montana 1948 analytical essay

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Montana 1948 by Larry Watson

February 20, 2020

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Montana 1948 is narrated by David Hayden, now a middle-aged history teacher, reflecting on the summer of 1948 that changed his entire life.

It begins with David noticing that his Native American babysitter, Marie Little Soldier is unwell. Gail and Wesley, David’s parents, attempt to enlist the help of Wesley’s brother Frank, a well-respected doctor in the community. However, Marie reacts to this idea with fear, anxiety and resistance. Gail concludes that something sinister must be happening for her to have such a reaction and she presses Marie for why she is so afraid. Marie then reveals to Gail that she has heard that Dr Frank has been sexually abusing many of his female Native American patients. Gail immediately confides in Wesley who is both the Sheriff of their town and Frank’s brother. This becomes the central source of tension, as Wes must decide between his duty as the Sheriff and his loyalty to his family.

This is all told from the perspective of David, our protagonist, who has to watch his father confront his Uncle Frank about these taboo accusations. Eventually, it seems they reach an agreement with Frank to stop the abuse.

Marie is discovered dead the next day in her bed when Gail goes to check up on her. Later that night, David admits to his parents that he saw Frank go into their home in the afternoon and immediately, Wesley concludes that Frank “is guilty as sin” for murdering Marie. As the Sheriff of the town, Wesley is obligated to arrest Frank, but in order to spare Frank the embarrassment, he keeps Frank in their basement instead of sending him to jail.  

Upon hearing this news, David’s grandfather, Julian, orders Wesley to release Frank. Julian accuses Wesley of arresting him out of jealousy and he threatens to use his power within the community to set Frank free. At this point, Wesley realises that the power of his father would only be matched by the law, and he decides that he must officially prosecute his brother.

That next day, David, Wes and Gail wake up to find Frank dead, having used broken glass to slit his wrists and commit suicide. Young David believes that this was the right action and hopes that everything would go back to normal. But as the story goes, this is not the case.

Prejudice, discrimination and the abuse of power

Another key theme is prejudice, discrimination and the abuse of power. Frank’s abuse of the Native American women is both an abuse of his power and responsibilities as a Doctor and a way to take advantage of his personal belief in White “racial superiority.” Julian and Frank embody the toxic, violent and bigoted mentality prevalent during that time period, which Watson deplores as reprimandable and unacceptable. Even at the novel’s close, Frank’s death is symbolic in two ways. Firstly, it means that Frank managed to escape persecution, public denouncement and jail time. But more importantly, he is still revered in the community as a “respected man” and a “war hero. '' Therefore, while he physically passes away, his ‘legacy’ and façade of heroism remains alive.

Law vs Justice

One of the central themes of ‘Montana 1948’ is the conflict between abiding by the law and doing what is just. Due to the institutionalised racism that existed in the 1940’s, Frank’s actions were not considered technically illegal, however, by intuitive standards of morality , his rape of Natives in his practice and his subsequent murder of Marie clearly warrant punishment. Thus, Watson touches on the failures of the judicial system to consistently hand out judgements that are morally fair and instead reveals the flaws within the legal system of the time that reflect widespread and corrupt social attitudes .

Loyalty vs Morality

Watson also touches on the conflict between loyalty and morality. This, as we know, forms the crux of narrative’s tension . Should Wes arrest and prosecute his brother Frank or not? Should he stay loyal to his family or uphold the moral values that he must stand by as the towns Sheriff? Gail, David’s mother, embodies all the virtues of morality that we all stand by and she is appalled by Frank’s behaviour and demands that he be persecuted regardless of his relationship with Wes. In sharp contrast, Julian believes that Frank can be excused for his actions because the victims were merely “red meat ” Native American women who he views as subhuman.

Characters 

Gail is David’s mother and Wesley’s wife. She is a compassionate, idealistic and courageous woman. This can also be seen as she stands up for Marie, despite the prejudices in the society at the time. She also spends a ‘good deal of energy’ protecting herself and her family.  She also doesn’t take part in Wesley’s racist jokes. For example, when Wesley makes a joke about Marie, ‘never been to anyone but the tribal medicine man’, David responds with ‘my mother didn’t laugh.’

David is Wesley and Gail’s son and is the narrator of the text. He doesn’t share Wesley’s beliefs surrounding race and forms his own moral perspective. This is demonstrated when he makes a fuss about wanting to wear moccasins (which Gail sides with him on) while his father says will make him ‘as flat-footed and lazy as an Indian.’ 

