A blog about teaching, History, English, History teaching, English teaching, travel, teaching and learning, grammar, assessment, literacy, and oxford commas.
Sunday, June 18, 2023
Rights and Freedoms - Core Study Timeline
Wednesday, May 24, 2023
Author Mentors: Yuri Herrara and Structure
English in the 21st century is a strange beast. For older generations, there will be an awareness that the current subject of English taught in Australia is not the English that was taught 50 (or even 25) years ago. The rise of the new version of English in 1960s and '70s academia, with its focus on culture, contextual elements, and new media, would really only truly be felt in the NSW syllabus circa 2000.
As someone who finished school in 1997 and then didn't come to teaching until 2010, this shift in the English discipline was a bit of a shock. The English essays I had written in Years 11 and 12 were decidedly formalist - focused on the structural purposes of the text, with the idea that the text was 'closed' and that everything you needed to know could be found within the text alone. Come 2010, The History teacher and Postmodernist in me loved that English had developed into something much more wild - that we can trace contextual elements and examine their impact on the text and audience, and that we can also look at the endless ways in which the same text can be read, or the ways in which the reader brings themselves to the text and reads it differently to their peers.
But, that said, the English of the 20th century hasn't been replaced by this newer English. The two Englishes live alongside one another in our syllabus; you can see elements of both within the outcomes. You can also see them both within the diverse teaching methods of a powerful workforce of English teachers with their own myriad experience and wisdom. Some English teachers thrive on the idea of alternative readings and context, others prefer examining how a text is constructed and what this means. If you're teaching the bulk of the secondary English syllabus you'd be hard-pressed to completely avoid one side in favour of the other.
Anyway, my point is that, while Part 1 of this series focused on the author and the role of context in shaping a text, today's entry (Part 2) focuses on the structure of the text. I think it's important that we teach students (without necessarily using fancy words like postmodernism and formalism) that reading and writing is a complex process with different 'ways in'. It works as a form of differentiated practice because some students will react better to a contextual study, whereas others will prefer looking at structural elements.
Structure
The author used for this structure lesson is Yuri Herrera, a really interesting Mexican writer who gained some attention in the 2010s for his novellas. Before looking at an extract from his Romeo & Juliet-inspired text The Transmigration of Bodies, it's useful to prime students by giving them an overview of some of the structures we use when writing. This can be done by checking for understanding with the following activities:
Mechanics. Write a bad example of each of the following:
- Punctuation
- Grammar
- Spelling
- Sentence Structure
- Paragraphs
- List some examples.
- Give an example.
- Word Choice
- Point of View
- Tense
- Themes
- Being conscious of controlling how the reader sees your text
- Re-reading
- Drafting
- Sharing for feedback
- Using criteria
- Polishing
- Find and highlight the following punctuation: comma, dash, colon, capitalisation of a proper noun.
- What reason is each one used for?
- Explain the impact of the following techniques used by the writer:
- Repetition of the word 'everyday' three times in one sentence.
- The irony/dark humour of the line "Occasionally, his teeth fell out."
- The metaphor "Eyeing (...) with venom."
- Comedy
- Crime
- Romance
- Science Fiction
- Trickled, scamper, cricked, dreaming, managed, fell, buzzing, tethering, attempting, rammed, leaned, sucking, blew.
- What is the impact of using particular verbs?
- Whose point of view is the text written from?
- How does the writer want the reader to think of the main character?
- How does the writer want the reader to think of the setting?
- What would you change if you wanted to introduce some more drama in the first paragraph?
- PowerPoint on Structure (this walks students through the lesson step by step).
- Suggested extract.
Sunday, May 7, 2023
Author Mentors: Kurt Vonnegut and Context
One of the more interesting developments that occurred in Stage 6 NSW English these last few years was an increased and specialised focus on writing craft. This is encapsulated within the Year 12 Craft of Writing and Year 11 Reading to Write modules, which encourage students to use quality texts as models for their own writing. When we look at these modules closely we can see the way in which they build upon previous wisdom about student writing whilst adding some new parameters. In particular, the idea of providing a focus on creative writing has re-arranged itself around a need to include the disciplines of persuasive and discursive writing, which prompts further reflection when it comes to backward mapping some core skills and ideas into earlier years of high school.
Like many others, I've had to think about the idea of using Stage 5 as a formative ground for considering authors in this same way. I've summarised this as the somewhat dorky term 'Author Mentors', which can be extended into a short unit of work. This approach takes students through four different authors, with each one used to explore and model writing in relation to one of four stages of approaching texts:
- Context
- Structure
- Discussion
- Create
Context
The author used for the context lesson is Kurt Vonnegut (from whose work I took the title of this website, funnily enough!). The purpose of this lesson is to explore what context is, how it works, and how students can use their understanding of this concept to approach a text (the text in question being an extract from Vonnegut's famed science-fiction/war novel Slaughterhouse-Five).
