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In Cold Blood Truman Capote

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In Cold Blood Essays

The role of fate: 'in cold blood' and the question of free will anthony tran college, in cold blood.

Truman Capote’s In Cold Blood is a nonfiction novel which seeks to understand the reasons leading to the tragic murders of the Clutter family. Whilst Capote does not endeavour to downplay the atrocities committed by Perry Smith and Dick Hickock,...

Capote's Presentation of the Murderer's Families Anonymous 12th Grade

Capote presents the murderer’s families as somewhat complicated as he researches them to try and find the motive. As a journalist writing a faction novel, his accounts of the families mostly come from them first-hand – however, he never mentions...

In Cold Blood: Retaining the Reader's Interest through Suspense and Tension Amit Momaya

In modern literature, suspense and tension are almost essential in producing works that are both successful and interesting to the reader. These two aspects of literature are especially important in Truman Capote's novel, In Cold Blood, which...

The Narrator's Perspective in True Crime Books Timothy Sexton

In Cold Blood, All the President's Men and Midnight in the Garden of Good of Evil all deal with real-life crimes. Each of the authors takes a different approach to point of view, depending upon their unique relationships to the setting in which...

Perry Smith's Culpability in 'In Cold Blood' Anonymous 12th Grade

In Truman Capote’s nonfiction novel, In Cold Blood, Perry Smith and Dick Hickcock were convicted of murdering the entire Clutter Family. When proven guilty, both Perry and Dick were sentenced to death. Though Perry had been the one to murder the...

The Art of Manipulation Truman Capote 11th Grade

Famous novelist, Truman Capote, in his non-fiction book, In Cold Blood , recounts the murders of the Clutter family committed by Perry Smith and Dick Hickock. Although this book is considered non-fiction, critics have questioned the authenticity of...

Truman Capote: A Child's True Nature in "Miriam" Anonymous 11th Grade

Two people, one name: an inconspicuous, plain woman versus a poised young girl. A line is drawn between imagination and reality, but that line is blurred. In "Miriam" by Truman Capote, symbolism is incorporated to show that Mrs. Miller is living...

Is In Cold Blood a Polemic Against Capital Punishment? Anonymous 11th Grade

Truman Capote’s In Cold Blood is critically acclaimed as a masterful portrayal of American crime and is known for the introduction of the concept of a “nonfiction novel.” At such crossroads of true events and storytelling, many criticisms can be...

How to Parent a Murderer Anonymous 11th Grade

By juxtaposing the childhoods of Perry Smith and Dick Hickock, Truman Capote shows that although a solid family structure is the most important influence on a person’s character, it is ultimately up to each person to decide what his actions will...

A Lurid Falsification Anonymous 11th Grade

In the 1950's and 1960's, the concept of the nuclear family was a personification of the American dream, the illusion of the perfect life, the perfect wife and the perfect children, all living in a model community. With four staccato shotgun...

Character Development in In Cold Blood: From the Clutters to Their Killers Anonymous 11th Grade

A majority of the world would agree that random murder is unethical and deserving of severe punishment- especially if this murder is done to an innocent, kind family. However, there is a great debate over the extent of punishment which random...

How Truman Capote Captures the Zeitgeist of America in the 1950s and 1960s Anonymous 12th Grade

Yoko Ono once described the 1960’s as an era of release from the conventional bonds of society. To understand fully the rejection of society in the 1960’s, one must also evaluate society of the 1950’s. Truman Capote not only captures the essence...

In Cold Blood as Experimental Nonfiction Dao Ngoc Vu 11th Grade

In Cold Blood by Truman Capote reconstructs the Clutter family murder and investigation case into what Capote calls a “nonfiction novel,” an experimental type of journalism that combines the fluidity and continuity of a novel with the facts and...

Capote’s Bias and Fairness: An Analysis of In Cold Blood Sarah Dempsey 12th Grade

Nonfiction novels are a genre of book that employ all devices of a fictional piece, however all of the information is completely factual. Though legitimate, the integrity of the writer still can be called into question, depending on the portrayal...

In Cold Blood Rhetorical Analysis as Anti Capital Punishment Ray M. Bartlett 10th Grade

Through the use of a carefully chosen epigraph, organization, a non authoritative presence, embellishment, researching the character’s backgrounds, and pathos, Truman Capote is able to tell the story of Dick Hickock and Perry Smith in great detail...

In Cold Blood: Gender Roles Between Dick Hickock and Perry Smith Anonymous College

In our society—past and present, gender norms have presented themselves in a moderately strict frame of which personality traits are to be expected from males and females. In past traditional expectations regarding gender, it was the women’s role...

The American Dream and Dick and Perry's downfall Anonymous 12th Grade

Truman Capote’s ‘In Cold Blood’, highly contested for its scathing depiction of 1960’s American society is renowned for its portrayal and characterization of the permeating theme; The American Dream. It seeps into all facets of society and impedes...

The Secret Behind the Great American Dream Jenny Xu 10th Grade

In Cold Blood begins with a death of the Clutters family, whose lives are ended with gunshots. The killers are 2 men with different backgrounds, characteristics, and reasons to kill. Capote first depicts the whole event in mystery and he exposes...

The Theme of Morality Jonathan Dodson 12th Grade

The non-fiction novel ‘In Cold Blood’ depicts the true story of multiple murders that took place in the small farming town of Holcomb, Kansas in 1959. Capote – the author and narrator of this text provides a wealth of knowledge surrounding the...

Idealization of the Clutters Isabel Sebode 11th Grade

The novel ‘In Cold Blood’ by Truman Capote is a work of Fictional Journalism, otherwise known as ‘faction’ or ‘the non-fiction novel’. Initially, this might make it difficult to judge whether Capote tried to influence the reader’s opinion on the...

In Cold Blood

Truman capote, everything you need for every book you read..

Welcome to the LitCharts study guide on Truman Capote's In Cold Blood . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

In Cold Blood: Introduction

In cold blood: plot summary, in cold blood: detailed summary & analysis, in cold blood: themes, in cold blood: quotes, in cold blood: characters, in cold blood: symbols, in cold blood: theme wheel, brief biography of truman capote.

Historical Context of In Cold Blood

Other books related to in cold blood.

• Full Title: In Cold Blood
• When Written: 1959-1964
• Where Written: USA
• When Published: 1966
• Literary Period: Postmodern
• Genre: Novel/True Crime
• Setting: Holcomb, Kansas
• Climax: Dick Hickok and Perry Smith are captured in Las Vegas
• Point of View: Third person omniscient

Extra Credit for In Cold Blood

Party Animal: In November 1966, Capote threw The Black and White Ball, which became one of the most infamous parties of the sixties.

Picture This: Much of the uproar over Capote’s 1948 debut Other Voices, Other Rooms had less to do with the contents of the book and more to do with his author photograph. Taken by Harold Halma, the photograph depicts a young Capote on a chaise lounge, shooting the camera an outrageous come-hither stare.

Nature vs. Nurture: “In Cold Blood” by Truman Capote Essay

Introduction.

In Cold Blood is a non-fiction novel written in 1966 by an American writer Truman Capote. It describes the horrible murder that happened in 1959 in Kansas when all four members of the Clutter family were killed in their own house. However, the motives of this crime remained unclear as almost nothing was stolen.

Capote started to write his novel during the investigation – he wrote about how two criminals who had committed this crime, Dick Hickock and Perry Smith, were caught, convicted, and hanged. At the same time, investigating the reasons for killing the members of the Clutter family, Capote addresses an essential issue of criminals’ tendencies and the origin of their violence. Thus, in In Cold Blood, using the examples of Dick Hickock and Perry Smith, the author shows that both nature and nurture may determine violence. Dick was raised in a loving family, however, his violence was in his genes – he simply loved to kill. On the contrary, Perry is a sensitive man who was neglected, abused, and misunderstood since his childhood. Moreover, regardless of a committed crime, these sources determine the different attitudes of criminals toward it.

In In Cold Blood, Dick Hickock represents the position of nature and demonstrates that inherent characteristics and genes determine a person’s criminal tendencies regardless of his environment. Described as an American-style “good kid” with a face distorted by a car collision, Hickock has “the left eye being truly serpentine, with a venomous, sickly-blue squint that although it was involuntarily acquired, seemed nevertheless to warn of bitter sediment at the bottom of his nature” (Capote 39). Using vivid descriptions with metaphors and comparisons, Capote aims to demonstrate the contrast between a man’s conditions of life that formed the perception of him by other people and his genuine nature that probably became unleashed after an accident. At the same time, one of two sons raised in a loving family, Dick is described as a brilliant and smart student and “an outstanding athlete-always on the first team at school” (Capote 161). Although his family could not afford college, Hickock found a well-paid job with Santa Fe Railways and subsequently married. At the same time, while Dick’s nature took over him and he destroyed his own family through cheating and was sent to prison for committing crimes, his family still protected him. During the proceeding, his father said: “that boy has plenty of good inside him. If ever you seen him on a football field, if ever you seen him play with his children, you wouldn’t doubt me” (Capote 162). Thus, by contrasting Dick’s nurturing in love and affection and the conditions of his blissful childhood and adolescence with the details of a horrible crime committed by him and his attitude to it, the author demonstrates that the intention to kill derived from this person’s genes, or nature.

In turn, Perry Smith is presented as a person whose criminal tendencies are determined by the conditions of his nurturing. Perry grew up in a highly dysfunctional family, and since his childhood, he had faced violence, abuse, misunderstanding, and neglect moving between children’s shelters, orphanages, and detention homes where he was brutally beaten by nuns, nurses, and mistresses. Perry addressed people as highly evil, describing his experience in one of the shelters and a nurse’s actions in the following way: “what she used to do, she’d fill a tub with ice-cold water, put me in it, and hold me under till I was blue. Nearly drowned” (Capote 132). Describing his experience in detail, Perry showed that experiencing violence could become violence from his side as an only experience as his parents did not explain to him what was good and what was bad. At the same time, the author clearly states that Perry’s nature is different as the man is described as sensitive, intelligent, and talented, however, society limited his ability to grow and develop. For instance, Perry’s father did not allow him to go to school as he pursued his own egoistic interests to keep the boy as a servant. Perry wrote: “no education, because he didn’t want me to learn anything, only how to tote and carry for him. Dumb. Ignorant. That’s the way he wanted me to be” (Capote 181). In these words, it becomes clear that Perry started to realize what people in his environment did, how they raised and treated him, and how they limited his opportunities. Having the ability to go to school and probably enter college, Perry had all chances to avoid crime commitment. In turn, being neglected, abused, and misunderstood, he did not get life he genuinely deserved. Thus, Capote demonstrates that even a highly talented, sensitive, and peaceful man may become a criminal if he is raised in violence.

At the same time, regardless of crime commitment, the author shows that nature and nurture as sources determine different attitudes to illegal and immoral actions. Thus, Dick is guided by his desire to kill without paying attention to the family’s property to rob. Before a crime, he already knew that there would be no witnesses and did not want to wear stockings on his face to hide his identity. He told Perry: “ain’t that what I promised you, honey—plenty of hair on them-those walls?” (Capote 46). In these words, he stated that he wanted to be as violent as possible, and he indulged himself in killing. Moreover, after leaving the Clutters family’s house, he made jokes and did not feel any remorse – instead, he blamed Perry for being too sensitive when he started to doubt the righteousness of their actions. On the contrary, it is possible to say that Perry did not want to kill the Clutters. Being with Dick, “he was here, and embarked on the present errand, not because he wished to be but because fate had arranged the matter” – in particular, Perry wanted his friend, his former cellmate Willie-Jay who would be released in Kansas (Capote 50). This circumstance proves that Perry was not interested in crime commitment. However, his subsequent violence in the house of the Clutter family may also be explained by his nurturing and the environment in which he was raised. Perry was beaten, abused, neglected, and ignored – his opportunities were limited by his family and society, however, he could achieve a lot and avoid criminal activities. In this case, his dissatisfaction with life and its injustice was growing and finally released in the house of the Clatters. In other words, Perry did not have personal enmity toward them – instead, it is possible to say that he “killed” his parents, nurses, nuns, and peers who mistreated him.

Capote, Truman. In Cold Blood . Random House, 1966. Web.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2024, February 25). Nature vs. Nurture: “In Cold Blood” by Truman Capote. https://ivypanda.com/essays/nature-vs-nurture-in-in-cold-blood-by-truman-capote/

"Nature vs. Nurture: “In Cold Blood” by Truman Capote." IvyPanda , 25 Feb. 2024, ivypanda.com/essays/nature-vs-nurture-in-in-cold-blood-by-truman-capote/.

IvyPanda . (2024) 'Nature vs. Nurture: “In Cold Blood” by Truman Capote'. 25 February.

IvyPanda . 2024. "Nature vs. Nurture: “In Cold Blood” by Truman Capote." February 25, 2024. https://ivypanda.com/essays/nature-vs-nurture-in-in-cold-blood-by-truman-capote/.

1. IvyPanda . "Nature vs. Nurture: “In Cold Blood” by Truman Capote." February 25, 2024. https://ivypanda.com/essays/nature-vs-nurture-in-in-cold-blood-by-truman-capote/.

Bibliography

IvyPanda . "Nature vs. Nurture: “In Cold Blood” by Truman Capote." February 25, 2024. https://ivypanda.com/essays/nature-vs-nurture-in-in-cold-blood-by-truman-capote/.

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• Clutter in English Speech and Writing
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Essays on In Cold Blood

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Introduction and Narration ‍

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

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

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

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

True facts of the Case

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

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

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

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

• Character Analysis

Perry Edward Smith

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

Richard Eugene ‘Dick’ Hickock

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

Herbert Clutter

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

Bonnie Clutter

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

Nancy Clutter

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

Kenyon Clutter

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

Alvin Dewey

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

Themes and Motifs

The american dream.

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

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

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

Masculinity

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

Essay Writing for In Cold Blood

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

Theme-based Essay Prompt

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Character essay prompt

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

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

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

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

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

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

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

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

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

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

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

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• Introduction to William Wordsworth and Romanticism
• Key Features of Romantic Poetry
• Poetic Analysis Examples

1. Introduction to William Wordsworth and Romanticism

William Wordsworth was a British poet and primary co-founder of the Romantic literary movement. He strongly believed that the poetry of the nineteenth century was much too fast-paced and too mindless to be able to evoke a meaningful message to the reader. Contending that ‘all good poetry is the spontaneous overflow of powerful feeling,’ he wished to pioneer Romanticism to create a genre of poetry that reminded the reader of the very essence of humanity.

As such, Wordsworth and fellow poet Samuel Taylor Coleridge founded a new style of poetry through their co-written 1798 Lyrical Ballads , a collection of poetry which attempted to unite the human condition with the tranquility of nature. 

As a resident of England’s picturesque Lake District, Wordsworth enjoyed becoming one with nature by wandering through the neighbouring hills, moors and lakeside views, while mentally composing poems inspired by its glorious elements. 

William Wordsworth: Poems Selected by Seamus Heaney is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

2. Key Features of Romantic Poetry

The Romantic movement of poetry was founded during the Industrial Revolution, a period in which people were growing farther from the serene comfort of nature and closer towards modern mechanisation and mass manufacturing. As such, a primary characteristic of Romantic poetry is nature, as poets attempted to remind humanity of its meditative respite, and the comfort it could provide in the backdrop of the pollution that accompanied the growing industrialisation of England. 

Wordsworth was a pantheist and believed that God was within every aspect of the natural world. In addition to this, he categorised himself as an ardent ‘worshipper of nature’. Thus, much of his poetry explores nature in a sacred and religious sense, presenting goodness and naturalness as synonymous - aptly displaying his belief of nature as a living, divine entity that could only to be ignored at humankind’s peril. 

Emotionalism 

Romantic poetry subdues reason, intellect and the scientific truth in order to place more focus on the ‘truth of the imagination’. As a result of the harsh rigidity and rationality of the Enlightenment era, all human sentiments, from melancholiness to hopefulness, were celebrated by Romantics as important instruments in poetry to remind the common people of sentimentality in a modern and intransigent era. 

As Romantics believed that these feelings allowed one to look deeper into one’s self, the theme of powerful emotions constructs the very essence of Romantic poetic poetry. As a result of this, rather than placing much importance on sense or sensibility, much of Wordsworth’s poems scrutinise his own effusion of feelings and the universal truths that these help him discover, speaking as the characteristic Romantic poet occupying a sentimental place of alienation.

Rebellion and Individualism

The Industrial Revolution oversaw the creation of distinct class differences between the extremely wealthy class of businessmen, and financially struggling workers and entrepreneurs. Poets, like all other artists, were forced to become increasingly independent and needed to rely on their unique vision and style in order to succeed in their gradually declining line of work. The Romantics subsequently began to view themselves as heroes who challenged and overcame the social challenges that arose; as champions of independence and self-awareness. As such, Romantic poetry often features characters or symbols of valiant heroism, as the poet acts as a visionary figure in his work, like a prophet telling of poetic self-awareness. 

The Sublime

In accordance with their celebration of human emotions, Romantics also became fascinated with the literary conception of ‘the sublime’, a mental state that Classical authors such as Longinus defined as ‘physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic greatness’ that is of such magnificence that it cannot be measured. 

