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But, that said, the English of the 20th century hasn't been replaced by this newer English.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

Techniques. Also called 'literary devices', these are figurative, persuasive, and sound-based techniques used to make an impact on the treader.

• List some examples.

Conventions. The motifs or recurring elements that help the reader identify the type or genre of text.

• Give an example.

Writing Choices. Pick one below and discuss why it's important.

• Word Choice
• Point of View
• Tense
• Themes
• Being conscious of controlling how the reader sees your text

Editing. Pick one of your previous answers and re-write it using one of the methods below.

• Re-reading
• Drafting
• Sharing for feedback
• Using criteria
• Polishing

After these opening activities, have students read an extract from The Transmigration of Bodies and then consider some of the elements that have been used. In particular, ask students to look at its 'mechanics' and techniques by answering the following:

1. Find and highlight the following punctuation: comma, dash, colon, capitalisation of a proper noun. 
2. What reason is each one used for?
3. Explain the impact of the following techniques used by the writer:
1. Repetition of the word 'everyday' three times in one sentence.
2. The irony/dark humour of the line "Occasionally, his teeth fell out."
3. The metaphor "Eyeing (...) with venom."

Authors also used various conventions when writing in their chosen genre. A reader's familiarity with these conventions (also called motifs) allows them to better understand the ideas or style of the story. Have students make notes on three of the motifs featured in the extract (a depressing setting, blood, and a less-than-heroic lead character) and then ask them to identify which of the following genres the text fits into:

• Comedy
• Crime
• Romance
• Science Fiction

The lesson then focuses on writing choices. Herrera has a talent for using verbs in fascinating and memorable ways - ask students to locate the following verbs in the extract:

• Trickled, scamper, cricked, dreaming, managed, fell, buzzing, tethering, attempting, rammed, leaned, sucking, blew. 

Students can then answer the following questions. Some of these break away from a strictly formalist approach but we'll keep that to ourselves.

1. What is the impact of using particular verbs?
2. Whose point of view is the text written from?
3. How does the writer want the reader to think of the main character?
4. How does the writer want the reader to think of the setting?
5. What would you change if you wanted to introduce some more drama in the first paragraph?

The above lesson can be found here in these resources:

• PowerPoint on Structure (this walks students through the lesson step by step).
• Suggested extract.

Acknowledgement: The following material has been adapted and modified specifically for this blog. I would like to acknowledge some of my colleagues - Ashleigh Galea, Lauren Hage, Amra Winter - who also developed some additional material not included here

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:

1. Context
2. Structure
3. Discussion
4. 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?

After considering the above, students should then be asked to read an extract from Slaughterhouse-Five. I like to use a small part of the text that comes about 15-20 pages before the end of the novel. This is accompanied by some straightforward comprehension questions to help orientate the reader and ensure they have a general understanding of the extract, as well as priming them for more in-depth discussion of context afterwards. Questions are as follows:

1. What is happening in this text?
2. What is the setting?
3. What is the backstory for the protagonist (main character)?
4. What elements of the story let you know these things?

The next step is to look at some contextual information about Kurt Vonnegut. Students read a brief overview of the context of Vonnegut and Slaughterhouse-Five and then rewrite/summarise some information using a basic schema. This means they read the overview and then gather together information that corresponds to the following:

• When?
• Where?
• Who?
• Why?

The final part of the lesson asks students to reflect upon and consider Vonnegut's context more specifically in relation to the novel. It also requires them to make some connections from text to self and text to the wider world. Ask students to respond to these questions:

Reflect: Look back to your answers to the questions of 'When, Where, Who, Why'. How do they stack up in comparison to what you learned from the novel's context?

Considering Context:

1. Why do you think this novel is considered by some to be a classic?
2. Do you think American schools are right to ban it?
3. What did the extract from Slaughterhouse-Five have to say about war?
4. What do you think about war? Write 400 words explaining your thoughts.

The above lesson can be found here in these resources:

• 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! :)

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. 

Description: If you couldn't already tell from my championing of its radio play credentials, I am a big fan of this text. I first taught it because I needed it to make a pattern of study work and I wanted a text that wouldn't be too demanding in terms of having Advanced English students carve off more of their study time for reading. I taught it for these reasons and was very nervous because it is such an odd text and it's so far outside of the natural field of reference for most students in terms of the sorts of texts we usually look at it in English. Anyway, this class engaged with it as intended - by listening to the original Richard Burton-narrated radio dramatisation. We listened to it track-by-track, a few minutes per lesson, and broke the language down, enjoying Thomas's quirky turns of phrase and the games he plays with words. It ended up being one of my favourite thing to teach and quite a few students singled it out at the end of the year as their favorite of the texts we covered. 