Context is a tricky beast because it can sometimes feel like it pulls time away from studying the actual text. With this in mind, it's useful to frame context in general terms and to also approach it (in this case) in a way that Year 9 and 10 students will understand. This means communicating to students the way in which the 'background' of a text can help the reader understand what a text is about. The reader can draw useful conclusions about a novel by connecting the text to the life and times of the author. Examining context will typically involve the following four elements:
- When: When was the text written and/or published?
- Where: What society was the author living in when they wrote the text?
- Who: What sort of person was the author and what were the key events that shaped who they were?
- Why: What reasons or events prompted the author to write the text?
- What is happening in this text?
- What is the setting?
- What is the backstory for the protagonist (main character)?
- What elements of the story let you know these things?
- When?
- Where?
- Who?
- Why?
- Why do you think this novel is considered by some to be a classic?
- Do you think American schools are right to ban it?
- What did the extract from Slaughterhouse-Five have to say about war?
- What do you think about war? Write 400 words explaining your thoughts.
- PowerPoint on Context (this walks students through the lesson step by step).
- Suggested extract.
- Context overview.
Acknowledgement: The following material has been adapted and modified specifically for this blog. I would like to acknowledge some of my colleagues (who I no longer get to work alongside but miss all the same!) - Lauren Hage, Ashleigh Galea, and Amra Winter - who also developed some additional material not included here. Hi! :)
Wednesday, May 3, 2023
Oddments: Five unique texts on the current NSW HSC Prescriptions List
I've been working a bit on researching NSW's Prescribed Texts these past few years and, as we approach the current list's long journey into the night before the next round, I thought this might be a good time to look at some of the more unusual texts on the list. I say 'unusual texts' but I should clarify that, when I say this, I'm not speaking about a text's subject matter or themes or genre as that's a little too subjective. I want to instead highlight the more textually-distinct outliers - the solitary text types and unusually-originated texts that stand out with a hard and firm point of difference.
Go Back to Where You Came From
Oddity: The only television series option featured across Standard, Advanced, EAL/D, and Extension English.
Description: Go Back to Where You Came From is a carryover text from the previous 'Discovery' Prescriptions List. The television format presents a challenge to teachers as its runtime is essentially twice that of the average film - this can make it difficult to cover within a busy timeframe that also involves student selection of a related text and coverage of the 'Texts and Human Experiences' module. I taught this when it was part of 'Discovery' and, while I did find that students were able to easily engage with it, it felt like quite a slog to cover it properly alongside a related text and an Area of Study. This meant that I did not opt to explore the text as part of 'Texts and Human Experiences' when the opportunity later presented itself.
Contemporary Asian Australian Poets
Oddity: The only multi-poet anthology - between its presence in the Standard and EAL/D English syllabuses this selection includes works from eight different poets.
Description: Whilst the idea of covering so many different poets seems to pose a significant challenge in covering just as many differing contexts, it can actually force a synthesis of ideas as the teacher finds themselves bringing the texts together in service of the module 'Language, Identity, and Culture'. This conceptual underpinning can be a guiding light for students who might overwise struggle to unite separate poems together to support a thesis. It also helps that the poetry is accessible and provides a wide scope for students to make many different kinds of connections.
One Night the Moon
Oddity: A double oddity. One Night the Moon is the only prescribed text across Standard, Advanced, EAL/D, and Extension English that features characters breaking into song. It's also the only non-feature film (too long to be a short film, too short to be a feature film).
Description: Rachel Perkins' collaboration with Paul Kelly is an achingly poignant depiction of the colonial violence and contradiction in Australia's past. It's also an unusual text outside of the English-teaching context because it's the only time singer-songwriter Paul Kelly has acted on screen. I haven't taught this text but I think it's relatively short length would allow for some useful drilling down into its finer aspects.
'May the Pen Grace Your Page' by Luka Lesson, and 'Picture a Vacuum' by Kae Tempest
Oddity: Okay, so I'm cheating a little here as this is two texts, but I want to highlight these two as the only poetry performances to be found anywhere in the NSW Prescriptions List.
Description: The inclusion of these slam poems carries an implication that they should be examined as multimodal performances rather than as written pieces. This is supported by the coding of each text as '(PP)' in the syllabus, meaning 'Performance Poetry' rather than 'Poetry'. The Craft of Writing supporting document from NESA also carries some textual information that suggests this too. This raises some uncomfortable questions about Craft of Writing - specifically the question of how students could be expected to model performance aspects of such a text when writing a piece under HSC examination conditions.
Actually, I've been puzzled by the inclusion of poetry in Craft of Writing in general as the HSC Module C questions don't seem to allow students the option of composing poetry. But that's perhaps a discussion for another time.
Under Milk Wood
Oddity: The syllabus lists Under Milk Wood as a 'Drama' text but this is a reductive simplification. Over the years the text has been adapted for film, television, and as a stage drama, but its origins are as a radio play. The colour and shape of the text make the most sense in the audio-only format that it was written for. One suspects that the dwindling existence of radio drama led NESA to retroactively reclassify it as just 'Drama', but this does a disservice to the proud tradition of the radio play.