The Romantics explored these extraordinary experiences in their poetry, describing the power of such sublime experiences on one’s senses, mind and imagination. Wordsworth expressed in his essay that a sublime experience is what occurs when one’s mind attempts to attain ‘something towards which it can make approaches but which it is incapable of attaining’. For example, his biographical poem, The Prelude recounts his ascent of Mount Snowdon and the sublime emotions he experiences as a result of its powerful atmosphere. 

Many have viewed Wordsworth’s view of the sublime as the Romantic standard, as his poetry focuses equally on both the alluring and devastating aspects of such sublime experiences. His work focuses on the intertwined pleasure and terror that is generated as a result of such experiences, and how either end of the spectrum is ultimately beautiful and inspiring.

Context is really important when engaging with a text in VCE English, so be sure to read Context and Authorial Intention in VCE English .

3. Poetic Analysis Examples 

Example passage 1.

Books! 'tis a dull and endless strife: Come, hear the woodland linnet, How sweet his music! on my life, There's more of wisdom in it.

And hark! how blithe the throstle sings! He, too, is no mean preacher: Come forth into the light of things, Let Nature be your teacher.

This passage, taken from Wordsworth’s Tables Turned; An Evening Scene on the Same Subject , is a primary example of a poem displaying the Romantics’ propensity and reverence for the natural landscape.  

Thematic Analysis

The speaker of the poem contrasts the ‘endless strife’ of book-learning to the spontaneous and liberal method of learning through interacting with nature. The description of the ‘woodland [linnet’s]’ song as ‘sweet’ music evokes an image of heavenly bliss associated with the charms hidden within nature. That ‘there’s more of wisdom in’ such nature works in tandem with this, as the speaker asserts that the natural landscape is able to teach a lesson of a magnificence incomparable to the monotony of the ‘dull’ studying thorough book-learning. 

The speaker’s evocation of ‘blithe’ emotions through sound is continued in the second stanza, in which ‘the throstle’ delivers another divine ‘song’ in an attempt to entice the reader. The speaker furthers his advocation for natural learning through a condemnation of route learning, as he attacks teachers of such as ‘mean preachers’. The directly following use of a pun emphasises this contrast, as the ‘light of things’ symbolises both the enlightenment that will accompany nature’s teaching, as well as the literal ‘light’ of nature underneath the sun. 

The final line of the passage summarises the speaker’s persuasion aptly, as the phrase, ‘let nature be your teacher’, rings similar to a passage which can be found in the Bible; the speaker thus implies that the natural world is the all-superior entity and source of knowledge that one should take lessons from. 

Stylistic Analysis

The rhyme and the rhythmic beat of the poem give it a sound comparable to a nursery-rhyme. This works in tandem with the Romantic viewpoint that great poetic language should be simple, accessible and conversational; as understandable to the common people as a nursery rhyme is to a child. This similarity also works in accordance with the authorial message of the poem, that nature should be a universal ‘teacher’, as nursery rhymes are often employed as enjoyable sing-songs that educate children on a moral level. As such, Wordsworth here strengthens his viewpoint through his poetic words; that nature should be a mentor to all. 

Example Passage 2

‍ For thou art with me here upon the banks  Of this fair river; thou my dearest Friend,  My dear, dear Friend; and in thy voice I catch  The language of my former heart, and read  My former pleasures in the shooting lights  Of thy wild eyes. Oh! yet a little while  May I behold in thee what I was once,  My dear, dear Sister! and this prayer I make,  Knowing that Nature never did betray  The heart that loved her; 'tis her privilege,  Through all the years of this our life, to lead  From joy to joy… Therefore let the moon  Shine on thee in thy solitary walk;  And let the misty mountain-winds be free  To blow against thee: and, in after years,  When these wild ecstasies shall be matured  Into a sober pleasure; when thy mind  Shall be a mansion for all lovely forms,  Thy memory be as a dwelling-place  For all sweet sounds and harmonies; oh! then,  If solitude, or fear, or pain, or grief,  Should be thy portion, with what healing thoughts  Of tender joy wilt thou remember me,  And these my exhortations! Nor, perchance—  If I should be where I no more can hear  Thy voice, nor catch from thy wild eyes these gleams  Of past existence—wilt thou then forget  That on the banks of this delightful stream  We stood together; and that I, so long  A worshipper of Nature, hither came  Unwearied in that service: rather say  With warmer love—oh! with far deeper zeal  Of holier love. Nor wilt thou then forget,  That after many wanderings, many years  Of absence, these steep woods and lofty cliffs,  And this green pastoral landscape, were to me  More dear, both for themselves and for thy sake!

This passage is taken from the final section from Lines Composed a Few Miles above Tintern Abbey , a critical work in Wordsworth’s poetic career. Tracing the growth of his mind in different periods of time, the poem is a condensed, spiritual autobiography of Wordsworth himself as it views his younger self from the perspective of his older self, weighing the sense of ‘loss’ suffered against the belief that the years have brought him ‘abundant recompense’. 

After recalling his experiences with nature over his formative and adult years, the speaker now addresses his younger sister Dorothy, as he gives her heartfelt advice about what he has learnt. Here, Dorothy becomes a ghost of his former self, as he hears ‘the language of his former heart’ when she speaks and perceives his ‘former pleasure’ in the ‘soothing lights of [her] wild eyes’. 

The speaker depicts his loyalty to nature and its reflective loyalty to him, by the expression that ‘nature never did betray [his] heart’ that loves Dorothy, and this is the reason they have been living from ‘joy to joy’, lending nature a role of salvation. 

The speaker then directly addresses the moon as a kind of separate entity, in order to ask it to bless his sister by shining on her ‘solitary walk’, so that when she is an adult her mind may become a ‘mansion for all lovely forms’. This is an ode to the harshness of the society at the time, in which the privileged businessmen and factory owners possessed a monopoly over British wealth, and accompanying prejudices clouded social judgement. As such, the speaker expresses his desires for his beloved sister to be exempt from such hardship that he was once subjected to, so that she can enjoy ‘sweet sounds and memories’ without experiencing the vexations of an unrelenting human society. 

The conclusion of the poem is cyclic, as it takes the speaker back to the ‘green pastoral landscape’ of the beginning of his meditations. This symbolises the omnipresent timelessness of nature. As the speaker muses upon his ‘past existence’, he wishes to convey his own reverence for nature to his beloved sister, as he expresses that she will not forget the ‘steep woods and lofty cliffs’ upon which he first understood and respected nature. 

The language utilised in this poem is lucid and natural, characteristic of Romantic poetry. The simplicity of the words chosen by Wordsworth effectively communicate the honesty of his own emotions towards nature. The elevated blank verse structure furthers this simplicity, as its familiar and easy tone is like that of a comfortable heartbeat or pulse that runs throughout one’s body in a serene state of mind. 

Ultimately, the unconstrained and liberating tone of the poem, in accordance with its free blank verse structure emphasises Wordsworth’s belief that nature is within our very selves. Just as the poem runs smoothly and continuously, akin to a human pulse, Wordsworth suggests that nature too runs within everyone as an incessant heartbeat, necessary in order to experience a ‘warmer’ and ‘holier’ love for this universe.

Authorial intent is without a doubt one of the most important parts of any analytical essay in VCE English because talking about it is what offers the deepest level of analysis and shows the examiners that you have thought deeply about the text at hand. If you can discuss authorial intent effectively, you’ll be able to show that you have a solid understanding of what you are talking about and that you’re not working exclusively with surface-level ideas.

What Is Authorial Intent?

When we talk about authorial intent, what is really being referenced is the author’s reason for writing their piece in the way that they have and what messages they are trying to convey. Essentially, it’s what your teacher wants you to think about when they ask you things like “why is the door red?”. More generally speaking, why has the author made a point of telling us as readers the weather at that time? Why has that character been given that particular line of dialogue? Why have they brought in that specific tone for this part of the text? These are all the kinds of questions that you should be asking yourself when you’re reading through material that you have to analyse.

You might also hear authorial intent talked about as the writer’s ‘views and values’ . If you’re unsure what views and values actually mean, you can kind of think of it as though the ‘views’ are how the author sees something and the ‘values’ are how the author thinks about something. Essentially, their opinions and perspectives are their views, whereas their morals and principles are their values. These two elements will often be central to the overall intention behind writing their text.  

Why Is Authorial Intent Important?

Authorial intent plays a major role in your interpretation of the text; if you can’t figure out what the intent is, you will often miss out on key points and messages throughout the text. If you are lucky, the author will make it really clear to you as a reader what their intent is; however, this often is not the case. That being said, whether their intent is stated or implied doesn’t matter - there will always be something there for you to talk about.

How To ‘Find’ Authorial Intent in the Text: Key Identifiers To Look Out For

If you come across a text that makes it a little bit more difficult to discern what the author is actually trying to say, a good place to start is to look at the context behind the piece of writing. 

The time period the novel/movie/play is set in is often a good indicator of what the author is saying. The author will often be using their text as a means by which they can comment on or critique one or more elements of that society, or perhaps as a metaphor for events that are occurring at the time the text is/was written. Alternatively, they may be portraying their view about the events that actually occurred during that time. For example, if you have a text that is set in the Georgian era, it is likely that the author’s message has something to do with colonialism or imperialist mindsets (zeitgeists) because this was a very dominant theme in that society. 

Some other reasons you might consider an author having could include: 

• to highlight the importance of something
• to criticise a behaviour or mindset
• to ridicule certain actions
• to warn against something
• to discourage people from doing something
• to convey certain political messages or controversial opinions

Realistically there is a broad range of things that the author could be saying, it's your job to pinpoint what that really is. 

Once you’ve determined what it is the author is generally talking about, you then need to start thinking about the way that this has been represented. This is where you start to bring in the characters, the events, the dialogue, the inner monologues. Basically, you start looking for the elements that the author has added, not necessarily for a story-telling purpose but, more so, to convey their views and values through the text. This isn’t always going to jump right out at you so there may be a bit of deeper thinking involved. 

Another good place to start is to try to identify the central themes of a text. This might be something like ‘Judgement’, ‘Redemption’, ‘Guilt’, etc. The author wouldn't have made these themes so relevant if they didn't have anything to say about them. Once again, this is where you look at the quotes, the setting, the characters and other features (as mentioned before) just with a more theme-focused approach. 

Useful Vocabulary & Sentence Examples 

When you come to actually putting together a paragraph, it is really important that you don’t forget to include authorial intent at some stage (at least once per paragraph). If you work with a TEEL structure (watch from 05:10) as the baseline, these kinds of comments about the author’s intent would usually be located within the ‘explanation’ section. A good way to double-check that you’ve incorporated authorial intent is to go back through your paragraph and make sure that the author’s name is in there somewhere. If you’ve talked about authorial intent you likely will have said something like:

‍ ‘In doing so, (Author) condones the (whatever it is they condone).’

Sentence Templates

Below are some sample sentence structures that you might think about using throughout your essays. Obviously, the particular vocabulary will vary depending on what your text is and which message you are talking about, but these are good as a guide.

• Through (example from text) AUTHOR (offers, provides, asserts) a (condemnation, evaluation…) of (idea, theme, concept, action…)

E.g. Through emphasising the internal struggle faced by Rooke during the floggings, Grenville offers a condemnation of the Empire’s heinous approach to loyalty, as the threat of ‘wirling at the end of the rope’ essentially forces individuals to value duty over conscience. (The Lieutenant)

• In doing so, AUTHOR (establishes, condemns, reveals…)

E.g. In doing so, Miller reveals the self-destructive nature of religious extremism in breeding instability and conflict. (The Crucible)

• (scene, event…) allows AUTHOR to (suggest, convey, assert,…) that 

E.g. Her sorrowful pleas that ‘she beg me to make charm’, fraught with grammatical errors, allow Miller to saliently illustrate the gulf that exists between the vulnerable outcasts such as Tituba and more privileged individuals within a community, in this case, Reverend Parris. (The Crucible)

• AUTHOR’s depiction of (character) as (courageous, morally conscious, selfish…) emphasises their belief that…

E.g. Ham’s depiction of Teddy as a morally conscious and genuine individual emphasises her belief that it is possible to transcend the social codes enforced by one’s community. (The Dressmaker)

• AUTHOR’s suggestion that… (serves as a reminder, highlights, emphasises the importance of…)

E.g. Euripides’ blatant suggestion that the fate of most of these women is in servitude and sexual slavery is a damning reminder that the victims of war are not just those killed during the conflict. (Women of Troy)

• (Hence, thus, as a result…) AUTHOR asserts that… 

E.g. Thus, Euripides asserts that victory in war ultimately proves futile as loss will inevitably be suffered somewhat equally by both sides. (Women of Troy)

• Evident through AUTHOR’s (characters’ actions/dialogue/section of text…) is the idea that…

E.g. Evident through Miller’s depiction of the struggles faced by Goody Osburn and Goody Good is the idea that where geographical isolation and strict moral codes render a community intolerant, the marginalisation and ostracisation of those who do not fit the societal mould is inevitable. (The Crucible)

• Through (action, quote, scene…) AUTHOR seeks to…

E.g. Through highlighting the harm which can result from individuals utilising their power to manipulate situations, Ham seeks to expose the damages caused by ignoring the truth, particularly when done so for personal benefit. (The Dressmaker)

If you’ve gotten to this point then hopefully that means that you are starting to get a better understanding of what authorial intent actually is, the thought processes that go into finding it and why it is such a useful and important element to analyse. Most importantly, I hope that you can at least start recognising the way that the author’s voice comes through in the particular texts that you are studying, and that you can start looking at including some of those observations and ideas when you're writing your responses.

Authorial Intent is an aspect that's going to be relevant to Text Response & Comparative for the most part, but it's also handy to understand for Language Analysis !

3. Sample Essay Topics

4. A+ Essay Topic Breakdown

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

Things Fall Apart is set in a fictional group of Igbo villages called Umuofia, around the beginning of the twentieth century. The first half of the novel is dedicated to an almost anthropological depiction of Igbo village life and culture through following the life of the protagonist Okonkwo . Okonkwo is the greatest wrestler and warrior alive in the nine villages and beyond. He has dedicated his life to achieving status and proving his strength to avoid becoming like his father Unoka – a lazy, improvident, but gentle man. Weakness is Okonkwo’s greatest fear. After men in another village kill a woman from Umuofia, a boy named Ikemefuna is given to Umuofia as compensation and lives in Okonkwo’s compound until the Gods decide his fate. Ikemefuna quickly becomes part of Okonkwo’s family; he is like a brother to Okonkwo’s son Nwoye and is secretly loved by Okonkwo as well. Over the next three years, the novel follows Okonkwo’s family through harvest seasons, religious festivals, cultural rituals, and domestic disputes. Okonkwo is shown to be more aggressive than other Igbo men and is continually criticized and rebuked by the village for his violence and temper . When the Oracle of the Hills and Caves decides that Ikemefuna must be killed, Okonkwo is warned by a respected elder to have no hand in the boy’s death because Ikemefuna calls him ‘father’. However, afraid of being thought weak, when Ikemefuna runs to Okonkwo in hope of protection, Okonkwo delivers the fatal blow. Ikemefuna’s brutal death deeply distresses Nwoye who becomes afraid of his father. 

At the end of Part One, Okonkwo accidentally kills a clansman at a funeral after his faulty gun explodes and is exiled to his motherland, Mbanta. During his exile, British missionaries arrive in Mbanta and establish a church. Nwoye, disillusioned with his own culture and Gods after Ikemefuna’s death, is attracted to Christianity and is an early convert . This is a heartbreaking disappointment to Okonkwo. When Okonkwo and his family return from exile after seven years they find that the missionaries and colonial governors have established Umuofia as the center of their new colonial government . Clashes of culture and morality occur, and as the British make the Igbo more dependent on them through introducing trade and formal education, the Igbo way of life is continually undermined . When a Christian convert unmasks an egwugwu during a tribal ritual, a sin amounting to the death of an ancestral spirit, the egwugwu burn down the village church. The men who destroyed the church are arrested and humiliated by the District Commissioner, and Okonkwo beheads a court messenger at a village council in rebellion. When none of his clansmen rise with him against the British, Okonkwo realizes his culture and way of life is lost and commits suicide in despair. Suicide is a crime against the Earth Goddess, Ani , so Okonkwo is left to rot above ground in the Evil Forest, like his father Unoka – a shameful fate he spent his life desperate to avoid. The final paragraph, written from the perspective of the District Commissioner, reduces Okonkwo’s life to a single sentence about his death in his planned book The Pacification of the Primitive Tribes of The Lower Niger . Achebe has filled an entire novel with evidence of the complexity and sophistication of Okonkwo’s individual and social life and the District Commissioner’s casual dismissal and belittling of him causes us to flinch with horror and dismay. This is a metaphor for the reduction of Igbo culture in the eyes of its colonizers.  

The title gives away the plot of the novel and anticipates the collapse of Okonkwo and his society. Things Fall Apart is about the connection between the tragic downfall of Okonkwo , who fate and temperamental weakness combine to destroy, and the destruction of his culture and society as the Igbo way of life is assailed by forces they do not understand and are unprepared to face . 