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:

1. Misinformation - factually incorrect history reported or shared by someone who isn't aware that it's factually incorrect.
2. 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.

On the surface, misinformation and disinformation look very similar but they operate in slightly different ways. Misinformation can be shared by people with a range of agendas - some may be seeking objective truth, others may be all too happy to find anything that confirms their own political biases. That's not a slight against a particular side of the political spectrum; everyone has political biases both conscious and unconscious.

Disinformation on the other hand is very much a sign of something more sinister. This is the creation of fake information intended to sway or mobilise support for something. It functions like the war propaganda of the 20th century but it's a lot sneakier - in the information age of the hyperactive 1440 minute news cycle with social media sharing, items going viral, and the increasingly blurred line between print and digital media, intentionally-created fake information can very quickly become legitimised. This legitimisation, in which the origins of the fakery become obscured through layers of information and widespread exposure, occurs when reputable public figures and news outlets pick up viral stories and report them under their own banner. This phenomenon (in which disinformation becomes widely available) is known as information laundering, and it's becoming disturbingly more common with every passing year. 

In connection to the above, something else to watch out for is pseudohistory - a practice in which myths, legends, conspiracy theories, etc., are treated as historical fact. This usually originates from non-academic and amateur sources and can (but not always) be explicitly politically motivated. Pseudohistory plays a part in this discussion of fake history because it can take the form of both misinformation and disinformation.

An example of pseudohistory:

• 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. 

The Frontier Wars

The last few decades and the wider cultural shift within Australian society in light of the Bringing Them Home report, Reconciliation, and other political changes, has meant that there is now an increased acknowledgement of the Frontier Wars in the nation's historical record. There are difficulties in recovering a complete record of events that have, for all intents and purposes, been suppressed for the best part of a hundred years. Nonetheless, the silence of the past is not so insurmountable that we cannot get a pretty clear picture of the tragic violence and warfare that gripped this country for the best part of the 19th century. 

'Bulla' - an illustration by William Hodgkinson, 1861

Below you will find a range of sources that provide information on the conflicts. These aren't exhaustive but they're a good start:

Colonial Frontier Massacres Map. Overseen by Lyndell Ryan.

An ongoing project from the University of Newcastle that draws upon the latest research to construct an interactive database of all of the massacres experienced by the Aboriginal peoples from 1788 to 1930.

Land is Life: From Bush to Town by Richard Baker.

A localised account of the life of the Yanyuwa Aboriginal people in Far North Australia. Much of this text relates to culture and the relationship that the Yanyuwa maintained with the Macassan Asians prior to the arrival of the Europeans. Of interest to a study of the Frontier Wars, the book provides some valuable Aboriginal oral history accounts of the brutal conflict between the Yanyuwa and freshly-arrived Europeans in the 19th century.

A History of Bathurst, Volume 1 by Theo Barker

A large chapter (about 20% of the book) is dedicated to "The Period of Conflict 1820-1832", and details the Governor's declaration of martial law as the early British colony faced an organised and prolonged Wiradjuri resistance. The book has some difficulties with using the phrase 'Frontier War', instead opting to use words like 'attacks' and 'violence', however, there's a lot of primary evidence called upon here that could suggest little else.   

Hawkesbury Settlement Revealed 1793-1802 by Jan Barkley-Jack.

This weighty volume is wholly focused on the creation and development of the Hawkesbury region under British settlement. As such, only a relatively small portion is given over to the Aboriginal history of the area. The author adheres quite closely to the historical method, constructing a narrative based on a range of primary sources. This means that, even though the central thesis is one of settlement and pastoral growth, Barkley-Jack still does not avoid mentioning the protracted conflict between the British and the Aboriginal peoples in the area. That said, there is some effort here to restrict the violence to "just a handful of settlers in a specific location over a five-year period" and the author is not able to attribute the deaths of 30 Aboriginal people in this time to a 'Frontier War'. 

The Black War by Nicholas Clements.

I've read a handful of accounts of the Tasmanian Frontier War and this one is easily the best due to the extensive use of irrefutable primary sources. A highly detailed and heavily-researched account of the most infamous of Australia's Frontier Wars.

Dancing with Strangers by Inga Clendinnen.