Unlike his father, we don’t see David conflicted with his loyalties and he is particularly critical of his father. This is best demonstrated when he ‘was beginning to already think of Uncle Frank as a criminal’ upon hearing sexual assault accusations against Frank. When Wesley spares Gail the details of his investigation into Frank, David believes it could be because he is ‘trying to protect his brother and keeping the number of witnesses to the accounts of his crime to a minimum’. After Wesley arrests Frank and takes him to the basement for imprisonment, David assumes his father killed Frank despite Wesley not being depicted as a particularly violent person in the novel.  All it takes is an indistinct noise from the basement for David to conjure up ways his father could have killed his Uncle Frank.

Frank is Wesley’s brother and is described as a ‘witty and charming’ doctor, and war hero who is widely loved by the community -particularly by his dad, Julian. In reality, Frank is a criminal who abuses his power - both a white man and a doctor to sexually assault Indian women - which he believes he can get away with.  This is compounded when he states, “I am not concerned about social progress.” Through Frank, Watson demonstrates how some individuals can abuse their positions of power and privilege, and to not lose any sleep over it (‘at smiling ease with his life and everything it’).

Wesley is Julian’s son, Gail’s husband, and David’s father and the sheriff of Mercer county. He dislikes Native Americans and frequently makes jokes about them and stereotypes them. He even uses the fact that Marie Little Soldiers is a Native American to belittle and doubt the credibility of her experience. 

Wesley’s conflicting loyalties become more complex and difficult once you consider the prejudices at the time, his job as an officer of the law, Frank’s station in the family and community, Gail’s strong opinions and his constant need to seek validation from his father. An instance that mirrors Wesley’s conflicting loyalties is when he tells Gail, “I wish you wouldn’t have told the sheriff.” When she told informed him of Marie’s sexual assault allegations against Frank. However, in Wesley’s eyes, Frank’s murder of Marie Little Soldier, is where the latter crosses the line. The magnitude of his brother’s crime is too large for him to let his previous conflicting loyalties as a sheriff and a brother hold him back from arresting Frank. After convicting Frank and having to argue about it with his father, we learned ‘for the first time how this experience with his brother was ruining him physically.’ 

Julian is a bigoted racist man who has an unconditional love for his son Frank and unfairly favours him over his son Wesley. When he learns of Franks charges he exclaims, “What kind of bullshit is this?” He belittles the sexual assaults as Frank just ‘feeling them up’ and ‘assaulting an Indian’. At this point, Julian taking Frank’s side exposes how irrationally loyal he is to his son and suggests that even if the women were not Indian, he may still stand by Frank's actions. He protests that the only reason Wesley convicted Frank was that ‘ever since the war, ever since Frank came home in uniform and he [Wesley] stayed here [home],’ he’s ‘been jealous’. However, this comment seems to say more about Julian’s feelings than Wesley’s - perhaps, this is why Julain felt this inclination towards Frank. After this argument, we see Wesley’s feeling of defeat and heartbreak - that despite Frank being a murderer and a rapist, his father still seemed to pick his side over Wesley’s. 

Quotes on Prejudices, Discrimination and the Abuse of Power

• “He wears those and soon he'll be as flat-footed and lazy as an Indian" - Discrimination is evident in Montana 1948 where Wesley uses stereotypes of Indians to imply they are inferior to them, and that David shouldn’t be like them.
• "She's an Indian- Why would she tell the truth?”  
• “Your mother and I thought we’d have more to show than just one grandchild … and white- we want them we want them white”
• “Screwing an Indian. Or feeling her up or whatever. You don’t lock up a man for that.”
• “You know Frank’s always been partial to red meat.”  
• “Well if Sheriff Hayden says it's so, it must be so.”
• “Wesley, your brother is raping these women. These girls. These Indian girls.”