A Full and Fair Representation of Ibo Traditional Life

The first part of the novel presents the traditional world of the Ibo with specificity and vibrancy . The imbedded descriptions of the patterns of interaction, daily routines and seasonal rituals of Ibo life creates an overwhelming impression of community and shared culture. We see the established system of values which regulates collective life and how closely related this is to natural cycles and environments. The Ibo’s moral values are contained in sayings and stories, rituals and festivals. Achebe depicts a comprehensive and sustaining social, spiritual, economic, agricultural, and legal order. (Chapters to consider: 1, 2, 3, 5, 6, 10, 12, 19)

While Ibo society is marked by the internal coherence of its organization and the poetry of its rituals, this coherence is partially formed by the repression of the individual and the inflexibility of social norms. Achebe shows the violence, dehumanization, and discrimination vulnerable groups experience in Umuofia due to the rigid adherence to tradition and superstition. This includes the customary abandonment of newborn twins, the sacrificial murder of Ikemefuna in the name of justice, and the discriminatory caste structure that denies inclusion to the osu (Chapters 7, 18).

Obierika’s questioning of the stern logic of some customs suggests that many laws are enacted from a sense of duty and inevitability rather than from a firm conviction in their justice or efficacy (Chapter 13). The cultural demand for conformity places a huge moral and psychological burden on individuals who must reckon with the sometimes heartless will of the gods . This internal tension is epitomized in the character of Okonkwo, discussed below.  

Clash of Cultures

When the Ibo are confronted with rival institutions a mirror is held up to their society. Fall Apart honestly considers and reflects on Ibo practices, customs, values, and beliefs. The novel is a frank articulation of the nature of the African past and its relevance to the present and future . Achebe wants to illuminate Ibo culture to dispense with lingering colonial prejudices, but he is not sentimental or nostalgic for the past. Instead he is shifting through it to identify the valuable aspects of Ibo culture to bring into the future and help define Nigeria’s post-independence identity .

Achebe recognises that the colonial encounter which led, swiftly and seemingly inevitably, to the disintegration of Ibo culture revealed its profound weaknesses. Achebe suggests that with the arrival and contrast against another culture, a cultural reckoning was inevitable for the Ibo. However, cultural reckoning and revaluation is not the same thing as destruction and erasure . The British colonialists were a hostile force seeking cultural domination. By pointing out some of the weaknesses of the Ibo tradition, Achebe in no way excuses or justifies colonial domination or diminishes the pain and tragedy of the cultural erasure that occurred.

Colonial Domination

The anti-colonial position and purpose of the novel is powerfully clear. Achebe depicts the process of colonial initial establishment and the resultant cultural suspension of Ibo society. The British colonizers believed in their inherent cultural superiority and arrived in Umuofia with the intention to “bring civilization” (p.151) to Africa. They wanted to achieve full control by supplanting Ibo religion and culture with their own.

The British arrived quietly and non-confrontationally with their religion and the clans allow them to stay, misinterpreting their silence as peaceability . An Ibo proverb warns that there is danger in silence and nothing to fear from someone who reveals their motivations (Chapter 15). Obierika recognizes how the white man’s strategy disguised their intentions and gave them the freedom to grow and fortify. He explains the political consequences for the clan, now divided by the new religion, they can no longer act as one (Chapter 20). Without strength in unity, the Ibo are vulnerable to further encroachment of British control in their other institutions .

As only a small number of Ibo initially converted to Christianity, the church was only able to establish itself firmly in the villages because of the Ibo’s religious tolerance (Chapter 2, 22). Mr Brown learns about Ibo religion and his willful blindness to its complexity shows how the colonizers justified their colonial rule and imposition through labelling their subjects ‘primitive’ . Mr Brown understands that Christianity held no appeal for people well integrated in Ibo society, concluding that “a frontal attack on it would not succeed” (p.132) and thus introduces education as a new method of cultural displacement and erasure . Additionally, trade also increased the Ibo’s dependence on the introduced economy (Chapter 21).

From the very first introduction of the colonizers we understand that violence and fear were tools of oppression and dominance , forcing the Ibo to submit and keeping them unresisting (Chapter 15, 20, 23). Not only do the British impose foreign rule on the Ibo and judge them by standards they do not recognize, the District Commissioner’s personal brand of ‘justice’ is corrupt and hypocritical. When the elders are arbitrarily and falsely imprisoned, he tells them that what they have done “must not happen in the dominion of our queen” (p.141), combining personal corruption with a state apparatus of paternalism, hegemony, and occupation (Chapter 20, 23).

Dogmatic zealot, Reverend Smith, encourages fanaticism in his converts, motivating them to insult and humiliate the clan (Chapter 22). Under Reverend Smith’s wrathful guidance, the colonial agenda becomes transparently aggressive . The grief and pathos of the Ibo’s situation and collective trauma is displayed evocatively in the final episodes as Achebe depicts this painful moment of acute crisis (Chapter 22, 23, 24, 25).

A recurring thematic question in Things Fall Apart is to what degree the collapse of the Ibo and the downfall of Okonkwo are due to their own internal weaknesses or the whims of a pernicious fate . 

The Ibo understand fate to be in a dynamic and somewhat ambiguous relationship with personal agency . This is evident in their proverb “when a man says yes his chi says yes also” (p.20) which acknowledges and privileges the role of an individual’s choices in shaping their destiny (Chapter 4). The saying “as a man danced so the drums were beaten for him” (p.135) also relates this idea – fate is a response to one’s behaviour. Okonkwo is warned that killing Ikemefuna, his surrogate son, is the “kind of action for which the goddess wipes out whole families” (p.49).This demonstrates the clan’s belief that the goddess’s (or fate’s) punishments are not arbitrary but the result of individual action (Chapter 8).

Although there is an element of chance in Okonkwo’s gun accidentally exploding and killing someone, his exile carries the suggestion of just comeuppance in its echo of the guns failure to shoot when purposely aimed at Ekwefi (Chapter 5, 13). Likewise, although the arrival of the Christians was unexpected and chanced, Nwoye’s rejection of his father is traceable directly to Okonkwo’s choice to kill Ikemefuna (Chapter 7). The desertion of people injured by Ibo traditions is a blow to the clan that feels equally earned (Chapters 16, 17, 18).  

After his exile, Okonkwo believes his chi has turned against him (Chapter 14). He renunciates the wisdom of his elders by denying the active role he had in directing the course of events. His refusal to reflect on the connection between his actions and punishment reflect his fatal flaws: hubris and willful lack of self-knowledge. By refusing to self-analyze and self-correct, Okonkwo loses the opportunity of redemption. Comparably, the Ibo, despite believing in a relationship between action and fate, do not reflect on the cause of their kinsmen’s desertion to Christianity. Achebe provides numerous examples of the clan’s dogma and brutal traditions denying people such as Ikemefuna or twins control over their lives (Chapter 2, 7). It was the shortcomings of the Ibo social and religious order that made members susceptible to the attraction of a competing value system with a more articulated concept of individuality. The Ibo’s cultural lack of self-apprehension meant they could not adjust their traditions to save themselves .

However, just as Achebe shows how individuals in the clan are at the mercy of rigid overarching authority, he shows how the fateful forces of history constrain human agency . The British’s hostile intention to erase and supplant the Ibo way of life is a punishment greater than the Ibo deserve and a force stronger than they can rise to. In his description of the grief and trauma of colonial imposition, Achebe demonstrates his compassion and sorrow for the Ibo as they faced the sweeping and unforgiving forces of change in their moment of historical crisis . 

Sample Essay Topics

1. "Things Fall Apart demonstrates how the values and customs of a society help us to deal with the familiar but not with change." Discuss.

2. "Traditional ideas of honour dominate Okonkwo's life and finally they destroy him." Discuss.

3. "Nwoye knew that it was right to be masculine and to be violent, but somehow he still preferred the stories his mother used to tell." How does Achebe explore masculinity in Things Fall Apart ?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our Things Fall Apart Study Guide to practice writing essays using the analysis you've learnt in this blog!

A+ Essay Topic Breakdown

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Let's look at an essay prompt in this video below:

[Video Transcript]

In Things Fall Apart , women suffer the most and are victimised by men. Discuss.

Whenever you are breaking a prompt down. Ask yourself...

• What are the key words/ ideas that you need to address?
• Which theme is the prompt referring to?
• Do you agree with prompt? Or do you disagree with it?

The keywords of this prompt would be women, suffer,, victimised and men. The prompt requires us to address the role of women in the text and the ways in which they suffer in a society that is pervaded by patriarchal values. It also asks us, ‘Who is to blame?’ Are men solely responsible for the maltreatment or are there other causes to their suffering? The word ‘most’ in this prompt is actually there to give us a bit of room for discussion. Yes, women do suffer, but do they suffer the most? Or do men suffer as well?

Now that we’ve thought about the prompt, we can move on to the second step of the THINK part of the THINK and EXECUTE technique. To find out more about this unique strategy, I’d recommend downloading a free sample of our How to Write a Killer Text Response eBook!

Now, before we write our ideas in beautiful topic sentences, it’s often easier to simplify everything first. One way to do this is to work out whether the paragraph agrees or disagrees with the prompt at hand. We could follow this structure…

‍ Yes, the prompt is true because X Yes, another reason it is true is X While it is true, it is limited by X

By elucidating the ways in which women are seen as inferior to their male counterparts, the writer establishes his critique on a society that victimises and oppresses women. From the outset of the book, Okonkwo is characterised as a violent man who ‘rules his household with a heavy hand’, placing his wives in perpetual fear. The frequent beating and violence fortifies the portrayal of him as a man who is governed by his hatred of ‘gentility and idleness’, further showing the terror that his wives are forced to be living in.

"Do what you are told woman. When did you become one of the ndichie (meaning elders) of Umuofia?"

He also sees his wife’s mere act of questioning as disrespect, as evidenced through the ways in which he implies that she is overstepping her role.

“There were many women, but they looked on from the fringe like outsiders"

This simile also shows how women are often marginalised and treated as outcasts, underlining the overarching yearning for social justice throughout the text. This pitiful image of women looking ‘on from the fringe’ also helps Achebe relay his criticism of gender double standards and the unfairness that Igbo women are forced to live with. Achebe’s sympathy for women’s suffering and condemnation of men’s mistreatment towards are also evident through his depiction of a society that normalises misogyny.

‘His mother and sisters worked hard enough, but they grew women’s crops… Yam, the king of crops, was a man’s crops’

The personification of the crops, in particular, the men’s crops, the ‘yam’, being the ‘king of crops’ establishes this gender hierarchy in yet another way. More specifically, the position of men in the social hierarchy is highlighted and the negative connotation attached to the ‘women’s crops’ undermine their hard work, rendering it in significant. While women are the main victims of Igbo gendered prejudice, Achebe does not disregard the undue burden that societal expectations impose on men.

‘He was afraid of being thought weak.’

Achebe explores the burdens of unrealistic expectations that are placed on both men and women. This quote exemplifies societal expectations on men to be strong, powerful and fearless leaders who never show emotions. Achebe’s sympathies regarding these expectations show us that this is an important critique in Things Fall Apart that we can analyse.

If you find this helpful, then you might want to check out our Things Fall Apart: A Killer Text Guide where we cover 5 A+ sample essays (written by a 50 study scorer!) with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

With contributions from Lindsey Dang.

• Symbols and Analysis
• Discussion Questions

Essay Topic Breakdown

Go Went Gone revolves around an unlikely connection between a retired university  professor , Richard, and a group of asylum seekers who come from all over the African continent . While he’s enjoyed a life of stability and privilege as a white male citizen, the lives of these asylum seekers could not be more different: no matter where they are in the world, uncertainty seems to follow. Richard initially sets out to learn their stories, but he is very quickly drawn into their histories of tragedy, as well as their dreams for the future. 

However, the more he tries to help them, the more he realises what he’s up against: a potent mix of stringent legal bureaucracy and the ignorance of his peers . These obstacles are richly interwoven with the novel’s context in post-reunification Germany (more on this under Symbols: Borders ), but bureaucracy and ignorance are everywhere - Australia included . This novel, therefore, bears reflection on our own relationship with the refugees who seek protection and opportunity on our shores - refugees who are virtually imprisoned and cut off from the world .

Richard ultimately realises that these men are simply people , people who have the same complexities and inconsistencies as anyone else. They sometimes betray his trust; at other times, they help him in return despite their socio-economic standing. The end of the novel is thus neither perfect nor whole - while the asylum seekers develop a relationship with Richard and vice versa, neither is able to entirely solve the other’s problems, though both learn how to be there for each other in their own ways. We don’t get many solutions to everything the refugees are facing, but what we end up with is a lesson or two in human empathy. 

The title of Jenny Erpenbeck’s novel Go Went Gone is a line she weaves into a couple of scenes. In one example, a group of asylum seekers in a repurposed nursing home learn to conjugate the verb in German. In another, a retired university professor reflects on this group, about to be relocated to another facility.

The various privileges Richard holds shape his identity in this text. It shapes how he approaches his retirement for example: now that “ he has time ”, he plans to spend it on highbrow pursuits like reading Proust and Dostoyevsky or listening to classical music. On the other hand, the asylum seekers sleep most of the time: “if you don’t sleep through half the morning, [a day] can be very long indeed.” Richard has the freedom to choose to spend his time on hobbies, but the asylum seekers face a daunting and seemingly-impossible array of tasks. After getting to know them more, he realises that while his to-do list includes menial things like “schedule repairman for dishwasher”, the refugees face daunting socio-political problems like needing to “eradicate corruption”. 

Freedom in general is a useful way to think about privilege in this text, and besides freedom to choose how you spend your time, this can also look like the freedom to tell your story. While Richard helps the men with this to some degree, even he has a limited amount of power here (and power can be another useful way of thinking about privilege). Richard realises that “people with the freedom to choose…get to decide which stories to hold on to” - and those are the people who get to decide the future of the refugees, at least from a legal perspective. 

Though Richard can’t necessarily help with these legal issues, he finds himself doing what he can for the refugees over time. He demonstrates a willingness to help them in quite substantial ways sometimes, for example buying a piece of land in Ghana for Karon and his family. In the end, we see him empathising with the refugees enough to offer them housing: though he is not a lawyer, he still finds ways to use his privilege for good and share what he can. He taps into his networks and finds housing for 147 refugees. 

The tricky thing with empathy though is that it’s never one-sided, not in this book and not in real life either. It’s not simply a case of Richard taking pity on the refugees - we might think of this as sympathy rather than empathy - but he develops complex, reciprocal and ‘real’ friendships with all of them. This can challenge him, and us, and our assumptions about what is right. When Richard loses his wallet at the store, Rufu offers to pay for him. He initially insists he “can’t accept”, but when he does Rufu doesn’t let him pay him back in full. Erpenbeck challenges us to empathise without dehumanising, condescending or assuming anything in the process. 

It’s an interesting way to think about social justice in general, particularly if you consider yourself an ‘ally’ of a marginalised group - how can we walk with people rather than speak for them and what they want?

Freedom of movement is sort of a form of privilege, but movement as a theme of its own is substantial enough to need a separate section. There are lots of different forms of movement in the novel, in particular movement between countries . In particular, it’s what brought the refugees to Germany at all, even though they didn’t necessarily have any control over that movement.

Contrast that with Richard’s friends, Jörg and Monika, who holiday in Italy and benefit from “freedom of movement [as] the right to travel”. Through this lens, we can see that this is really more of a luxury that the refugees simply do not have. Refugees experience something closer to forced displacement , rather than free travel, moving from one “temporary place” to the next often outside of their control. In this process, their lack of control often means they lose themselves in the rough-and-tumble of it all: “Becoming foreign. To yourself and others. So that’s what a transition looks like.”

3. Symbols & Analysis

Language and the law.

Many of the barriers faced by the refugees are reflected in their relationships with language; that is, their experiences learning German mirrors and sheds light on their relationship with other elements of German society. For example, there are times when they struggle to concentrate on learning: “It’s difficult to learn a language if you don’t know what it’s for”. This struggle reflects and symbolises the broader problems of uncertainty, unemployment and powerlessness in the men’s lives.

The symbol of language often intersects with the symbol of the “iron law”, so these are discussed together here. It’s hard on the one hand for these men to tell their stories in German, but it’s also hard for the German law to truly grapple with their stories. Indeed, Richard finds that the law doesn’t care if there are wars going on abroad or not: it only cares about “jurisdiction”, and about which country is technically responsible for the refugees. In this sense, the law mirrors and enables the callousness which runs through the halls of power - not to deter you from learning law if you want though! This might just be something to be aware of, and maybe something you’d want to change someday. 

There’s one law mentioned in the novel stating that asylum seekers can simply be accepted “if a country, a government or a mayor so wishes”, but that one word in particular - “ if ” - puts all the power in lawyers and politicians who know the language and the law and how to navigate it all. These symbols thus reflect power and privilege. 

Borders (+ Historical Context)

Throughout the novel, there’s a sense that borders between countries are somewhat arbitrary things. They can “suddenly become visible” and just as easily disappear; sometimes they’re easy to cross, sometimes they’re impossible to cross. Sometimes it’s easy physically, but harder in other ways - once you cross a border, you need housing, food, employment and so forth.

This complex understanding of borders draws on the history of Germany , and in particular of its capital Berlin, after World War II. After the war, Western powers (USA, UK, France) made a deal with the Soviet Union to each run half of Germany and half of Berlin. The Eastern half of Germany, and the Eastern half of Berlin, fell under Soviet control, and as East Germans started flocking to the West in search of better opportunities (sound familiar?), the Soviets built a wall around East Berlin. The Berlin Wall , built in 1961, became a border of its own, dividing a nation and a city and changing the citizenship of half of Germany overnight. Attempts to escape from the East continued for many years until the wall came down in 1989, changing all those citizenships right back, once again virtually overnight.