A must-read for any history teacher or person interested in Australia's story, Clendinnen weaves a highly engaging narrative around the first days of the Sydney colony, depicting a relatively peaceful first contact between peoples and then portraying the moments that led to the birth of the Frontier Wars. 

Windradyne: A Wiradjuri Koorie by Mary Coe.

An Aboriginal perspective of an Aboriginal war hero of the 19th century. This book provides a compelling narrative of the events of the Bathurst War from the point of view of the Wiradjuri resistance.

The Australian Frontier Wars 1788-1838 by John Connor.

Of all the books on this list, Connor's is unique in being the only military history book (a distinct subgenre of history writing). One of the more essential texts on this list, Connor provides maps, statistics, and campaign evidence on every known frontier conflict from the nominated time period.

The Future Eaters by Tim Flannery.

Flannery's historical scope is much larger than others on this list due to his background as a naturalist. The Future Eaters is a fascinating piece of research that explores the coexistence of the earliest Aboriginal peoples with Australia's now extinct megafauna, and this segues into a more devastating account of the Aboriginal struggle for survival after the arrival of the Europeans. Flannery's book blends scientific perspective with historical research, utilising sourcework to demonstrate cause and effect between European arrival and Frontier conflict. He also unflinchingly examines the role of the Native Police, one of the more disturbing impacts of British arrival upon the Aboriginal peoples.    

Talking to My Country by Stan Grant.

Grant's memoir is highly personal but also focused in particular on his Aboriginal identity. This includes an exploration of the way he sees the Frontier Wars, demonstrating the ongoing reverberations of this history and why it needs to be better addressed.

The Tiwi of North Australia by C.W.M. Hart and Arnold R. Pilling.

Having been written by European anthropologists in the 1950s, there is a lot in this book that is quite outdated and also downright offensive. That said, it's powerful to see that even in 1959 there was an awareness amongst researchers that first contact between Europeans and the Tiwi Aboriginal people was initially quite hostile. This includes a frank account of the failed attempt to turn the Tiwi Islands into 'Fort Dundas', Australia's early 19th century answer to the bustling Asian port of Singapore. Hart and Pilling's assertion that the British and the Tiwi "did not make friends" is an understatement (to say the least) and, after describing the drawn-out four year conflict that led to the abandonment of Fort Dundas in 1829, the authors admit that "Tiwi treatment of outsiders prior to 1900 had been to rob them, spear them, kill them" due to justified fears of blackbirding.

The Forgotten War by Henry Reynolds.

Reynolds explores the idea that a full and complete acknowledgement of the Frontier Wars is needed before true reconciliation can be achieved. The historian parallels the reconciliation movement with accounts of the Frontier Wars, providing evidence to suggest that Aboriginal resistance not only occurred but was widespread and highly strategic. This is a great historiographical study of the way in which Australian society has dealt with the Frontier Wars over time, including an examination of the political commentary throughout the '80s and '90s that sought to reject the history or call attention to it. Of most shocking note is the provision of firsthand testimony from Edward Curr, an 1820s Australian politician who estimated that 15-25% of the Aboriginal population died as a result of the early days of the frontier conflict. Reynolds also assesses the available evidence and written primary sources against the United Nations conditions for classifying something as genocide and... the result isn't good. 

The Whispering in Our Hearts by Henry Reynolds. 

Essentially an account of early settler guilt, this book uncovers the histories of white protesters who agitated for better treatment of the Aboriginal peoples throughout the 19th century. This is juxtaposed throughout the text with primary sources that refer to frontier conflicts and government policy connected to such hostilities.  

Black War by Clive Turnbull.

This 1948 history book isn't particularly reliable in terms of presenting an objective account of the war between Aboriginal Tasmanians and the British. I include this here simply to demonstrate that historians were quite comfortable talking about Frontier Wars some 75 years ago and that there's evidently some continuity in acknowledging its existence over time. 

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A lot of the above is quite grim reading but also incredibly useful to anyone interested in the Frontier Wars. The more I read about these conflicts the more I realise there is still a lot to learn. I'll leave this blog with one final note regarding the ongoing historiography of the Frontier Wars - as of February, 2023, the new chair of the War Memorial, former politician Kim Beazley, has indicated that he plans to dedicate some of the institution's $500 million expansion to a "proper recognition" of the Frontier Wars. 

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. 

When we teach setting within a schooling context we need to also think about the syllabus. By all means, students should be encouraged to write for pleasure and to explore their imagination without limit, and time can be spent on this in the junior grades or (if your school has them) English creative writing electives. But if we're looking at the pointy end of the curriculum (in my case, NSW), we do need to teach students how to write within the scope of the Craft of Writing module for the HSC, or for  English Extension 1. This means having the ability to write a short piece within 25-50 minutes (depending on the HSC question and course).