Quotes on Law vs Justice

• “Why did my grandfather first run for sheriff? … He wanted, he needed power. He was a dominating man who drew sustenance and strength from controlling others.” This quote shows that many people in society at the time held positions of power such as lawyers or sheriff but didn’t enforce the law or worry about the morality of their actions. Thus creating an unjust legal system that would allow these people to shape how the law is enforced with their own prejudices.
• “You know what your Grandad said it means to be a peace officer in Montana? He said it means knowing when to look and when to look away.”  
• “I think the problem has been taken care of. Frank said he’s going to cut it out”

Quotes on Loyalty vs Morality

• "David, I believe that in this world people must pay for their crimes. It doesn't matter who you are or who your relations are; if you do wrong, you pay. I believe that. I have to."
• “I wish you wouldn’t have told the sheriff.” 
• “You don’t lock up your brother. A respected man. A war hero.” “This is a legal matter.” “Bull sh*t. ” “Then why have you got him locked up here and not over at the jail? This is your brother here. My son! ”

Quotes on Destruction of Innocence

• 'I had gone back into the house -to the kitchen, to my room, out the backdoor, I had left the porch and followed frank's steps down the front walk - I never would have heard the conversation between my father and mother, and perhaps I would have lived my life with an illusion about my family and perhaps the human community’ - page 33
• “The shock of hearing this about Uncle Frank was doubled because my mother was saying these words. Rape. Breasts. Penis. These were words I never heard my mother use-ever- and I’m sure her stammer was not only from emotion but also from the strain on her vocabulary.”
• “But I was on a trail that would lead me out of my childhood.”

With contributions from Fae Saberi.

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Updated 14/12/2020

• Introduction
• Definition of Metalanguage
• Examples of Metalanguage in VCE English

1. Introduction

Although it appears on criteria sheets, many students never really understand the term  metalanguage . Strangely, it is something that is rarely addressed in classrooms. While the word may be foreign to you, rest assured that metalanguage is not an entirely new concept you have to learn. How come? Because you have been unknowingly using metalanguage since the very beginning of high school.

It's a word that is more and more frequently thrown around as you get more advanced in high school. And, it's something that becomes tremendously important in your final year of high school, because the more you include metalanguage discussion in your essays, the more intricate your discussion becomes and the more unique it also becomes.

So, let's find out exactly what metalanguage is.

2. Definition of Metalanguage

Metalanguage is  language that describes language .

So, instead of maybe using the word, "He was sad ", we might say something like, "He felt sorrowful " . The choice in words changes the meaning that is interpreted by the reader, just slightly, but there is still a difference. So, when it comes to studying texts or reading articles, and trying to analyze what the author is trying to do, we look at metalanguage as a way to help give us insight into the ideas that they're trying to portray.

The simplest way to explain this is to focus on part 3 of the English exam – Language Analysis. In Language Analysis , we look at the author’s writing and label particular phrases with persuasive techniques such as: symbolism, imagery or personification. Through our description of the way an author writes (via the words ‘symbolism’, ‘imagery’ or ‘personification’), we have effectively used language that describes language.

Now, if we look at the bigger picture, our analysis of an author’s language can be applied to Text Response, and even Reading and Comparing. To learn more about why metalanguage is important in Text Response, check out our Ultimate Guide to VCE Text Response . Otherwise, for those interested in Comparative, head over to our Ultimate Guide to VCE Comparative .

3. Examples of Metalanguage in VCE English

• Grammar and punctuation
• Characterisation
• Foreshadowing

For example

• Achilles is  characterised as a foetus, for his position is ‘chin down, shoulders hunched’ as though he is inside a womb. ( Ransom , David Malouf)
• In the first scene of All About Eve* , Mankiewicz foreshadows Eve's sinful and regretful actions, as a sorrowful expression is emphasized as she accepts her award

As you can see, the word 'foreshadows' pushes us in a new direction. Rather than just saying what has already happened or telling your teacher or examiner something that they already know, it forces you to actually analyze what's in front of you and to offer your own unique interpretation of why this metalanguage or why this technique has been used.

*If you happen to be studying this text, check out our All About Eve Character Profiles .

• Mise-en-scene
• Camera angles

When Terry leaves Friendly’s bar, the thick fog symbolises his clouded moral judgement as he decides whether he should remain ‘D and D’, or become a ‘rat’. ( On the Waterfront , Elia Kazan)

• Stage direction
• The miniature set Zac creates is designed with a white backdrop, symbolising his desire to wipe away reality since he ‘can’t stand real things'. ( Cosi , Louis Nowra)

In Medea , the motif of animals emphasizes the inhuman and bestial nature of Medea, highlighting how she defies natural norms.

This student has actually given us an analysis of why animal motifs are used. And that is to highlight how Medea defies natural norms, because of her inhuman and bestial nature.

4. Conclusion

As indicated earlier, you should be familiar with many, if not all the terms mentioned above. Take note that some metalanguage terms are specific to a writing form , such as camera angle for films. If you need help learning new terms, we have you covered - be sure to check out our metalanguage word banks for books and our metalanguage wordbank for films .