This history adds dimension to Erpenbeck’s novel. Refugees pass through many countries, but Erpenbeck draws on Germany’s history specifically as a once-divided nation itself. This helps to illustrate that national borders are just another arbitrary technicality that divides people, at the expense of these refugees. 

Bodies of Water

One motif that comes back a few times in the novel is the drowned man in the lake by Richard’s house. This has a few layers of meaning.

Firstly, the man drowns despite the lake being a perfectly “placid” body of water, and for whatever reason, this bothers Richard immensely: “he can’t avoid seeing the lake”. There’s an interesting contrast here to be drawn between this one death in a still body of water and the hundreds of deaths at sea that are recounted in the novel. Rashid’s stories are particularly confronting: “Under the water I saw all the corpses”. Erpenbeck questions the limits of human empathy - whose deaths are we more affected by, and why - through contrasting these different bodies of water, and those who die within them. Richard is more affected than most, who visit the lake all summer leaving “just as happy as they came” - but even he has his limits with how much he can see and understand. 

The next layer of meaning with this symbol then is more around the surface of the water itself: it is significant that in Rashid’s story, the casualties are below the surface. This reflects the common saying, “the tip of the iceberg” - the survivors who make it to Europe are really just the tip of the iceberg , only representing a fraction of the refugee experience. Often, that experience ends in death. Erpenbeck asks us to keep looking beneath the surface in order to empathise in full. 

Music and the Piano

This symbol is specific to Richard’s relationship with Osarobo , to whom he teaches the piano. There’s one scene where this symbolism is particularly powerful, where they watch videos of pianists “us[ing] the black and white keys to tell stories that have nothing at all to do with the keys’ colours.”

It speaks to the power of music to bring people together, and also to the importance of storytelling in any form: Rosa Canales argues the keys’ colours, and the colour of the fingers playing them, “become irrelevant to the stories emanating from beneath them”.

• “What languages can you speak?”
• “The German language is my bridge into this country” 
• “Empty phrases signify politeness in a language which neither of them is at home” 
• “The things you’ve experienced become baggage you can’t get rid of, while others - people with the freedom to choose - get to decide which stories to hold on to”
• “He hears Apollo’s voice saying: They give us money, but what I really want is work. He hears Tristan’s voice saying: Poco lavoro . He hears the voice of Osaboro, the piano player, saying: Yes, I want to work but it is not allowed. The refugees’ protest has created half-time jobs for at least twelve Germans thus far” 
• “Not so long ago, Richard thinks, this story of going abroad to find one's fortune was a German one”
• “Is it a rift between Black and White? Or Poor and Rich?” 
• “Where can a person go when he doesn't know where to go?” 

5. Discussion Questions

Here are some questions to think about before diving into essay-writing. There’s no right or wrong answer to any of these, and most will draw on your own experiences or reflections anyway. You may want to write some answers down, and brainstorm links between your responses and the novel. These reflections could be particularly useful if you’re writing a creative response to the text, but they’re also a really good way to get some personal perspective and apply the themes and lessons of this novel into your own life.

• Where do you ‘sit’ in the world? What privileges do you have or lack? What can you do that others cannot, and what can others do that you cannot?
• Think about the times you’ve travelled around the world - how many of those times were by choice? What might be the impact of moving across the world against your will?
• How do you show empathy to others? How do you receive empathy from others? What is that relationship ‘supposed’ to look like?
• What are some different names for where you live? How can you describe the same place in different languages or words? If you’re in Australia, what was your area called before 1788?
• Have you ever learned or spoken a language other than English? What language do you find easier to write, speak and think with? How might this impact someone’s ability to participate in different parts of life (school, work, friendships etc.)?

6. Sample Essay Topics

• Go Went Gone teaches us that anyone can be empathetic. Discuss. 
• In Go Went Gone , Erpenbeck argues that storytelling can be powerful but only to an extent. Do you agree?
• How does Erpenbeck explore the different ways people see time? 
• It’s possible to sympathise with Richard despite his relative privilege. Do you agree?
• Discuss the symbolic use of borders in Go Went Gone .
• Go Went Gone argues that the law is impartial. To what extent do you agree?
• “The German language is my bridge into this country.” How is language a privilege in Go Went Gone ?
• Who are the protagonists and antagonists of Go Went Gone ?
• Go Went Gone shows that it is impossible to truly understand another person’s experiences. To what extent do you agree?

In what ways do the people Richard meets challenge his assumptions about the world?

• Go Went Gone is less about borders between countries than it is about borders between people. Do you agree?

7. Essay Topic Breakdown

Step 1: analyse.

This prompt alludes to certain assumptions that Richard might make about the world. If it’s hard to think of these off the top of your head, consider where our assumptions about the world come from: maybe from our jobs, our families and friends or our past experiences. Maybe there are some assumptions you’ve had in the past that you’ve since noticed or challenged. 

Then it asks us how the people Richard meets challenges those assumptions. There’s no way to get out of this question without discussing the refugees, so this will inform our brainstorm.

Step 2: Brainstorm

I think some of Richard’s assumptions at the beginning come from his status: being a professor emeritus makes you pretty elite, and he can’t really empathise with the refugees because his experiences of life are so different. Part of the challenge with this prompt might be to break down what life experiences entail, and where those differences lie: particularly because it’s asking us ‘in what ways’. These experiences could be with language, employment, or personal relationships just to name a few ideas. 

Step 3: Create a Plan

Because Richard’s life experiences are so vastly different, I’d contend that his assumptions are challenged in basically every way. However, I also think that his interest in the refugees exists because he knows they can challenge his assumptions. I want to use the motif of water surfaces to tie this argument together, particularly in the topic sentences, and this could look as follows:

Paragraph 1 : Richard realises that he only has a ‘surface-level’ appreciation of the refugees’ life experiences.

• He realises that he knows little about the African continent (“Nigeria has a coast?”) 
• He suffers from a “poverty of experience” which means he hasn’t had to interact with this knowledge before
• His renaming of the refugees (Apollo, Tristan etc.) suggests that he still needs his own frame of reference to understand their experiences
• He learns about the hardships of migration through the tragic stories of those like Rashid

Paragraph 2 : He also realises that he has a ‘surface-level’ understanding of migration in general.

• This comes from the fact that he has never actually moved countries; he’s only been reclassified as an East German, and then again as a German. Neither happened because he wanted them to.
• On the other hand, the refugees want to settle in Europe: they want the right to work and make a living - it’s just that the “iron law” acts as a major barrier. Their powerlessness is different from Richard’s.
• Part of migration is also learning the language, and Richard is initially quite ignorant about this: he observes that the Ethiopian German teacher “for whatever reason speaks excellent German”, not realising this is necessary for any migrant to survive in the new country.
• We can think of this as the difference between migration and diaspora, the specific term for the dispersion of a people.

Paragraph 3 : Richard is more open than most people to looking beneath the surface though, meaning that his assumptions are challenged partly because he is willing for them to be.

• The symbol of the lake works well here to explain this: he is bothered by its still surface, and what lies underneath, while others aren’t
• We can also contrast this to characters like Monika and Jörg who remain quite ignorant the whole time: Richard’s views have departed from this throughout the course of the novel
• Ultimately, the novel is about visibility: Richard’s incorrect assumptions mean that he isn’t seeing reality, and his “research project” is all about making that reality visible. 

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

Updated on 15/12/2020.

• Summary: A Brief Snapshot
• Stage Directions
• Essay Topics

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

1. Summary: A Brief Snapshot

At the heart of innovative technology and products lies exceptional human creativity. Our brains are practically wired to create and innovate newness. Naturally, the influx of products entering the market creates a consumer frenzy. Suddenly, everything is a commodified entity with a dollar-sign attached to it. Its inherent value lies in how much consumers covet the item. 

Let’s take the iPhone for example! An idea of a communication device - both sleek in its functionality and aesthetic - is mass produced, consumed by millions and the cycle perpetuates itself. It is an item so coveted and desired, a 17-year-old boy from China sold a kidney to buy the iPad and iPhone. This phenomenon of consumerism is symptomatic of a contemporary world’s obsession with vanity and aesthetic. Our fixation on the surface-level and glossy facades is similarly echoed by Extinction ’s main protagonist, Professor Heather Dixon-Brown, who criticises the ‘charismatic fauna push’ where we are ‘making celebrities out of pandas and polar bears’. While those campaigns are successful in raising better awareness and positivity in the realm of conservation, they do not change the ways in which we live and consume.

How we live today is inflicting a deep ecological impact on planet earth. Furthermore, as urban landscapes inevitably expand, we continue to encroach on the territory of the natural world.

These are the kind of thoughts that popped into my mind after reading Extinction . Hannie Rayson’s provocative play delves deep into the central question of what it means to uphold a personal conviction in the face of self-interest and necessity. Casual flings, extinguishing of life and the friction between ‘ideological purity’ and functionality threatens to unhinge even seemingly robust characters such as Heather Dixon-Brown, an ecologist who preaches that she ‘uses her head, not her heart’. Rayson’s literary work endeavours to capture how the human character is, in fact, multidimensional and never static! As the passionate environmentalists and pragmatic ecologists are entangled in ethical quandaries, the playwright also illustrates how divorcing your mindset from emotion is a universal struggle. Furthermore, she explores how moral conviction is consistently at odds with the demands of the personal and professional domains we inhabit.

Throughout the drama encapsulating mining magnates, environmentalists and ecologists, Rayson combines their fictional voices to echo a cautionary tale of how self-interest and misconception about ‘the other’ may distort rationality. When the CEO of Powerhouse mining, Harry Jewell, bursts into a wildlife rescue centre in Cape Otway, holding a critically injured and endangered tiger quoll, he inadvertently catalyses a conflict that will draw out the prejudices withheld by the trio of environmentalists.

I encourage you to think about the lessons embedded in the play. What are the take-home messages YOU have discovered?

Guiding Questions:

• What is the message the playwright is attempting to deliver to her audiences?
• When you finished the play, what feelings were you left with?
• Which characters did you find likeable? Who aggravated you the most? And most importantly, provide evidence for why you felt that way! Was it because of their problematic ways of dealing with an ideological crisis? Or their fierce passion towards upholding moral conviction?

2. Character Analysis

Let's take a look at these deeply flawed human beings:

Professor Heather Dixon-Brown ‍

• Director of the CAPE institute 
• Interested in only saving species that are ‘statistically saveable'.
• Bureaucrat with the realism to match.

'I am an ecologist, not an environmentalist. I use my head, not my heart.'

'Species are like commodities…I just don’t approve of this ‘charismatic fauna’ push - making celebrities out of pandas and polar bears.' (p. 99) 

'You want me to close the CAPE. Is that what you want? Then we can bask in ideological purity…' (p. 120)

The never-ending struggle between heart and mind is central theme in the play.

Harry Jewell

• An idealist with the knack for alluring women to fall for him.

'You don’t serve your cause by being indifferent to the interest of working people.' 

'I know his type: the kind of greenie who’s always saying no. No dams. No mines. No roads.' (p. 114)

'I am not some multinational corporation devouring the Amazon. I’m just a bloke who’s come back home.' (p. 114)

Piper Ross ‍

• Zoologist from San Diego Zoo (temporarily transferred) 
• Andy Dixon’s girlfriend 
• Gets entangled in a romp with Harry Jewell aka Mr. Evil

'They are all 'worth saving''. (p. 83)

• A vet who is extremely pragmatic in his mindset towards his work and personal life
• Slight aversion to technology
• The inevitability of technology supplanting certain occupations 
• Technological evolution? (Is it the kind of evolution we want?)

'…the great advocate for our native flora and fauna… ' (p. 118)

'You should see this dairy farm. It’s all computerised. They’ve got one bloke managing a thousand cows. No human supervision of the milking. No-one to check the udders. I’m just there, doing the rounds. Like a robot.' (p. 82)

Logic vs. Emotion (Pragmatism vs. Ideological Purity)

To divorce your emotions from affecting your decision-making capacity is a universal struggle aptly captured by Rayson’s depiction of Dixon-Brown’s gradual inclination towards the tiger quoll project funded by a coal company. In this case, we can argue that her objectivity and ‘her head’ is seemingly beguiled by the charms of Harry Jewell. 

Early in the play, Professor Dixon-Brown is anchored to her desk, filing applications and paperwork instead of ‘getting back to her own research’. This prospect changes when Harry - big coal - offers 'two million dollars on the table' to fund the tiger quoll campaign. Nonetheless, we see the two unexpected collaborators setting a dangerous precedent where one can simply equate a species’ livelihood to ‘commodities’ and ‘a good return’ of profit.

What is compelling about Harry’s character is that he combines both pragmatism and ideological purity. Firstly, Harry has the means and business acuity to manoeuvre a board of directors bent on exploring coal ‘right on the edge of the national park’. However, ‘Mr Evil’ is also inspired by nostalgia and sentimentality over a childhood memory where a tiger quoll steals his drumstick.

Conversely, Andy Dixon-Brown’s stance against the mining industry and automated dairy farms is admirable considering how technology has become a central cornerstone of modern-day life. His partner Piper Ross, a zoologist, echoes similar distaste for mining companies, however, her passion for ‘saving’ all animals eclipses her own presumptions towards ‘Mr Evil’. She is eventually persuaded to head the tiger quoll project.

Whereas, Professor Dixon-Brown enjoys the uncomplicatedness of numbers and statistics. However, her carefully crafted algorithm fails to differentiate between the diversity of animals within the ecosphere. Instead, it filters out populations of 5000 and above to collate only the ‘statistically saveable’.

In this respect, Harry’s actions showcase how a striking a balance between pragmatism and emotion is important.

Unity in a Socially Divisive World

In this play, the ‘us vs. them’ mentality pervades the minds of the protagonists. Through the heated dialogue between environmentalists, ecologists and mining moguls, Hannie Rayson delivers the message that as a society we should not be so reliant on simplifying individuals based on age-old presumptions and surface-level characteristics. Harry Jewell echoes a similar sentiment as he discusses his company’s plans to Piper: 'Who’s this ‘we’? You don’t serve your cause by being indifferent to the interests of the working people.' (p. 92)

Zooming in: Andy & Harry: Let's explore the volatile dynamic between the two males

Andy’s indignant stance against collaborating with the mining industry showcases his resilience in sticking to his moral code. One can argue that his immediate demonisation of Harry Jewell, as evidenced by the nickname ‘Mr. Evil’, is a symptom of Andy’s oversimplified thinking. It is through Andy’s inflammatory and infantile language towards the Mining CEO that Rayson articulates how the politics of conservation is in shades of grey. Conversely, Harry’s admits that he knew Andy was ‘the type of greenie who’s always saying no [from the moment he came through that door]’. In highlighting the binary oppositions of the two men working in different fields, the play acknowledges how prejudice inhibits potential collaborations.

Harry and Andy showcase how our own misconceptions about ‘the other’ detract from our own moral causes - such as in this case, saving the forest. Both men are committed to the same cause. However, Andy’s antagonistic approach towards Harry undercuts his own integrity as he willingly allows prejudice to cloud his thinking simply because it is the more convenient thing to do, as opposed to collaborating and accommodating each other’s interests.

Categorising strangers into convenient stereotypes is pure laziness.

• Andy: 'Hope he didn’t damage that cruise missile he’s got out there?' (p. 73)
• Harry: 'I know the type - knew him the moment he came through that door. He’s the kind of greenie who’s always saying no. No dams. No mines. No roads.' (p. 114)

Romanticism vs. Reality

Against the backdrop of familial arguments and budding romances, Extinction ’s Professor Dixon-Brown’s blunt dialogue about conservation reveals its politicised nature. Her heated dialogue with Piper echoes her frustration at ‘writing [Stuart Decker’s] applications so he can get ‘a sun tan’ conducting research on The Great Barrier Reef and win accolades for it'. Furthermore, she satirically exclaims that ‘[the institute] needs to defend its territory’. Her mocking of the vice-chancellor who acted like they were in a ‘White House Situation Room’ implicitly demonstrates her growing disdain towards the tenuous politics of her workplace. Essentially, Heather’s realist approach exposes what lies beneath the glossy exterior of conservation efforts.

I’ve seen quite a few videos of baby pandas circulating on my Facebook feed, most of them are part of a conservation effort or campaign. The comment section of these videos is like a medley of heart-eyes and exclamations of ‘How cute!!’ This relatively harmless sentiment is dismissed by Professor Dixon-Brown when she states that she is completely disengaged with ‘charismatic fauna’ (p. 99) push - making celebrities out of pandas and polar bears’. Our overwhelmingly positive reactions towards such campaigns is based on a societal gravitation towards the aesthetically pleasing which bleeds into the next thematic idea revolving around our fixation on appearance (surface-level).

Essentially, in the context of this play, the preferential treatment of endangered animals reflects our own biased thinking.

Vanity and Our Obsession With Appearance

The idea of vanity also pervades the sub-consciousness of both male and female protagonists. Against the backdrop of environmental conservation dilemmas, Hannie Rayson manages to entwine a secondary story strand which captures the insecurities peppering the female experience in this contemporary age. The audience learns that Heather Dixon-Brown spends $267 on hair removal every five weeks. Interestingly, her brother, ‘a screaming heterosexual’ (p. 95), likens the hair removal process to ‘getting a tree lopped’. The destructive and almost violent imagery of chopping down a tree echoes the crippling pressure for Heather to ‘sculpt’ herself into a particular ideal of femininity.