So with this in mind, I would ask students to also think of setting in the following way:

• 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.  

What follows is an activity that uses real world locations to provide inspiration. In NSW it could be used for Years 7-10 English, Year 11 Reading to Write, Year 12 Craft of Writing, or Extension English Literary Worlds. 

Students are taken on a tour of 20 slides - 2 for each setting - and asked to respond to them in a way that will get them started on the above journey. The questions below aren't fixed, they're just a way to get students thinking descriptively and, more importantly, conceptually. 

1. Describe what you see in as much detail as possible.
2. Boil it down to just one key idea that could be used in a piece of writing.
3. What sort of short story could you tell in relation to this setting?
4. What would this short story be about in a single word? (EG. Desperation? Survival? Hope? Secrecy?, etc.)

The slides can be found here - Creating Worlds.

Happy writing!

Disclaimer: The above activity was compiled specifically for this blog. 

Some Great Books

The last few years I resolved to read more. I used to watch a lot of film before this but I found my concentration span for cinema became absolutely shot to pieces when I first became a teacher. Reading became enforced quiet time or something I do while walking. It's a soothing balm on my brain. This year I've had less time to read than I did in years before but I still enjoy it so much.

Below are just five books I really like.

Sabrina: I love comics. Not the superhero kind, the other kind. No, not the Sunday funny strips, the other other kind... the self-contained graphic novels, Belgian and French adventure comics, independent comics; that sort of thing. When I found out that there was a graphic novel that got nominated for the Man Booker Prize, Sabrina by Nick Drnaso, I quickly made sure it got in front of me so I could experience it. It was really something else. In the age of fake news, internet trolls, and trial by social media, Drnaso has created an unsettling parable for the times - masterfully constructed and carefully controlled, and every bit as nuanced as any worthwhile literary novel.

Under Milk Wood: I read this three times in 2019 in order to prepare material for a textbook for Into English. I'd read it before, back in 2017, and I fell head over heels for Thomas's slippery, cheeky, self-engineering folklore. Listening to the 1950s BBC production, and reading it several times, allowed me to slowly immerse myself in the language and discover new things in every line. If you're unaware of Dylan Thomas's radio play then I would recommend reading up on it a bit to get an understanding of what it's 'about' before you read it - jumping into it cold turkey can be a disconcerting experience from a contemporary standpoint (I tried once 20 years ago and gave up before coming back to it in 2017). It's a rewarding text, extremely funny in parts, but it's also very unusual - essentially a day in the life of a town with over 60 characters and no real plot. If you can accept that you're not going to get a storyline or remember all the characters, then you'll be fine.

As I Lay Dying: Faulkner is such a dude. I'd never read his work before this and it was such a rich, textured vision of southern misery that I instantly started seeking out more of his stuff. Each of the characters present their own distinct stream-of-consciousness viewpoint, shedding shifting light on dark subject material. I kept thinking I could see where the narrative was going but Faulkner is playing his own game, and the rules to that game aren't easy to gauge through the various shades of narration, much of which is best judged as potentially unreliable. This easily deserves its status as a modern classic of the American Depression. 

The Pueblo Revolt: I did a lot of reading on the contact and colonisation endured by the Pubeloan peoples in America's southwest during the 16th and 17th centuries. In the course of my research I zeroed in on this book by David Roberts as being the best... aside from being well-researched in its depiction of the clash between the Puebloans and their Spanish conquerors, it also happens to be an engaging narrative that conveys the work of a historian travelling across a landscape in search of leads and new primary sources. A great book for anyone who's interested in the way in which history is written, and also a uniquely detailed representation of a fascinating and largely unknown piece of frontier history.

Freddy Lombard: I'm a big fan of the ligne claire comic genre (think Tintin) and this tragically short series expands, subverts, and pays homage to all the things that are great about it. My only criticism is that there will never be any more adventures for Freddy Lombard and his pals due to the untimely death of author Yves Chaland in 1990. I've written more extensively about this gem here.

Source Analysis: The Atlantic Slave Trade

One can't roll their sleeves up to work as a History teacher without feeling comfortable with source analysis. Over my years as a teacher I've come across many scaffolds and acronyms designed to help students with this historical skill, and I think it's fair to say there's no hard and fast hierarchy to which one works the best. Whether it's AMOUR, COMBAT, TOMACPRU, OPVL, IOP CAM, TADPOLE or something else, it doesn't really matter which one is used so long as the student understands why it's used and can remember what each letter stands for. 

