.”

The simple fact is, this is the gravest refugee crisis since the Second World War. There are 19 million people on the move worldwide, half of them children, more than 4 million Syrian. Whole countries are walking down motorways, and getting into boats. Winter is coming, the numbers are increasing, and there is still no plan. If Pete and I feel we don’t

What is the purpose or intention of this type of Who might be the intended audience? writing?

What distinctive features of form and structure What perspective does this form tend to use? does this type of writing use?

What type of content features characterise this What kind of language features characterise type of writing? this type of writing?

What are the contextual factors in this type of Extra notes... writing? How might that impact on the writing?

ADDITIONAL NOTES

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2.3 A Journey by Tony Blair This is an extract from former prime minister Tony Blair’s autobiography published in 2010.

IRAQ: COUNTDOWN TO WAR

As I thought on how to answer the question put to me at the end of my evidence to the Chilcot Inquiry into the Iraq War in January 2010, I felt sick, a mixture of anger and anguish. ‘Do you have any regrets?’ This wasn’t a question being asked or answered in the quiet reflections of the soul; not something that could be weighed, considered and explained with profundity and penetrating clarity or even an easy honesty. It was a headline question. It had to have a headline answer. Answer ‘yes’ and I knew the outcome: ‘BLAIR APOLOGISES FOR WAR’, ‘AT LAST HE SAYS SORRY’. Choose a variant. The impact would be the same. Those who had opposed the war would rejoice; those who had supported it would be dismayed, imagining their support and in some cases their sacrifice had been in vain. Answer‘ no’ and you seem like some callous brute, indifferent to the suffering or perhaps worse, stubbornly resistant, not because of strength but because you know nothing else to do. So I said I took responsibility, accepting the decision had been mine and avoiding the headline that would have betrayed. However, it was an answer that was incomplete. The anger was at being put in a position in an inquiry that was supposed to be about lessons learned, but had inevitably turned into a trial of judgement, and even good faith; and in front of some of the families of the fallen, to whom I wanted to reach out, but knew if I did so, the embrace would be immediately misused and misconstrued. But the anger was selfish, trivial—comparatively at any rate—and transient. The anguish remains. The principal part of that is not selfish. Some of it is, to be sure. Do they really suppose I don’t care, don’t feel, don’t regret with every fibre of my being the loss of those who died? And not just British soldiers but those of other na- tions, most of all of course the Americans, but also the Japanese and Dutch and Danes and Estonians and Spanish and Italians and all the others of our coalition. And the Iraqis themselves, and not just those who were the casualties of our forces in war, but

2.3 those who died at the hands of others, whose deaths we failed to prevent. The diplomats, like the wonderful Sergio Vieira de Mello, who gave their lives in a cause they never advocated. The random casualties of the vagaries of war, like Ken Bigley, and the private security guards taken hostage with Peter Moore. To be indifferent to that would be inhuman, emotionally warped. But it is not that accusation which causes the anguish. The anguish arises from a sense of sadness that goes beyond conventional description or the stab of compassion you feel on hearing tragic news. Tears, though there have been many, do not encompass it. I feel desperately sorry for them, sorry for the lives cut short, sorry for the families whose bereavement is made worse by the controversy over why their loved ones died, sorry for the utterly unfair selection that the loss should be theirs. Why did it have to be their child, their husband, their family, at that time, in that place, on that journey or mission or appointment? The reason fate could make that choice derived from my decision. But then there were myriad chance factors that conspired to bring about the circumstance of each life lost. The anguish arises from an urgency to act, to commit, not to feel, but to do. I am now beyond the mere expression of compassion. I feel words of condolence and sympathy to be entirely inadequate. They have died and I, the decision-maker in the circumstances that led to their deaths, still live. I used the word ‘responsibility’, incomplete though it is, with deliberation. I can’t regret the decision to go to war for the reason I will give. I can say that never did I guess the nightmare that unfolded, and that too is part of the responsibility. But the notion of ‘responsibility’ indicates not a burden discharged but a burden that continues. Regret can seem bound to the past. Responsibility has its present and future tense.

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2.3 Discovering Dorothea: The Life of the Pioneering Fossil-Hunter Dorothea Bate by Karolyn Shindler This is an extract from Discovering Dorothea, a biography of Dorothea Bate, an explorer, pioneering fossil-hunter and scientist in the early 1900s, published in 2005. What happened next became the stuff of legend. From the great Central Hall of the Museum, Dorothea was escorted through the public galleries to a high panelled door. Behind it was the Bird Room, part of the department of Zoology. The surprise of the assembled ornithologists at her arrival can only be imagined. This was absolutely a male preserve, a place of black frock coats, silk hats and weighty degrees from distin- guished universities. Dorothea, still in her teens, was a self-taught natural historian and ornithologist. That she had aspirations to join them must have been one of the most astonishing ideas that any of the scientists had ever confronted. An early portrait of Dorothea by her sister shows a young woman of almost palpable authority, her gaze direct, her face resolutely tilted upwards, while her chin indicates utter determination. The pose is a conventional profile, her dress a soft afternoon gown, revealing white plump shoulders and a bosom of almost royal proportions, while her mass of dark hair is swept up, caught in a neat tartan ribbon. Round her throat lies a delicate necklace. That morning in the Bird Room, Dorothea’s hair, of which she was very proud, was neatly stowed under her hat, her figure concealed beneath a long tailored coat and skirt. Bowdler Sharpe himself, the curator of birds, was in his fifties, with the de rigueur neat pointed beard and substantial moustache of most of the Museum’s scientists. He was a man whose personality was as formidable as his reputation. Initially he told Dor- othea to go away; he had no time to be bothered with anyone. Her request was quite preposterous. Not only was she just nineteen but, more importantly, no women at all were employed in a scientific capacity by the Museum. Yet within a few minutes, Dor- othea was standing at a table, sorting bird skins into species with assurance and skill. Perhaps as he watched her, Bowdler Sharpe thought of his own children. He was the father of ten daughters, one of whom, with great enterprise, was running her own en- tomological agency, buying, selling, arranging and naming collections of butterflies, from premises she rented in the Fulham Road. In Dorothea he must have seen an equally determined girl with a character as formidable as his own, but who dominated by charm and humour rather than irascibility. Even allowing for that, Dorothea’s achievement in being accepted by Bowdler Sharpe was truly remarkable.