It is in this way that Rayson articulates a broader thematic idea that womanhood is still being defined in terms of attractiveness and perseveration of youth. Heather’s internalised insecurities resurface in her heated confrontation with Harry. She accuses him of ‘prefer[ing] a younger woman’ and having ‘never been with a woman with pubic hair’. Both of which Harry indignantly refutes. Through this heated dialogue, audiences gain an insight into Heather’s vulnerability as a divorcee-to-be and interestingly, we are exposed to her assertiveness as she questions 'can’t [you] stomach a woman who stands up to you?'

Her conflicting ideologies on womanhood are best exemplified through Harry who almost admonishes her for embodying ‘some nineteen-fifties idea of relationships’ where ‘sex with someone’ does not necessarily entail ‘a lifelong commitment’. This is also the central conflict faced by all the characters who engage in seemingly non-committal relationships and false expectation. It is through these failed trysts that Rayson disapproves of uninhibited sexual impulses and by extension, criticises the increasing promiscuity in contemporary times. Essentially, Rayson’s fixation on causal sexual relationships mirrors her own opinion that there has been a paradigm shift in how we govern our sexuality and bodies since the 1950s.

Conservation in a World of Destruction

You can define conservation in terms of ‘preservation of… ’, ‘sustaining…’.

In the personal domain, Piper maintains that she and Harry ‘slept in separate tents’ to her boss Professor Dixon-Brown who also doubles as her potential sister-in-law. Conversely, Professor Dixon-Brown is forced to make an ethical compromise to prevent a career besmirching orchestrated by a mass-email insinuating a sordid romance between her and her newest collaborator, Harry Jewell. Her reputation as CAPE’s director is nearly tarnished by the vengeful force of a fling’s ex-wife.

Do I preserve my moral compass or my professional reputation?

Other thematic ideas that relate to this umbrella phrase include: misuse of authority and ethics of the digital world.  

Deleting emails is tantamount to rewording/reworking history. Professor Dixon-Brown’s attempt at salvaging/restoring her pristine moral code of ‘using her head, not her heart’ is encapsulated in her desperate dash to the IT servers at 1am in the morning to delete the incriminating email detailing her illicit relationship with Harry Jewell. This, undoubtedly, compromises both of their careers as professionals. Furthermore, their intimate fling casts Dixon-brown as a seducer/a woman who is easily compromised, which is untrue. However, it is the facades that count in the play.

4. Symbolism

Euthanising the female tiger quoll.

In this case, by virtue of being female, we can assume the tiger quoll ‘with a crushed spine’ has reproductive capabilities. The injured tiger quoll was a life-giving entity. Technically, if she recovered fully, the tiger quoll could be the solution to its endangered status. 

Andy’s swift decision to euthanise the animal in great pain could be in reference to his own desire to ‘make [his life] over’. He has inadvertently projected his own fears and anxieties over his GSS diagnosis onto the critically injured creature. Essentially, in the moment of mutual pain, Andy could resonate with the tiger quoll. 

One-Night Stands/Casual Sex/Non-Committed Relationships

My theory is that the images of casual sex serve as an ironic layer to a play titled Extinction . Both Piper and Heather unwittingly develop sexual relations with Jewell on a casual basis which symbolises how intercourse is no longer purely valued as a means for continuing the species. These ‘efforts’ for reproduction are fruitless. 

1. They show how mankind is centred on pleasure and instant gratification, prioritising the self above all matters. 

2. They demonstrate how modern living expectations, consumerism and the perpetuation of gluttony have led to a plateau in human evolution.

Real-life Amanda -> Tutor comment translation:

As I was reading the text, a recurring question kept nagging at me: Why are there intimate scenes sandwiched between the layers of ideological conflict and tension?

Tutor -> real-life Amanda translation:

Oh my goodness, are these characters THAT sexually frustrated? Someone’s heart is going to get broken and then we will have to analyse that in our essays. Ughhhhhh.

5. Stage Directions

Weather transitions.

1. The opening scene showcases how vets and environmentalists alike are surprised by the first sighting of a tiger quoll in a decade. Their surprise at this unprecedented occurrence is reinforced by the ‘wet and windy’ conditions. Typically, stormy weather is symbolic of chaos and unpredictability. 

2. During a particularly heated exchange between Andy and Piper, the interjection of ‘ thunder’ intensifies rising temperament in both characters. (p. 73)

3. When Andy discovers who ‘Harry bloody Jewell’ is, his growing disbelief and rising temperament are complemented by the off-stage sound of ‘ the roar of the motorbike’. The audiological stage cue characterises Jewell as an unwanted presence of chaos and noise. As the motorbike’s roar is a sound incongruent with the natural environment encapsulating Harry.

The Meaning of Fire

In Act Two: Scene One, the secretiveness of Harry and Piper’s tryst is underlined by the ‘vast blackness’ and their figures ‘in silhouette’. Furthermore, its fragile and tenuous connection is symbolically related to how both counterparts repeatedly ‘poke[] the fire’ to ensure its longevity through the night. Perhaps, this imagery is referring to how all temptation and sexual energy need to be moderated, which complements Piper’s reluctance to continue their budding relationship.

We've offered a few different types of essay topics below. For more sample essay topics, head over to our Extinction Study Guide to practice writing essays using the analysis you've learnt in this blog!

Theme-Based ‍

The play, Extinction demonstrates that compromise is necessary in the face of conflict.

Character-Based

As a self-professed ecologist, Heather Dixon-Brown’s decision to collaborate with 'the other’ stems from self-interest. Discuss.

Quote-Based

'I use my head, not my heart.' Extinction explores how human nature reacts under pressure and vice.

How does Hannie Rayson explore the idea of emotion in the play Extinction ?

Theme-Based Prompt: Extinction is a play about personal integrity and environmental responsibility. Do you agree?

This essay prompt is an example of a theme-based prompt . It specifies both 'personal integrity' and 'environmental responsibility' as themes for you to consider. When faced with a theme prompt, I find it most helpful to brainstorm characters and author’s views that are relevant to the given themes, as well as considering more relevant themes that may not have been mentioned in the prompt itself.

• Personal integrity and environmental responsibility are central themes, but they aren’t the only themes that Extinction concerns itself with
• Environmental responsibility - political, financial, social, pretty much all characters (Piper and Harry as a focus)
• Personal integrity - truth versus lie, how we react under pressure, Dixon-Brown and her choice to delete the emails
• What is left over? Other kinds of responsibility, e.g. interpersonal relationships
• Interpersonal relationships, e.g. Piper and Andy (with a focus on Andy)

P1: Environmental responsibility

• Piper and Harry - the tiger quoll project
• Potential to talk about idealism versus pragmatism?

P2: Personal integrity

• Honesty, morality, ethics
• Dixon-Brown’s choice to delete the emails is motivated by selfishness, not by personal integrity

P3: Responsibility to act honestly and transparently in relationships Andy!

• He is both environmentally responsible and has personal integrity, but still struggles with his relationships until the very end of the play

If you find this helpful, then you might want to check out A Killer Text Guide: Extinction where we cover five A+ sample essays (written by a 50 study scorer!), with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so that you know how to reach your English goals! Let's get started.

8. Resources

Extinction by Hannie Rayson A+ Essay Topic

How To Write A Killer Text Response ( Study Guide)

How To Embed Quotes in Your Essay Like a Boss

How To Turn Text Response Essays From Average to A+

5 Tips for a Mic-Drop Worthy Essay Conclusion ‍

Updated 30/12/2020

• What Are Quotes?
• Why Use Quotes?
• What You Want To Quote
• How Much You Want To Quote
• How That Quote Will Fit into Your Essay
• There Are Also Other Ways of Using Quotation Marks
• Questions You Must Ask Yourself When Weaving Quotes into Sentences
• How To Find Good Quotes

1. What Are Quotes?

Quotations, better known by their abbreviation ‘quotes’, are a form of evidence used in VCE essays. Using quotations in essays helps to demonstrate your knowledge of the text, and provides solid evidence for your arguments. The discussion on quotations in this study guide can be applied to all three areas of study in the VCAA English course which have been explained in detail in our Ultimate Guide s to VCE Text Response , Comparative and  Language Analysis .

A quotation is the repetition of a group of words taken from a text by someone other than the original author. The punctuation mark used to indicate a repetition of another author’s work is presented through quotation marks. These quotation marks are illustrated by inverted commas, either single inverted commas (‘ ’) or double inverted commas (“ ”). There is no general rule in Australia regarding which type of inverted comma you must use for quotations. Single inverted commas are preferred in Australia as they follow the British standard. The American standard involves styling quotations with the double inverted comma. You can choose either style, just be consistent in your essays.

2. Why Use Quotes?

The usage of quotations in essays demonstrates:

• Your knowledge of the text
• Credibility of your argument
• An interesting and thoughtful essay
• The strength of your writing skills.

However, quotations must be used correctly, otherwise you risk (and these frequent mistakes will be discussed in detail later):

• Irrelevant quotations
• Overcrowding or overloading of quotations
• Broken sentences

How You Integrate a Quote into an Essay Depends on Three Factors:

• What you want to quote
• How much you want to quote
• How that quote will fit into your essay.

3. What You Want To Quote

As you discuss ideas in a paragraph, quotes should be added to develop these ideas further. A quote should add insight into your argument; therefore, it is imperative that the quote you choose relates intrinsically to your discussion. This is dependent on which aspect of the text you are discussing, for example:

• Description of theme or character
• Description of event or setting
• Description of a symbol or other literary technique

Never quote just for the sake of quoting. Quotations can be irrelevant  if a student merely adds in quotes as ‘sentence fillers’. Throwing in quotations just to make your essay appear more sophisticated will only be more damaging if the quotation does not adequately reinforce or expand on your contention. Conversely, an essay with no quotations will not achieve many marks either.

4. How Much You Want To Quote

A quotation should never tell the story for you. Quotations are a ‘support’ system, much like a back up for your ideas and arguments. Thus, you must be selective in how much you want to quote. Generally speaking, the absolute minimum is three quotes per paragraph but you should not  overload  your paragraphs either. Overcrowding your essay with too many quotations will lead to failure to develop your ideas, as well as your work appearing too convoluted for your assessor. Remember that the essay is  your  piece of work and should consist mainly of your own ideas and thoughts.

Single Word Quotations

The word ‘evaporates’, used to characterise money and happiness intends to instill the idea that happiness as a result of money is only temporary. (VCAA ‘Can Money Buy Happiness’ Language Analysis)

Single worded quotations can often leave the largest impression on the assessor. This is because you are able to demonstrate that you can focus on one word and develop an entire idea around it.

Phrase Quotations

Sunil Badami ‘still found it hard to tie my Indian appearance to my Australian feeling', showing that for Sunil, his culture was not Indian, but Australian due to his upbringing. ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia )

A phrase quotation is the most common quotation length you will use in essays.

Long Quotations

The multitudes of deaths surrounding Anna began to take its toll on her, burdening her with guilt as ‘sometimes, if I walked the main street of the village in the evening, I felt the press of their ghosts. I realised then that I had begun to step small and carry myself all hunched, keeping my arms at my sides and my elbows tucked, as if to leave room for them.’ ( Year of Wonders, Geraldine Brooks )

Long quotations comprise of more than one sentence – avoid using them as evidence. Your assessor will not mark you highly if the bulk of your paragraphs consists of long quotations. You should aim to keep your quotations to less than 2 lines on an A4 writing page. If you have a long quotation you wish to use, be selective. Choose only the important phrases or key words, and remove the remaining sentence by replacing it with an ellipsis (…).

Here is the same example again, with the student using ellipsis:

The multitudes of deaths surrounding Anna began to take its toll on her, burdening her with guilt as she felt ‘the press of their ghosts…[and] begun to step small and carry myself all hunched…as if to leave room for them.’ ( Year of Wonders, Geraldine Brooks)

In this case, we have deleted: ‘sometimes, if I walked the main street of the village in the evening’ and ‘I realised then that I had’ by using an ellipsis – a part of the quotation that is not missed because it does not represent the essence of the student’s argument. You would have noticed that a square bracket ([  ]) was used. This will be discussed in detail under  Blending Quotes.

5. How That Quote Will Fit into Your Essay

You must never take the original author’s words and use them in your essay  without  inserting them in quotation marks. Failure to do so leads to ‘plagiarism’ or cheating. Plagiarism occurs when you take someone else’s work and pass it off as your own. You must make sure that you use quotation marks whenever you use evidence from your text.

The following is plagiarism:

Even a single flicker of the eyes could be mistaken for the essential crime that contained all other crimes in itself – thought crime.  (1984, George Orwell)

Using quotation marks however, avoids plagiarism:

Even ‘a single flicker of the eyes’ could be mistaken for ‘the essential crime that contained all other crimes in itself – thought crime.’  (1984, George Orwell)

There are serious consequences for plagiarism. VCAA will penalise students for plagiarism. VCAA uses statistical analysis to compare a student’s work with their General Achievement Test (GAT), and if the cross-referencing indicates that the student is achieving unexpectedly high results with their schoolwork, the student’s school will be notified and consequential actions will be taken.

Plagiarism should not be confused with:

• ‍ Paraphrasing : to reword or rephrase the author’s words
• ‍ Summarising: to give a brief statement about the author’s main points
• ‍ Quoting : to directly copy the author’s words with an indication (via quotation marks) that it is not your original work

Blending Quotations

You should always aim to interweave quotations into your sentences in order to achieve good flow and enhanced readability of your essay. Below is a good example of blending in quotations:

John Proctor deals with his own inner conflict as he is burdened with guilt and shame of his past adulterous actions. Yet during the climatic ending of the play, Proctor honours his principles as he rejects signing a false confession. This situation where Proctor is confronted to ‘sign [himself] to lies’ is a stark epiphany, for he finally acknowledges that he does have ‘some shred of goodness.’ ( The Crucible, Arthur Miller)

There are three main methods in how you can blend quotations into an essay:

1. Adding Words

Broken sentences  are a common mistake made when students aim to integrate quotations into their sentences. Below are examples of broken sentences due to poor integration of a quotation:

‘Solitary as an oyster’. Scrooge is illustrated as a person who is isolated in his own sphere. ( A Christmas Carol, Charles Dickens)

Never write a sentence consisting of  only  a quotation. This does not add insight into your argument, nor does it achieve good flow or readability.

Scrooge, ‘solitary as an oyster’, is illustrated as a person who is isolated in his own sphere.  (A Christmas Carol, Charles Dickens)

This example is better, however the sentence is still difficult to read. In order to blend quotations into your sentences, try adding in words that will help merge the quotation and your own words together:

Described as being as ‘solitary as an oyster’, Scrooge is illustrated as a person who is isolated in his own sphere.  (A Christmas Carol, Charles Dickens)

Scrooge is depicted as a person who is ‘solitary as an oyster’, illustrating that he is isolated in his own sphere.  (A Christmas Carol, Charles Dickens)

Tip: If you remove the quotation marks, the sentence should still make sense.

2. Square Brackets ([   ])

These are used when you need to modify the original writer’s words so that the quotation will blend into your essay. This is usually done to:

Change Tense

Authors sometimes write in past  (looked) , present  (look)  or future tense  (will look) . Depending on how you approach your essay, you may choose to write with one of the three tenses. Since your tense may not always match the author’s, you will need to alter particular words.

Original sentence: ‘…puts his arm around Lewis’ shoulder’ ( Cosi, Louis Nowra)

Upon seeing Lewis upset, Roy attempts to cheer him up by ‘put[ting] his arm around Lewis’ shoulder’. ( Cosi, Louis Nowra)

Change Narrative Perspective

The author may write in a first  (I, we) , second  (you)  or third person  (he, she, they)  narrative. Since you will usually write from an outsider’s point of view, you will refer to characters in third person. Thus, it is necessary to replace first and second person pronouns with third person pronouns. Alternatively, you can replace first and second person pronouns with the character’s name.

The original sentence: ‘Only now can I recognise the scene for what it was: a confessional, a privilege that I, through selfishness and sensual addiction, failed to accept…’  (Maestro, Peter Goldsworthy)

When Keller was finally ready to share his brutal past with Paul, the latter disregarded the maestro, as he was too immersed in his own adolescent interests. However, upon reflection, Paul realises that ‘only now can [he] recognise the scene for what it was: a confessional, a privilege that [he], through selfishness and sensual addiction, failed to accept’.  (Maestro, Peter Goldsworthy)

Insert Missing Words

Sometimes, it may be necessary to insert your own words in square brackets so that the quotation will be coherent when incorporated into your sentences.

The original sentence: ‘His heels glow.’ ( Ransom, David Malouf)

Achilles, like Priam, feels a sense of refreshment as highlighted by ‘his heels [which] glow.’ ( Ransom, David Malouf)

It is important to maintain proper grammar while weaving in quotations. The question is: does the punctuation go inside or outside the final quotation mark?

The rule is: If the quoted words end with a full stop (or comma), then the full stop goes inside the quotation marks. If the quoted words do not end with a full stop, then the full stop goes outside the quotation marks.