It's also important for the teacher to feel confident about which one they teach and that they're consistent so students don't get overwhelmed with multiple acronyms. Also, even if they're taught just one acronym, it's important for students to understand that there are other alternatives out there in the pedagogical world. If this isn't mentioned then some students may believe that the one they've been taught must be the best one (or, worse, the only one) and this can cause issues if they later find themselves in front of another teacher or in another school where a different approach is taught. 

Me, personally? I can never remember acronyms and I find them restrictive. I always prefer to try and think about sources in the way that a historian does, which means that not every source offers the same types of information. Acronyms seem a little limited in this sense. 

There's also a question of depth when looking at sources and the need to differentiate for students who may not be able to initially engage with sources at higher levels. What I want is to see students working from identifying basic information up to being able to use a source as evidence in response to a question. So this involves a levelled scaffold. I don't make any claim to inventing this - it's a synthesis of all those who come before me and is essentially just my attempt to reorganise various methods into a common approach that works for me. Anyway, here it is:

• Level 1: Basics - who wrote the source, what's it about, when was it written, where was the source found, how was the source delivered at the time of publication, and why was it written? 

This is about looking at the source in it's simplest terms and comprehending it. The student needs to locate answers to the who, what, when, where, how, and why of the source, however, it should be made clear to them that not all of the questions are applicable all of the time. These questions (like every other part of this scaffold) are simply a range of prompts to promote engagement.

• Level 2: Questioning - what's the point of this source? What makes it significant in terms of how we understand the past? That is to say, why might this be an important source for modern people to see?

This part is about 'zooming out' and looking at the source holistically to determine a central thesis or purpose behind it. It also essentially encourages students to think about the historical concept of significance. Again, just responding to one of the prompts above would be enough.

• Level 3: Closer Analysis - who was the intended audience for this source at the time of writing? Who is the audience for the source now? Do we think this source conveys information about the time authentically and, depending on the answer, why or why not? What sort of biases can be recognised? 

This is where we start looking at the reliability of the source and gauging the level of bias. I think it's important to teach students that all sources are biased in some way or another, it's just a matter of determining what that bias is or why some information has been left out. Politics and postmodernism aside, the practical problem with considering some sources as objective is that it leads to some students simply saying that a source is "biased" or "not biased" and leaving it at that. If we want students to provide detailed analysis about the nature of a source's bias then we may need to take away the option of considering sources from a binary biased/unbiased point of view. 

• Level 4: Evaluation - how useful is the source in answering a key question? How can it be used to answer a question? How would a historian use this source in the course of their own research?

This final stage is often the hardest for some students to grapple with as it involves historical thinking and some degree of higher order thinking. Students need to consider the usefulness of a source but, if they don't have a historian's purpose established, this can be really difficult. Students therefore need to have a question in mind when they answer this part of the scaffold. In the absence of a teacher-supplied question, more advanced students can be asked to consider how this source is useful in conveying a syllabus dot point, or how a historian might use it in the pursuit of a particular agenda.

Lesson Idea: The Atlantic Slave Trade

I would preface the use of this source by telegraphing the use of racist language reflective of historical context. This helps students maintain historical distance from potentially distressing content and sets the tone for how we look at this sort of language in the classroom.

The previous described scaffold has worked well for me with all stages of high school history - it's just a matter of adjusting how students engage with each level of the scaffold and pitching the language at their age group. The scaffold can be modified to connect to a specific source and students can then work their way through it by examining the source four times, moving up a level each time. 

Here is an example that would work well with examining the Atlantic Slave Trade with a Year 9 or Year 10 class. 

1. Start by giving students a question. Here's the example:

Imagine you are a historian studying the question, "What was life like for slaves in America in the 19th century?"

2. This comes with a scaffold - Source Analysis Activity.

3. Work with students through a PowerPoint that guides their response to the Slave Trade source using the four different levels of questions. This can be found here - Source Analysis PowerPoint.

The source included is a primary source related to the sale of slaves. As teacher, you might want to work through responding to the source first so that you have a good idea of the range of answers that might be possible. Students are to complete their scaffold level by level while you work through the PowerPoint as a class.

As mentioned there are more than a handful of different approaches to source analysis. This is just one that works for me and you're welcome to try it too! 

Disclaimer: The above activity was compiled specifically for this blog.