Tuesday, April 25, 2023
The Frontier Wars - Historiography and Combatting Fake History
In the wake of the recent swell of interest in the Australian War Memorial (and its absence of material acknowledging frontier conflicts) there have been new contributions to the ongoing historiographical debates over the status and nature of the Frontier Wars (1, 2, 3).
Throughout the 20th century there was reoccurring disagreement amongst historians as to whether these Frontier Wars happened, with prominent politicians such as John Howard and Paul Keating occupying different sides in the resultant 'History Wars' that played out in the media. The denial of the Frontier Wars was somewhat quelled in '00s and '10s due to cultural shifts in politics after the 2008 Apology but it would be wrong to say that pushback on this was ever truly gone. Suffice to say, it is now broadly accepted that the Frontier Wars happened.
As we move into the mid-2020s, however, we find that such historiographical debates are also now subject to the metaphysical knot of our times - fake news, information wars, and fake history. The sad reality today is that there are still people who seek to deny the existence of the Australian Frontier Wars, even in light of the increased coverage of this history. Thankfully there is very little in the mainstream media these days that flat-out rejects the Frontier Wars, but dismissal can still be witnessed in the words of politicians and throughout social media. Denial of the Frontier Wars and, by extension other historical tragedies faced by the Aboriginal peoples (such as the Stolen Generations), typically falls into two broad categories:
- Misinformation - factually incorrect history reported or shared by someone who isn't aware that it's factually incorrect.
- Disinformation - factually incorrect history but with the added complication that the person reporting or sharing the information is perfectly aware that it's factually incorrect.
- There is a pseudohistorical claim that, prior to the arrival of the Aboriginal peoples, Australia was inhabited by another race of 'pygmy' people. I won't go into too much detail because I don't want to get too off-track from the Frontier Wars - you can read more about it here in this clear and comprehensive explanation from the Australian Museum.
- The 'pygmy people' story becomes a form of misinformation if the person or outlet spreading the information is unaware that the existence of the pygmy people has been widely discredited by historical experts. They may be sharing the story because they want to prove something or influence someone's beliefs but they are likely to be genuine when they say that they believe the story themselves. If the story-spreader is familiar with the historical method, is open-minded, or is particularly sensitive to public scrutiny (because they value their own credibility), then it may be possible to counter such misinformation with the provision of evidence to the contrary.
- The 'pygmy people' story becomes disinformation if the story-spreader is aware that it's untrue or has little care for whether it's supported by evidence or not. In this situation they are definitely sharing the story to further a particular agenda and they evidently do not value the historical method. There is little that can realistically be done to convince an agent of disinformation to stop. The best approach in these cases is fact-checking - to counter the pseudohistorical claims by publicly sharing rational evidence that disproves it, and thus allowing the story-spreader's audience to see the untruths for what they are. This will at least slow down the spread of such disinformation and prevent it from being picked up by legitimate figures/news outlets who may not know better.
![]() |
| 'Bulla' - an illustration by William Hodgkinson, 1861 |
Tuesday, April 11, 2023
Creating Worlds - Setting in Imaginative Writing
Imagined and literary worlds are always, in some way, a reflection of the world around us. The bedrock of worldbuilding is a keen awareness of setting - and students need to understand that setting has a precise function if they are to use this element well. When I read a great book or short story, I will find myself transported to that setting and sometimes it will be the one thing that stays with me longest after I finish reading.
An effective setting will do some or all of the following:
- Remain constant in the reader's impression of the story, even when it isn't being explicitly mentioned. This can be achieved through the consistent use of detail and ensuring that nothing occurs in the narrative to contradict the setting.
- Make use of a set of rules - is everything we read a logical extension of the setting? If the setting is an unusual one, then this needs to interact with the characters and narrative in a way befitting this.
- Be aware of time and place. A setting should have a particular geography but there also needs to be an awareness of the time of day and year, which may shift according to the progression of the narrative. If it is the height of an Australian summer, for example, then the characters need to act in a way that reflects the constant and often oppressive heat that comes with this.
- Reflect theme or a key idea. The most effective setting will often interact with characters in a way that reveals a concept or message that the writer seeks to explore.
- The previously mentioned dot points still largely apply.
- Come to a decision about whether character or setting will take precedence. Both should reflect the idea the student wants to explore, but if the amount of examination time is particularly short (for example, a double-barrelled Craft of Writing question that requires a reflection as well as a piece of original writing) then I think a student will struggle to give ample space to both characterisation and setting.
- If focusing on setting, consider how it relates to the idea we want to explore. How does the setting reflect genre? Why is the writer writing about this setting? What is the purpose? How can we ensure that the detail included is consistently relevant to the idea or theme?
- Don't fall into the trap of fantasy worldbuilding - there is limited space in an HSC examination and we need to consider the stimulus and the parameters of the question. It's great to write an evocative setting but this isn't the place to delve into said setting's extensive history and geography.
- Describe what you see in as much detail as possible.
- Boil it down to just one key idea that could be used in a piece of writing.
- What sort of short story could you tell in relation to this setting?
- What would this short story be about in a single word? (EG. Desperation? Survival? Hope? Secrecy?, etc.)


