Original sentence: 'Sagitty’s old place plus another hundred acres that went from the head waters of Darkey Creek all the way down to the river.’ ( The Secret River, Kate Grenville)

Punctuation inside:

During the past decade, Thornhill became the wealthiest man in the area, owning ‘Sagitty’s old place plus another hundred acres that went from the head waters of Darkey Creek all the way down to the river.’ ( The Secret River, Kate Grenville)

Punctuation outside:

During the past decade, Thornhill became the wealthiest man in the area, owning ‘Sagitty’s old place plus another hundred acres’. ( The Secret River, Kate Grenville)

6. There Are Also Other Ways of Using Quotation Marks

Title of text.

When including the title of the text in an essay, use single quotation marks.

Directed by Elia Kazan, ‘On The Waterfront’ unveils the widespread corruption among longshoremen working at New Jersey docks. ( On The Waterfront, Elia Kazan)

Alternatively, you can underline the title of the text instead of using single quotation marks. Many teachers and examiners prefer this option.

Quotation Within a Quotation

When you quote the author who is quoting someone else, then you will need to switch between single and double quotation marks. You firstly need to enclose the author’s words in single quotation marks, and then enclose the words they quote in double quotation marks. If you're following the American standard, you'll need to do this the opposite way - that is, using double quotation marks for the author's words and and then single quotation marks for the quote. We recommend sticking to the preferred Australian style though, which is single and then double.

Original sentence: ‘…something bitter and stringy, too difficult to swallow. “It’s just that – I – um, I hate it…It’s too – it’s too Indian!”’ ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia)

Sunil’s unusual name leads him to believe that it is ‘…something bitter and stringy, too difficult to swallow. “It’s just that – I – um, I hate it…It’s too – it’s too Indian!”’ ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia)

As you can see, the student has quoted the author’s words in single quotation marks. The dialogue used by the author is surrounded by double quotation marks. This demonstrates that the dialogue used in the text still belongs to the author.

Using Quotations to Express Irony

When you wish to express irony, you use quotation marks to illustrate that the implied meaning of the actual word or phrase is different to the normal meaning.

As a young girl, Elaine is a victim of Mrs Smeath and her so called ‘friends’. Her father’s interest in insects and her mother’s lack of housework presents Elaine as an easy bullying target for other girls her age who are fit to fulfill Toronto’s social norms. ( Cat’s Eye,  Margaret Atwood)

In this case, ‘friends’ is written in inverted commas to indicate that Elaine’s peers are not truly her friends but are in fact, bullies.

7. Questions You Must Ask Yourself When Weaving Quotes into Sentences

1.  Does the quote blend into my sentence?

2.  Does my sentence still make sense?

3.  Is it too convoluted for my readers to understand?

4.  Did I use the correct grammar?

8. How To Find Good Quotes

Tip One: Do not go onto Google and type in 'Good quotes for X text', because this is not going to work. These type of quotes are generally the most famous and the most popular quotes because, yes they are good quotes, but does that necessarily mean that it's going to be a good quote in your essay? Probably not. But why? Well, it's because these quotes are the most likely to be overused by students - absolutely every single person who has studied this text before you, and probably every single person who will study this text after you. You want to be unique and original. So, how are you going to find those 'good quotes'? Recognise which quotes are constantly being used and blacklist them. Quotes are constantly used in study guides are generally the ones that will be overused by students. Once you eliminate these quotes, you can then go on to find potentially more subtle quotes that are just as good as the more popular or famous ones. Tip Two: Re-read the book. There is nothing wrong with you going ahead and finding your own quotes. You don't need to find quotes that already exist online or in study guides. Go and find whatever gels with you and whatever you feel like has a lot of meaning to it. I had a friend back in high school who was studying a book by Charles Dickens. I haven't read the book myself, but there was a character who couldn't pronounce the letter S, or he had a lisp of some sort. What my friend did was he found this one word where, throughout the entire book, the guy with the lisp only ever said the S one time and that was a massive thing. So, he used that. This is something that is really unique and original. So, go ahead and try to find your own quotes. Tip Three: Realise that good quotes do not necessarily have to come from the main character. Yes, the main character does often have good quotes associated with whatever they're saying, but just know that you do have minor characters who can say something really relevant and have a really good point too. Their quote is going to be just as strong in your essay as a main character's quote, which will probably be overused and overdone by so many other students. Tip Four: Develop a new interpretation of a famous or popular quote. Most of the time, the really popular quotes are analysed in very much the same way. But if you can offer a new insight into why it's being said or offer a different interpretation, then this is automatically going to create a really good quote that's going to offer a refreshing point of view. For example, if we look at The Great Gatsby , one of the most famous quotes that is constantly being used is, 'He found what a grotesque thing a rose is and how raw the sunlight was upon the scarcely created grass.' What most people will do is they will analyse the part about the 'grotesque thing a rose', because that's the most significant part of the quote that stands out. But what you could do instead, is focus on a section of that quote, for example the 'raw'. Why is the word raw being used? How does the word raw contribute extra meaning to this particular quote? This way you're honing in on a particular section of the quote and really trying to offer something new. This automatically allows you to investigate the quote in a new light. Tip Five: Just remember that the best quotes do not have to be one sentence long. Some of the best quotes tend to be really short phrases or even just one particular word. Teachers actually love it when you can get rid of the excess words that are unnecessary in the sentence, and just hone in on a particular phrase or a particular word to offer an analysis. And also, that way, when you spend so much time analysing and offering insight into such a short phrase or one sentence, it shows how knowledgeable you are about the text and that you don't need to rely on lots and lots of evidence in order to prove your point. Those are my five quick tips on how to find good quotes from your texts!

Need more help with quotes? Learn about 5 Ways You're Using Quotes Wrong .

Resources for texts mentioned/referenced in this blog post:

Comparing: Stasiland and 1984 Study Guide

A Killer Text Guide: Cosi (ebook)

Cosi By Louis Nowra Study Guide

Cosi Study Guide

Growing Up Asian in Australia Study Guide

A Killer Text Guide: On the Waterfront (ebook)

A Killer Text Guide: Ransom (ebook)

Ransom Study Guide

The Crucible by Arthur Miller Study Guide

A Killer Text Guide: The Crucible (ebook)

‍ The Crucible and Year of Wonders Prompts

Comparing: The Crucible and Year of Wonders Study Guide

The Great Gatsby Study Guide

‍ A Killer Text Guide: The Secret River (ebook)

The Secret River by Kate Grenville Study Guide

The idea of VCE English assessments can sometimes be a bit daunting. Always so much you want to write, never as much time as you need and they always seem to come around sooner than you think. But there is never as much cause for alarm as you think and I’m willing to guarantee that almost everyone reading this is so much better than they think at English . 

You’ve already come so far from where you started in your high school English journey. I’d like to challenge anyone reading this to go and find the earliest English essay you’ve got tucked away somewhere. I’ve done this myself and, if yours is anything like mine, you’ll be almost disgusted by what you find. Year-7-me just loved to retell the story, cling to my rigid TEEL formulas and leave my quotes just dangling, write the same basic paragraph three times and call it a complete essay. Not a pretty read and I’m sure a couple of you can relate. But, this exercise does at least prove a very valuable point: you are capable of improving at English .

So let’s start thinking about that essay you’ve got coming up again. You’ve just given yourself a nice confidence booster with that walk down memory lane, reminding yourself that you are a more-than-capable English student these days. But all you now want to do is your very best for this next essay. But how do you keep improving between now and then? After all, if you knew what you had to do to improve your English, you’d already be doing it, right? So what we’re going to do now is to have a look at what taking your essays to that next level really looks like; how you can improve your writing between now and then, whenever that might be. 

So to do this, we’re going to take an already good paragraph and improve it together. Take this one, one that I conveniently prepared earlier to a Station Eleven prompt that has to do with the theme of memory/history.

Part 1: The Good Paragraph

Q: Mandel shows the importance of remembering the past. To what extent is this true?

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating such an enduring legacy for a character who believes in the power of such legacies - 'they’re all immortal to me' - Mandel implies that characters like this are able to achieve meaning and fulfilment by preserving these legacies. Mandel also uses the character of Miranda to highlight the importance of legacies to provide meaning where Miranda lacks it in her day-to-day life. Even though Miranda’s life is left incomplete by her sudden death, the beauty in the scene of her death suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters: 'its extravagant sunsets and its indigo sea'. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the value of creating legacies that allow others to remember the past.

Let’s call this our good paragraph. I’ve modelled this off of an essay I found from my Year 10 self, as happy as Year-10-me would have been with this performance, it’s far from perfect. But, it is a very functional paragraph that does all that a paragraph really needs to do. It introduces an idea, justifies it with evidence, links back at the end and doesn’t waste too much time retelling the story. So now we get to the fun bit: we’re going to take this already good paragraph, and turn it into a better paragraph.

So how do we make a good paragraph better ? 

Well, for a start, we can integrate our quotes so that the paragraph reads better . You’ll see in just a second how much of a difference this can make. This is something I learnt to do between Years 10 and 11. Other improvements that could be made include answering the prompt more directly and using some of the language of the prompt within our answers. So let’s change this and see now what these small differences do to our paragraph.

Part 2: The Better Paragraph

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies that allow others to remember the individuals who came before. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating this symbolic memorial for a character who believes that such legacies can allow individuals such as actors to become 'immortal', Mandel implies that characters like this are able to achieve meaning and fulfilment through their legacies. Furthermore, Mandel also uses the character of Miranda to highlight the importance of creating a legacy through one’s art to provide meaning where Miranda lacks it in her day-to-day life. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the importance of creating legacies that allow others to remember the past.

There we have it. The paragraph has been rewritten based on the ones I wrote in Year 11 and we have the first signs of improvement. The topic sentence now references the ‘remembering the past’ aspect of the prompt. The linking sentence now uses the ‘importance’ part of the prompt. All of the same quotes are used but are now integrated (check out How To Embed Quotes in Your Essay Like a Boss if you need more help with this). 

We’ve made sure not to have more than one sentence starting with Mandel (a small nitpick but still a nice addition). It flows better. It answers the prompt more directly and suddenly we have a better paragraph . Year-11-me has shown improvement and with this comes better scores and more confidence: something that’s very important for success in English. If you’re confident and proud of what you’re writing, then you’ll have higher marks and, even better, more fun!

We haven’t changed much and the paragraph is already better . But it’s not my best paragraph. Between Years 11 and 12, I learnt even more things. I was taught to write about not only the world of the text but also the world around us that we and Mandel live in: you’ll notice that this better paragraph talks more about ‘characters’ that live ‘in the text’ whereas my best paragraph would talk more about the text in the context of the world you and I live in . I learnt to make my topic sentences more abstract and broad so that they relate more to our own world and less to the world of the text and remind whoever’s assessing that my ideas apply to everyone and not just within the texts. I learnt to respond more directly to different types of prompts (Discuss, To what extent is this true?, How does Mandel… and others) and I learnt to be more direct in discussing the views and values of Mandel (what she likes, what she doesn’t like, what she wants to see more of in the world)

So let’s apply some final changes, and see what our paragraph looks after two more years of refining English. This final paragraph is almost exactly the same as one I wrote in timed conditions before my final exam.

The Final Part: The Best Paragraph

A: Mandel explores the importance of legacies, not only as sources of meaning for their creators, but also for their roles in allowing others to remember the roles of those who came before. Such an idea is explored through the naming of Jeevan’s son, securing the legacy of Frank. By affording such a permeating influence to an individual who writes of and appreciates the 'immortal[ity]' of long-dead actors, Mandel implies that an appreciation of the inherent value in a legacy and its ability to influence future events is a key quality in individuals. Furthermore, Mandel uses the character of Miranda to highlight the importance of creating a legacy that outlives oneself to provide meaning. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, Mandel suggests that the meaning in Miranda’s life comes from the legacy that is the art she makes in her 'independent' life that continues to influence events and allow others to remember the past long after her death. Mandel provides contrast through her exploration of Arthur, whose legacy does not influence any events in the post-flu world because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, reinforcing Mandel’s view that individuals who forfeit control of their own legacies, as Arthur does, lead far less completed and fulfilled lives. Therefore, Mandel highlights the immense importance of creating legacies that allow others to remember the past and encourages greater appreciation of the value of legacies in contemporary society.

So, two years later, and we’ve got what is still essentially the same paragraph, just brushed up to an even better, or best , standard. So if we’re using the same evidence, exploring the same characters and introducing the same ideas, why is this paragraph better than the last two?  

Well, if you study the topic and linking sentences, they discuss the concept of a legacy being a means of allowing others to remember the past and the importance of such a thing and everything in-between links this concept to the text. ' Mandel highlights the immense importance' represents a subtle but nice nod to the wording of the prompt by giving an ‘extent’ to which Mandel ‘shows’ or highlights. Every piece of evidence is discussed in reference to what Mandel believes about the world around us and how individuals should act in modern society. 

And there’s something very nice that we can now reflect on. This paragraph has gone from good to much better without having to introduce any new ideas. There are no overly complex interpretations of the text, we’ve just taken the same skeleton of a paragraph and made it look better without changing its real substance. 

And one of the wonderful things about making efforts to improve the quality of your writing is all the confidence that comes with this, whether this be from getting better at discussing views and values , learning to integrate your quotes or any achievement like this. I know that my confidence surged as my English got better and, as I got more confidence in my writing, I got more confidence in what I wrote about. My interpretations of the text became more and more obscure and a bit whacky at times and I had fun writing about these things. If you improve your writing, you’ll improve what you’re writing about which will mean you’ll have more fun writing and the cycle of improvement will just continue.  

So to cap off, I thought it might be nice to have a checklist of sorts that you might be able to put against your own writing.

What’s the next step I could take in improving my English?

• Are all my quotes properly integrated ? (Hint: if the sentence doesn’t make sense without quotation marks, the answer is no)
• Have I got more than a couple of sentences starting the same way or could I vary my sentence structure a bit more?
• Have I explicitly used some parts of the prompt in my own writing so that I can directly answer the question in my essays?
• Am I writing about both the world of the text and the world we live in outside of the text instead of just the characters and relationships within the text?
• Are my topic and linking sentences describing a concept that relates to the prompt with everything in-between relating this concept to the text? (I found this a very useful way of thinking of paragraphs)
• Is all of my evidence being discussed in relation to the views of the author ?
• Does my essay/paragraph explain what the author would like to see more of/less of in modern society based on what is explored in the text?
• Is my essay/paragraph specific to the exact wording and type of prompt?

And these are just some of the improvements that could be made. I’m sure each of you could ask teachers and past students and find many, many more tips on improvement. Just as long as you’re thinking about what the next step in your English might be, then you’re already headed in the right direction. So good luck and happy writing!

‍ Hey guys. So previously I've done a video where I talked about how to write a thousand word, a thousand, a thousand-worded essay, and one hour. And so that segues into this particular video where I'm talking about writing three essays in three hours. So if you haven't watched that video, then I'll pop it up in the comment. I'll pop it up in the card up above. I would recommend you go watch that first before you watch this, because pretty much all of the concepts that I talk about in that video, uh, I just expected details that you should know for this video. So instead of actually breaking down the essays as I did in the previous video, what I'm going to do this time is talk more so about, you know, how to actually write three essays in three hours and just not get burnt out and not die, basically. ‍ Yeah, it's that serious. So I've got a few tips for you guys, but I'll keep this short. First thing is that yes, you do want to practice at least one time writing three essays in three hours. And the reason why I say that is because inevitably there will come times where one essay will kind of overlap into another hour. And you just want to ensure that you can know how to handle those situations when we're practicing in one hour blocks. I think it's fantastic to make sure that we can do that, but then kind of like three hours and three essays is another ballgame altogether. So I would recommend at least practicing once sitting down somewhere and just smashing out the three hours worth of work, just so that you know exactly what it's going to feel like when you go into the exam. Now, most schools will actually offer a, like a mock exam for you to do so that literally could be your one practice that you just need. But if you were like me, you might want to do it twice. So in your own time, kind of print off your own exam paper and go ahead and just set aside three hours and just do it that way. The second thing is I heavily emphasized doing reading time. So reading time is pretty much your mental thinking game going strong. And this is where a lot of your pre-work will be done before we actually go into the essays themselves. So make sure you practice reading time. It's 15 minutes before the actual exam, but in that 15 minutes, you can plan three of your essays and you can look up in your dictionary, any key words that you might want to define, or you could even look up the dictionary and try to find synonyms for particular keywords. So what I mean by that is when you open up a dictionary and you look up that word inside the dictionary, often the definition for it will have synonyms for it. So that's like my little hack that I had when I was at school. And then the last thing I would say is just make sure you know what to do if you go over time. So, like I mentioned before, there may be situations where, you know, worst case scenario, you don't finish your essay in time. And that could be because of many reasons. But first thing for you to remember is if you're running over time, sacrifice your conclusion first, do not sacrifice your third body paragraph. I think mostly what happens is students will kind of be somewhere in the third body paragraph for that essay, but rather than skipping that and just do it a little bit of a mess to finish it up and then going into the conclusion, finish off your third body paragraph. And then just forget about the conclusion. The reason why I say that is because a conclusion is basically just the summary of what your entire essay is about. It's not really supposed to be, to add in any new information where as your third body paragraph. You're still explaining your ideas. You're still elaborating and discussing the prompt itself. So that is way more important to get you the marks that you need than a conclusion. The next thing I would do if you're running behind is save a proofreading until very last. So in the last video I talked about doing proofreading last five minutes of every essay. But if you do not have time for that later, leave all your proofreading until the very end and, and you might find that you only have five minutes, it's true proofread all of your essays, but at least you kind of have that reassurance was that you made yourself more time to write beforehand. And so if you literally find yourself writing right up until the last minute and you can't perforate fine sacrifice that too. ‍ Now last thing is, let's just say that you have sacrificed your conclusion and you're still writing your third body paragraph right up until the very last minute. You still have at least half a paragraph to go, but you know, the first hour is over and you need to move onto your second essay. I feel like you can either approach this two ways. The first way is just finish it off, but then move on to the next one as quick as possible. And obviously your hope there is that you will finish the second essay in time within that hour. So that by the time you get to your thing, essay, you are on track again. Right? But in the other alternative that you could do, and probably one that I via towards a little bit more is just stop your third paragraph. Okay? You still have maybe five more sentences you still want to write, but just move onto your next one. I think that's kind of important because what happens is once we start running into the next hour, you will find that with your first essay, you'll run maybe five minutes into your second hour, but then you might find that you run 10 minutes into the third hour with your second essay leaving only 15 minutes to finish your third essay. And that might not be like what you want. And you might know that you just won't be able to achieve that because the third essay is maybe the hardest one that you left to last. And that's the one that usually takes you the longest. So yeah, like these are just thoughts and considerations for you guys to take away with whatever you guys do. I think just be strategic. Think about these things beforehand, because they are things that could trip you up when you are in the exam, you're stressed, you're anxious, you're under time pressure and you just need to get things done. It might kind of make you do like bad decisions or you might do something out of the ordinary that you normally wouldn't do. But if you think about these things beforehand and think about, okay, this is what I'm going to do. If this situation occurs, then at least you kind of have some control over what's happening. And that gives you a little bit of reassurance. That is it from me. I wanted to let you guys know that because we are approaching the end of year. And I know that you guys might not need English help from me very shortly, especially when you're in year 12. I wanted to let you guys know that I do have a personal YouTube channel as well. So that's just linked up above for you. And also in the description box below. If you're interested in following me there, then go ahead and subscribe. I would really love to see you guys there and just be able to still have the connection with you guys. You know, it'd be nice to not only just have you guys on board with me for a year, and then you guys kind of disappear and do your own thing, I'd still really love to stay in contact and be able to hear how you guys are going to once you finish school. So I will see you guys next time. Bye!

The most overlooked aspect of English is probably the actual reading of your English novel. Shockingly, there are some students who believe that they can still do well in English without reading their texts – but that’s a topic for another blog post. Since VCE is about strategy, you should think about how you can maximise your learning while minimising the time spent reading. Some students only read their text once, while others read up to 5 or 6 times! For some one reading may be sufficient but in most circumstances it is definitely not enough. Conversely, reading more than 5 times might be a bit excessive. After asking ex-VCE students who have excelled in English, the overall consensus is that you should read your text 3 times before the English exam. Here’s why:

Reading 1  : The first reading should be done in the holidays prior to your school year. Yes, it is during the holidays but you will be thankful you started early when you’re in the middle of numerous SACs, assignments and homework during the year. You should take your time with the first reading in order to let the information soak in. Focus on exposing yourself to the characters and themes. Since many essay topics are based on characters or themes, this will help you foresee the types of prompts you’ll be asked. If it is a more difficult text to understand (such as Shakespeare), rather than pushing through your reading and trying to understand the plot, have a look at study guides first in order to gain a better understanding from the outset.

Reading 2  : This should be done while you are studying your text at school. Using the new information taught in class (such as character, theme, context and metalanguage analysis), a second reading will help you build on the knowledge from your first reading. During the reading, you should start to take note of key passages and draw out important quotes. This will set you up for the SAC and mean that you have read your text twice before your SAC.

Reading 3  : Your third and final reading is to be completed before your English exam. An ideal time is the term 3 holidays. Since it may have been a while since you studied the text, the third reading is crucial for knowledge consolidation. You should watch out for things that you missed during first two readings – usually small pieces of information that are unique and when used in essays, will separate you from other students. These include: not-so-popular quotes, passages that haven’t been discussed in class, fleeting descriptions of characters etc. Remember that the best essays involve interesting and original discussion of the text.

Summary 

Reading 1  : Initial exposure to the text and an idea of what prompts may be asked in SACs and the English exam.

Reading 2  : Essential for identifying key details for SAC preparation.

Reading 3  : Vital for consolidation prior to the English exam and finding information that will distinguish yourself from other students.

So with this in mind, figure out how you will approach your readings throughout the year, and most importantly – get started early!

Let’s briefly discuss the background of the article before we dive into the analysis…

• So, the background information tells us that “Biodiversity is the term used to describe life on Earth — the variety of living things, the places they inhibit and the interactions between them.”
• The article at hand is a transcript of a speech given by Professor Chris Lee at the International Biodiversity Conference 2010.
• The purpose of this conference is to review the progress made towards achieving the target and to look beyond 2010.

Now, let’s analyse the opening of the speech. Take a second to read through Lee’s speech opener...

Firstly, we can analyse the way in which Lee addresses his audience. Rather than using a phrase like "Hi everyone" or a similar greeting, he actually refers to his audience as his "fellow delegates" which allows him to speak in a particularly candid and honest manner. He wants to be transparent about the reality of the situation with his peers, rather than trying to impress an audience or something similar.

Overall, this anecdote appeals to the emotions of the audience and plays on an apparent devotion/commitment presumably made to the environment by the delegates of a Biodiversity conference. Lee uniquely seeks to persuade his audience by using the information he knows about them – their past commitments.

More specifically, we can dive into the pejorative mood of the adjectives he uses to describe the second scene, which is one of destruction, especially compare to the images he presents first. The "lush jungle" with a variety of "interesting flora and fauna" on the banks of a "clear river" appears particularly idyllic in juxtaposition with the images of the "scorched earth", "gooey mudslide", "sepia tinge" and "barren sticks hopelessly groping for life."

In the last sentence, the repetition of the word "gone" reminds Lee's "fellow delegates" of what will be lost if action on biodiversity is not taken.

Now, we know that in any given Language Analysis article, there are so many things to analyse, which I’ve demonstrated with all of the things we managed to focus on in that single paragraph.

Often, students will be able to identify lots of techniques and as such, lots of elements to analyse, but they struggle to choose between these techniques when it comes to writing their responses.

I’d highly recommend that you download a free sample of my eBook, How To Write A Killer Language Analysis which talks about techniques you can use to pick what to write about in your essays. We won’t have enough time to talk about those techniques today, so we’ve written them down for you in the eBook.

Now that we’ve looked at how Lee has started his speech, let’s skip forward to a later section of the article. Take a second to read through the section.

One of the first things that may jump out at you is this repetition of inclusive language; "we are", "we have". However, this is way too obvious! For an upper level response, we want to steer clear of the cliche techniques and analyse ones that have more value and show off our own perspective of the article.

Utilising the statements, "everyone in the lecture theatre knows this" and "clearly, it is our lack of unity", Lee includes the audience and holds all of the delegates accountable through declaring the reasons for failure as simple matters of fact.

Here, Lee trivializes the actions of the organisation in creating "glossy brochures" with "wonderful words" as marketing tools to create the impression that meaningful action is being taken. Lee exposes such actions as deceitful and calls for "real action", seeking to persuade his audience into putting their effort into actual gains in the biodiversity fight.

Want to know more? I'd highly recommend checking out LSG's FREE Ultimate Guide to VCE Language Analysis for more great tips, resources and advice.

And that’s it! I hope this has been helpful in showing how to analyse a speech as a Language Analysis prompt.

Be sure to check out the free sample of my eBook below for more!

This blog was updated on 23/10/2020.

3. Symbolism

4. Important Quotes (Parts 1-4)

5. Sample Essay Topics

6. Essay Topic Breakdown

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

On the Waterfront is a part drama, part gangster film that’s authentic and powerful in its approach. Set on New York’s oppressive waterfront docks, longshoremen are forced to play a game where the odds are always stacked against them. The film approaches concepts such as trade unionism, corruption, and racketeering, and is a story that stitches together other stories. As discussed later , Kazan used Terry Malloy as a representation for his own real-life struggles against the powers above. The film is also a depiction of the hardships of life on the docks in 1940s America.

Inspired by real-life incidents, Kazan has created a world where workers live under the iron fist of corrupt trade union bosses. Let’s take a deeper dive into what this world looks like and the events that form the basis of the film.

Power Corruption

Johnny Friendly’s maintenance of power involves controlling several aspects on the waterfront – from the operations to the stevedores. Firstly, threats are repeatedly made against all the longshoremen in an effort to ensure that if anyone dares to act out against Friendly, they are sure to meet dire consequences. Their fear is reinforced through the various murders committed by the gang, most of which are the deaths another longshoremen, thus warning the workers that any one of them may be next. Although Friendly is clearly behind the homicides, the longshoremen and their families are unwilling to speak to the authorities, as they know full well that they would be risking their lives. This demonstrates their lack of protection and vulnerability in the hands of the union leader, which is exactly what he has aimed to establish.

Faith is a strong underlying theme set forth by Father Barry and the church. The priest’s constant remainder of what is right and wrong urges the men to step outside Friendy’s grasp and begin to think about themselves. When Father Barry conducts the congregation, the interruption caused by the mob falters the longshoremen’s hopes, since Friendly’s power can even reach as far as a church, where people are supposed to be ‘safe’. To do what is morally correct is a simple concept but one that is difficult for the longshoremen to embrace. It is only when they begin to have faith in their actions that things begin to change on the waterfront.

The film poses the question, what is true loyalty? Friendly pretends to be looking after the longshoremen by sending out loans and offering them better work positions, for example, Terry on the loft. However, in reality Friendly uses this action to manipulate the men to his advantage. It is a tactic to ensure that the longshoremen believe that they in return, have to support Friendly. An additional tactic of Friendly’s manipulation is shown though the infiltration of the longshoremen’s minds. The words ‘rat’ and ‘stool’ prevent the men from speaking out since they believe that they will betray one another. Terry believes that he will ‘rat’ on his friends when in fact, he is simply telling the truth. He ultimately learns that instead of abiding by Friendly, he needs to be loyal to himself, and this eventually saves himself and the other longshoremen from the clutches of the union leader. The name ‘Friendly’ is ironic since he is hardly a ‘friend’ but a ‘nemesis’ of all those who reside on the waterfront.

Ambivalence

Throughout Terry’s personal journey, it is clear that he is uncertain about his feelings and thoughts in regards to various aspects of his life, from his low-ranking position as a stevedore, Joey’s death and Friendly’s involvement, the longshoremen’s lack of rights, to Edie’s unique perspective. His initial ambivalence after Joey’s death is highlighted through the thick mist that covers the city and consequently obscures the people’s vision. At the end of the film when he is finally resolute on overthrowing Friendly, the omnipresent fog that sweeps over Hoboken suddenly disappears, reflecting that his mind has now ‘cleared up’ or that he has an ‘unclouded vision’. His behaviour shifts from an introverted person who appears uncomfortable in his own skin as he refuses to look people eye-to-eye and constantly chews gum, to someone who possesses a confident stance, standing tall and proud.

On the Waterfront  emphasises that it is never too late to redeem oneself. The religious imagery of Joey, Dugan and Charley ascending to heaven demonstrate that although they had spent much of their life turning a blind eye to the indiscretions of Friendly and his men, their actions at the very end of their lifespan allowed them to compensate for their sins. ‍

Bird symbolism is heavily embedded throughout  On the Waterfront . The longshoremen represent pigeons, as they are docile and delicate in the hands of Friendly, who is portrayed as the ‘hawk’ who swoops above at them, keeping his watchful eyes on each and every pigeon in case they misbehave. Kazan often films Terry positioned behind Joey’s Coop fence, therefore characterising Terry as a pigeon stuck in a cage, as if bound by Friendly into a small world that he cannot escape. When the longshoremen await work on the docks, the recurrent high-angle shots peer down at them, depicting them as a flock of birds, rummaging around. Much like pigeons, they compete with one another when ‘pecking’ at the tabs that Big Mac throws at them, as if the tabs are like ‘seeds’.

Instead of being ‘D and D’, those who ‘sing’ or in other words, speak out against Friendly are labeled ‘canaries’, since these birds are most notably recognised for their singing behaviour. Canaries were once used as a barometer for air quality down in mines. If there were toxic gases in the mines, this would subsequently lead to the canary’s death as this type of bird is extremely sensitive to air borne pollutants. Thus, this would be an indication for miners of whether or not it was safe to work in the pit. The bird’s self-sacrifice parallels that of Joey and Dugan, who tried their best to help out the other longshoremen, yet both met their deaths after ‘singing’ out against Johnny Friendly.

Originally named The Hook but eventually changed to  On the Waterfront , the sharp tool is an important representative of Friendly’s power over the men. All the longshoremen carry silver hooks on their shoulders as part of their work on the docks, but from another view, it is as though Friendly has ‘hooked’ onto the men – and thus, they cannot escape the union leader. Like many other words used in the film, it is a pun, as ‘hook’ is also a term used in boxing, meaning a short swinging punch with the elbow bent.

Hudson River and New York City

The river is always subtly lurking in the background of several scenes throughout the film. It acts as a metaphorical barrier that prevents the men from escaping Friendly’s grasp as they appear to be ‘trapped’ on the Hoboken docks. The ever-present fog is a veil that manages to conceal Manhattan on the other side of the river. Since the city’s silhouette barely peeps through, it portrays a sense of mystery and unknown to the stevedores who can seemingly never leave Hoboken. At the end of the film however, when Friendly no longer exerts any control over the men, the shot of the Hudson River and the city on the other side is crystal clear. The outlines of the skyscrapers, which were once unidentifiable, are now easy to recognise, demonstrating that the men are free, as their vision is no longer clouded by Friendly.

Gloves have significant meaning in two key scenes in  On the Waterfront . Most notably, Edie’s white glove symbolises a ‘good’ world, a place that is peaceful and pure. It reflects Edie’s personality as she conducts herself virtuously and with amiability. When Terry wears one of her gloves, it demonstrates that he is ‘trying on’ her perspective of life, where ‘everybody [should] care about everybody else’. On the other hand, when Charley and Terry share an intimate conversation in the taxi, Charley’s black gloves represent Friendly’s ‘evil’ world. Charley begins to feel uncomfortable in his clothing and removes a glove when he confronts the truth about being solely responsible for coercing Terry into forfeiting his career and subsequently becoming just another longshoremen. His removal of the glove depicts the notion that Charley will no longer be manipulated and controlled by Friendly, and is essentially, taking a step out of Friendly’s oppressive world.

Windbreaker

On the surface, the windbreaker is simply a jacket that is passed amongst the longshoremen, in particular, from Joey to Dugan to Terry. The sharing of the jacket represents camaraderie and brotherhood, since the men have little money to spend on buying warm clothes and as a result, most of their clothing has been worn through. This is a stark comparison with the mob, who are proud owners of long thick coats with scarves, hats and gloves to protect them from the Hoboken bitter cold weather. Symbolically, the jacket motivates the three men stand up to Friendly. Firstly, Joey talks to the Crime Commission yet before he is able to do any damage to the mob, he is found dead. As a result, his jacket is passed to Dugan, who later on musters the courage to continue in Joey’s shoes and reveal thirty-nine pages worth of notes about Friendly’s operations to the Crime Commission. Unfortunately, Friendly manages to successfully silence Dugan. The windbreaker is ultimately passed to Terry who testifies in court and defeats Friendly once and for all. The jacket demonstrates that even with murder, the truth cannot be silenced.

Important Quotes

Joey's death (part 1).

"Maybe he could sing but he couldn’t fly."

"I kept telling him, "Don’t say nothing. Keep quiet, you’ll live longer.""

‘I’ve been on the docks all my life boy, and there’s one thing I learned. You don’t ask no questions, you don’t answer no questions unless you want to wind up like that."

"Did you ever hear of a saint hiding in a church?"

"We got the fattest piers in the fattest harbour in the world."

Joey’s Coop (Part 2)

"They sure got it made. Eating, sleeping, flying around like crazy, raising gobs of squabs."

"Be careful. Don’t spill no water on the floor. I don’t want them to catch a cold."

"Johnny Friendly the “great labour worker.""

"Why don’t you keep that big mouth of yours shut."

"I’m poorer now than when I started."

Terry and Edie (Part 3)

"Your brother was a saint, the only one who ever tried to get me compensation."

"You don’t buy me. You’re still a bum."

"Who’s calling me a bum?"

"Don’t pay no attention to him. He’s drunk, he’s falling down. Everything. He’s just a juicehead that hands around the neighbourhood. Don’t pay no attention."

"It isn’t just brains. It’s how you use them."

Terry’s Confession (Part 4)

"Favour, who am I kidding? It’s “do it or else.”’

"It’s like carrying a monkey on my back."

"Question of “who rides who.”’

"If I spill, my life ain’t worth a nickel."

"And how much is your soul worth if you don’t?"

1. Edie is depicted as an angel that saves Terry. To what extent do you agree?

2.  On the Waterfront  portrays a world where people are only successful through money and violence.

3. We are able to understand the moral struggles of the characters through the cinematic devices used in  On the Waterfront .

4.  On the Waterfront  demonstrates that silence cannot be achieved through murder.

5. The actions of only a few individuals can result in a revolution. Discuss.

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our On the Waterfront Study Guide to practice writing essays using the analysis you've learnt in this blog!

Theme-Based Essay Prompt: On the Waterfront shows that power and money can destroy a man’s soul.

Step 1: analyse .

This essay prompt is an example of a theme-based prompt . It specifies ‘power’, ‘money’, and ‘soul’ as ideas for you to consider. When faced with a theme prompt, I find it most helpful to brainstorm characters and author’s views that are relevant to the given themes, as well as considering more relevant themes that may not have been mentioned in the prompt itself.

Here are some of my thoughts scribbled down:

• We cannot discuss power without also touching on redemption, as those that subscribe to power corruption are morally defeated, whereas the characters that reject power and money are somewhat martyred. Faith is also important: what happens to those who place faith in money and power versus those with religious faith? 
• The prompt is asking us to show (and essentially prove) the point that power and money are destructive. 
• How are power and money intertwined? 
• Souls are ambiguous and intangible, although in this film it can be interpreted as the character’s moral code and how the film validates those morals. 
• A soul destroyed is one that has been chipped away, whittled down and eventually broken to pieces. Power doesn’t wear a soul down in an instant, it’s progressive. 

Power & money 

• In capitalism, money is a tangible representation of power. Money talks. Having lots of it seemingly makes you powerful over those that don’t. 
• Friendly controls the docks because he has the money (and the power) to do so. 
• Chasing money (for survival, status or ego) can lead a man to do unethical and problematic things.

Those that chase power & money 

• Charley, Friendly and the rest of the mobsters. They’re faithless.  
• Terry to a certain point. His loyalty is “bought” and “owned”.  
• Charley follows Friendly wholeheartedly which results in his own bitter end. 
• Friendly embodies power & money and ends up beaten and alone. 
• Mr. Upstairs turns on Friendly in an instant. 

By contrast, those that reject power & money 

• Edie, Father Barry
• Dugan and Joey, both die for their beliefs. The film validates their actions by treating them as martyrs throughout. 
• Dugan’s body ascending with Father Barry after he dies under whiskey barrels 
• Joey’s jacket being handed down from one heroic dockworker to another 
• Terry after a certain point

Contention: On the Waterfront uses its characters to show that having faith in power and money can destroy a man’s soul, whereas having faith in the greater good can lead to redemption. 

P1: Having faith in power & money destroys Johnny Friendly and Charley.

P2: Rejecting power & money and having faith in the good of people is rewarded (Dugan, Joey, Edie, Father Barry, for example).

P3: Terry sits in between these two notions for most of the film. His soul is redeemed when he rejects power & money and chooses to do the right thing. 

As you can see, in this structure, each paragraph grapples with the theme in a way that links each character and the film’s treatment of them.

If you find this essay breakdown helpful, then you might want to check out our On the Waterfront Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

1. What do Year 10s Learn in English?

2. year 10 english curriculum breakdown, 3. year 10 english texts, 4. how to get good marks in year 10 english.

Year 10 English is when the Pre-VCE year kicks in. Most schools will treat it as an opportunity to expose you to the VCE curriculum, but with Year 10 level texts. This means they’ll cover the same assessment tasks and begin teaching you the skills you need to have by the time you get to VCE.

Other schools will use this year to prepare students for the different English subjects that are offered at the VCE level, so they can decide by the end of the year. These may include VCE English/EAL, VCE Literature and VCE English Language.

For this blog, we’ll focus on the current Victorian Year 10 Curriculum (this will be updated as they change).

Similar to the VCE years (Year 11-12), most Year 10’s will be expected to complete the following assessment tasks:

Text Response

• Comparative text response
• Creative (with a written explanation)

Argument Analysis

Under each area of study, there will be key skills that you will need to learn to nail the accompanying assessment tasks.

Considering what you would have learnt in Year 9, Year 10 builds on those skills a bit further. Fundamentally, you would need to provide more detail whenever you’re expected to analyse evidence or provide an explanation and there will be specific essay structures your teacher will want you to follow. This may vary depending on your school.

Check out ' What should Year 9 students expect when they enter Year 10 ' for a more in depth breakdown of the Year 9 to 10 transition!

Let’s break down each assessment task you’re expected to complete as mentioned above.

Watch our video What kind of assessments can you expect at a Year 10 level!

Many Year 10 students will be introduced to the world of annotations when going through the text response unit. This is because the text will need to be understood inside out for you to score highly on the essay.

When you begin annotating your text, look for the following:

• Key ideas explored by the author
• Characterisation and character transformation
• Social/Historical/Cultural/Political context
• Stylistic features used by the author, such as symbolism, motifs, etc.
• Words you don’t understand (and then define them)

To help you have a better understanding of your text, teachers will usually assign you comprehension questions about your text and that will be their way of easing you into writing analytical body paragraphs.

Examples of prompts you may receive for text response include:

• ‘Night paints a vivid picture of a broken society in a broken place.’ Discuss.
• ‘Holden’s critique of phonies in The Catcher in the Rye is his way of critiquing society.’ Do you agree?

As important as the keywords are in the prompt, you need to be able to identify the type of prompt you have chosen to answer. Similarly, you must take some time to familiarise yourself with the task words that commonly pop up in prompts.

Check out The Ultimate Guide to Text Response to get a more specific idea of HOW you can smash out this essay.

Comparative Text Response

This is oftentimes deemed to be the most difficult area of study students will complete in English. Instead of just interpreting and analysing one text, you’re now presented with two texts you will need to find common ideas and themes to discuss.

To get in the high-scoring range you will need to do the following to help you stand out from the rest of your classmates:

• Constantly form links between the texts and the prompt you’re answering
• Consistent and detailed comparison throughout the essay between the two texts
• Be able to demonstrate a depth understanding of the texts
• Refer back to the writer’s views and values (their intention/message to the reader)
• Explore the different ideas expressed by the author
• Examine HOW the author has created certain effects on the reader , taking into consideration their use of narrative and stylistic choices
• Use relevant metalanguage

We also have The Ultimate Guide to VCE Comparative to help you break down HOW you can best prepare for this assessment task.

If you would like to know the pros and cons of the different comparative essay structures you can follow, check out this blog .

Creative Task

This particular assessment will generally be based on the text you have studied with your class. It may be a collection of short stories, a novel, poems, etc. The majority of the time, teachers will expect you to pick one of the characters from the text and write an alternate plot for them while also mirroring the style of the original text . 

Sometimes, teachers will allow you to pick the story and character you get to focus on, other times, they’ll provide you with a list you can choose from. If you’re given free rein for this task, check out our creative ideas you can adopt.

A written explanation usually accompanies this assessment task as well. This is where you break down your creative task for your teacher, sharing with them your purpose for writing it the way you have. You will address your language choices, themes, literary devices used, intended audience, etc. This tends to be around 200 words in length. Here’s a blog that explains HOW you can write the best written explanation.

Some more creative writing resources to help you out with this assessment:

• How To Achieve A+ In Creative Writing
• How YOU Can Be A Better Creative Writer! For ANY Student
• 11 Mistakes High School Students Make In Creative Writing

Mimicking the analysing argument essay you will need to complete in both Year 11 and Year 12, you will be expected to:

• Demonstrate your understanding and knowledge of both written and visual features of persuasion in your analysis (this is where the intended effect of the writer comes into play)
• Be able to identify and explain your assumptions with sophistication 
• Show insightful knowledge of both explicit and implicit meaning within the texts
• Prove that you know HOW language choices can influence the audience
• Use relevant metalanguage (this may include persuasive devices, language or visual techniques)

Some schools like to pick a specific issue to focus on, for instance, social media. All of the articles and tasks they assign their students to analyse will then be focused on this issue. Other schools will expose their students to a variety of different issues. Either way, you will be exposed to a variety of persuasive material and forms, including opinion pieces, speech transcripts, editorials, cartoons , etc. This is elaborated on in The Ultimate Guide to VCE Language Analysis .

Different schools will teach different analysis techniques. One of the most common ones includes the WHAT-HOW-WHY method . This will be applicable when you move into Year 11 and 12 English too.

Introductions for this particular essay are just as straightforward and can be quite formulaic. Check out our YouTube video on how to write an A+ language analysis introduction to learn the elements you need in an argument analysis introduction. If you’re curious about the writing process for the entire essay, then check out this video .

A lot of the time in Year 10, you will also be unpacking media advertisements. This will tie into the argument analysis area of study.

Here, you may be analysing HOW and WHY advertisements are created the way they are and the choices made by the creator to influence the specific target audience. Sometimes, you will also have the opportunity to create your own! If this is the case, you will also most likely write up a written explanation of around 200-300 words explaining the choices you have made.

As you would have read in The Ultimate Guide to Year 9 English, reading is one of the most important skills that need to be maintained as you progress through high school.

Here is a list of 10 texts many students at a Year 10 level may have read:

• Animal Farm by George Orwell
• Jane Eyre by Charlotte Bronte
• Lord of the Flies by William Golding
• Of Mice and Men by John Steinbeck
• Pride and Prejudice by Jane Austen
• The Book Thief by Markus Zusak
• The Great Gatsby by F. Scott Fitzgerald
• The Life of Pi by Yann Martel
• The Simple Gift by Steven Herrick
• To Kill A Mockingbird by Harper Lee

How many of these texts can you tick off the list? 

a) Knowing Where to Start

Of course, it’s important to acknowledge your strengths in English; however, to improve upon your marks and do even better, you will also need to fine-tune your weaknesses . Merely relying on strengths won’t be enough anymore. 

Identify the skills you need to improve and be specific!

For example, ‘I need to make my introductions shorter and simpler’ or ‘I will plan my essay more extensively so I will know which pieces of evidence will be relevant for each body paragraph.’

If this is the case, writing a million essays won’t get you to where you want to be. It would be inefficient and a waste of everyone’s time. Hone down your focus to one or two things , instead of every skill that falls under essay writing. 

Referring back to the above example, if you want to make your introductions shorter and simpler, read through a few sample high-scoring introductions and test them you can adopt for an introduction and know which one will work best for you. Or if your pain point is the planning process, compile different essay planning templates and use them in your essay planning so you can narrow down your options for different types of prompts.

This way, starting small will help you improve without overwhelming you so much. Check out How I Went From Average To A+ In High School English to get that boost of motivation and confidence before you embark on this learning journey.

As you do this, don’t forget to keep in mind the 7 Deadly (English Writing) Sins you should always avoid!

b) Work With Your Teacher

As we’ve explained in our Instagram post on the feedback loop , getting feedback for your essay or paragraph from your teacher and tutors will also help you improve much faster !

If you’re not familiar with the essay writing feedback loop process, it goes:

• Step 1: Write a paragraph(s) or essay
• Step 2: Get input on what works and fix what doesn’t (this input can come from your teacher and/or tutor)
• Step 3: Redraft or write a new one to test your skills
• Step 4: Repeat

Whether it’s just a plan, an introduction, a body paragraph or even a complete essay, taking the initiative to seek help from your teacher will provide you with clarity on what it is you need to be working on. This is crucial if you want to jump from a C grade to an A+. 

Each time you write a practise essay or paragraph, you should have a goal in mind so you know what you’re trying to improve upon. This way, you can cut down your workload and reduce study time !

I would recommend you do this as many times as necessary until you get that 10/10 essay so you can use it as a template or model essay in the future!

c) Write Under Timed Conditions

Even though a lot of the time in Year 10, teachers will be a bit more lenient so they’ll permit you to bring in a cheat sheet into the exam or assessment. However, that doesn’t always mean you’ll be able to finish on time, so it’ll serve you best to do some additional practise essays under timed conditions. 

Some things to look out for when you do practise writing timed essays or paragraphs:

• Ensuring that your handwriting is legible 
• Trial and error different types of planning methods to find which suits you best
• Know the essay structure you want to adopt for the particular essay
• Avoid ‘fluff’ (unnecessary details) and get straight to the core idea and analysis since that is where you’ll get the marks
• Practise makes perfect! 

Here’s a YouTube video that details how you can go about writing 3 essays in 3 hours which you’ll eventually need to do!

At LSG, we have the most qualified tutors who have received the marks you’re after who can walk you through your high school English journey with you. 

What will we offer you?

• Regular English advice and support (whether that is homework help, essay feedback or if you just want to go the extra mile and get ahead with your English studies)
• A specialised LSG Signature Program that can cater to your goals and help you develop the knowledge and get all the consistent writing practise you need
• Guidance as we work through the necessary writing skills and strategies that will get you the A+ you desire
• Access to exclusive LSG resources that will save you time creating your own notes (planning and writing templates, sample high-scoring essays, and so much more!)

If you want more information on why you should pick us, check out our tutoring page . Otherwise, click here to express your interest today!

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Home Essay Samples Literature In Cold Blood

In Cold Blood: The American Dream in Truman Capote's Novel

Table of contents

Introduction, in cold blood: the theme of american dream.

“I had to get down on my knees. And just then it was like I was outside myself. Watching myself in some nutty movie. It made me sick. I was just disgusted. Dick, and all his talk about a rich man's safe, and here I am crawling on my belly to steal a child's silver dollar. One dollar. And I'm crawling on my belly to get it.”

“Everything Herb had, he earned - with the help of God. He was a modest man but a proud man as he had a right to be. He raised a fine family. He made something of his life.” But that life, and what he'd made of it - how it could happen, Erhart wondered as he watched the bonfire catch. How was it possible that such effort, such plain virtue, could overnight be reduced to this - smoke, thinning as it rose and was received by the big, annihilating sky?”

• Capote, T. (1966). In Cold Blood. Random House.
• Cochran, M. (2017). The American Dream in In Cold Blood. Masters of Arts Thesis, Georgia State University.
• Doss, E. (2015). "You don't understand": Cold Blood as an American Tragedy. Journal of American Culture, 38(4), 441-453.
• Miksanek, T. (2018). Killer Titles: Symbolism in Capote's In Cold Blood. Journal of American Culture, 41(2), 129-139.
• Nance, R. (2014). In Cold Blood: Truman Capote's Search for Meaningful Answers. International Journal of Humanities and Social Science Research, 2(1), 49-56.
• Parks, J. (2009). Truman Capote and the Legacy of "In Cold Blood". The Journal of Popular Culture, 42(6), 1076-1091.
• Plemons, J. (2016). Truman Capote's In Cold Blood: The Intersection of Literary Techniques and Film. Masters of Arts Thesis, Texas Tech University.
• Shores, L. (2018). The American Dream in Truman Capote's In Cold Blood. Journal of the South Carolina Academy of Science, 16(2), 55-64.
• Steinberg, J. (1994). In Cold Blood: A Legacy Revisited. The Southern Review, 30(4), 882-899.
• Weissman, J. (2015). "I'm not a normal person": Violence, Identity, and Authorship in Truman Capote's In Cold Blood. Journal of American Studies, 49(4), 783-801.

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Home / Essay Samples / Literature / Books / In Cold Blood

In Cold Blood Essay Examples

Representation of the american dream in truman capote's in cold blood.

The American dream has been sought after since the 1900s and has been said to be achievable. If an individual works hard enough and achieves success in life regardless of family history or social status, they too can achieve the dream. Truman Capote, On the...

The Symbol of Parrot in Capote’s in Cold Blood

In Cold Blood is a classic book that explains in detail the murders and investigation of the Clutter Family. There are many symbols in the book, but the one that is the most important is the yellow parrot that Perry always dreams about. The yellow...

Rhetorical Analysis of Truman Capote's in Cold Blood

The novel In Cold Blood, written by Truman Capote introduced a journalistic style of creative writing using antirealism. This experimental approach to factual reporting required years of gathering research through first hand interviews, analyzing court records, and personal evaluation. The novel was intended to convey...

A Theme of Mental Illness and Violent Crimes in ‘in Cold Blood’

Everyone has the potential of developing a mental illness in their lifetime. Throughout the book, Capote tries to show the true complexity of the murderers through their character traits and actions and conveys how their background and psyches affected their actions turned them into a...

In Cold Blood: How the Death of a Loved One Can Change a Person’s Personality

How does the death of a loved one change one’s personality? The 1966 nonfiction novel In Cold Blood by Truman Capote tells the story of the murders of the Clutter family in Holcomb, Kansas in 1959. The death of Mr. and Mrs. Clutter and their...

In Cold Blood: the Factors Influencing Perry’s and Dick’s Predisposition to Crime

In Cold Blood, by Truman Capote, narrates the gruesome murder of the Clutter family in Holcomb, Kansas. Four members of the Clutter family were brutally murdered by two ex-convicts on the night of November 15 of 1959. The story follows the pursue for the murders,...

Literary Analysis of the Novel in Cold Blood by Truman Capote

Truman Capote implements a variety of language and figurative devices to add diversity to his writing in his novel In Cold Blood. By incorporating a series of different strategies; tone, underlying purpose, and literary devices, Capote reveals his desire for a different perspective on the criminals....

Truman Capote’s Use of Alternating Perspectives of the Murderers in ‘in Cold Blood’

In Truman Capote’s In Cold Blood, Capote recounts the tragic Clutter family murders of 1959, while intently analyzing the men who carried out the crime. Capote narrates the story by alternating between those that commited the crime, Dick and Perry, the people of Holcomb, those...

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