As you discuss themes or characters, you should try and weave metalanguage throughout your body paragraphs . The purpose of this criteria is to demonstrate your ability to understand how the author uses language to communicate his or her meaning. The key is to remember that the author’s words or phrases are always chosen with a particular intention – it is your job to investigate why the author has written a text in a particular way.

[Modified Video Transcription]

Hey guys, welcome back to Lisa's Study Guides. Today, I'm really excited to talk to you about metalanguage. Have you guys ever heard of metalanguage before? It's a word that is more and more frequently thrown around as you get more advanced in high school. And, it's something that becomes tremendously important in your final year of high school, because the more you include metalanguage discussion in your essays, the more intricate your discussion becomes and the more unique it also becomes. So, let's find out exactly what is metalanguage. Simply put, metalanguage just means language that analyses language. When authors write anything, we make certain decisions when it comes to writing. So, instead of maybe using the word, "He was sad", we might say something like, "He felt sorrowful". The choice in words changes the meaning that is interpreted by the reader, just slightly, but there is still a difference. So, when it comes to studying texts or reading articles and trying to analyse what the author is trying to do, we look at metalanguage as a way to help give us insight into the ideas that they're trying to portray.

Metalanguage comes in really handy, especially if you're somebody who struggles with retelling the story - I have a video on how to avoid retelling the story , which you can watch. Metalanguage essentially takes you to the next level. It prevents you from just saying what happened, and forces you into actually looking at how the ideas and themes are developed by the author through the words that they choose to use. So, let's have a look at a couple of examples to give you a better idea. I'm going to show you two examples. One uses metalanguage and one doesn't, and you'll see how a massive difference in how the student understands the text is really clear.

Number one, foreshadowing.

In the first scene of All About Eve , Mankiewicz emphasizes Eve's sorrowful expression as she accepts her award.

In the first scene of All About Eve , Mankiewicz foreshadows Eve's sinful and regretful actions, as a sorrowful expression is emphasized as she accepts her award. As you can see, as soon as we put in the word foreshadows, it pushes us in a new direction. Rather than just saying what has already happened or telling your teacher or examiner something that they already know, it forces you to actually analyse what's in front of you and to offer your own unique interpretation of why this metalanguage or why this technique has been used. So, in this case, it's foreshadowing. ‍ Let's have a look at another one, motif.

In Medea , Euripides commonly refers to animals when describing Medea's actions and temperament.

See how, in the first example, it was really just telling you what we might already know through just reading the book, but when it comes to the second example, this student has actually given us an analysis of why animal motifs are used. And that is to highlight how Medea defies natural norms, because of her inhuman and bestial nature. So, those are some examples of metalanguage. There are so many more different types of metalanguage out there...

1. Summary 2. Themes 3. Symbols and Analysis 4. Quotes 5. Sample Essay Topics 6. Essay Topic Breakdown

Alice Munro is a Canadian Nobel-Prize-winning author of short stories , and Runaway , first published in 2004, is a collection of eight such stories (though kind of actually only six, because three of them are sequential). These stories examine the lives of Canadian women throughout the last century, but not all of them are necessarily realistic to what daily life actually looks like. Rather, Munro uses borderline-supernatural events (which some critics say feel staged or contrived) to shed light on the tensions and challenge s of gender in modern life.

This can mean that some of the stories are quite hard to follow; they go through all these twists and turns, and the lines between stories start blurring after a while. Let’s go through each in a bit more detail before jumping into our analysis.

2. Story-by-Story Characters and Summary

The titular story is about a woman Carla , her husband Clark , their goat Flora , and their elderly neighbour Sylvia Jamieson . There are many runaways in the story: Carla ran away from her middle-class home to marry Clark, Flora the goat literally runs away, a scandalous lie about Sylvia’s late husband gets a bit out of hand, and now Sylvia is helping Carla run away once again, this time from Clark. Few of these runaways are really very successful: this story is really interrogating why and how.

Chance/Soon/Silence

The next three stories are sequential, and revolve around Juliet , a well-educated classicist who is working as a teacher in the first story, ‘Chance’ - it is set in 1965 and she is 21. In this story, she meets her lover Eric Porteous on a train, then finds him again six months later. Eric is sleeping around with a few women in light of his wife’s declining health and eventual passing, but by ‘Soon’ he and Juliet have settled down and had a baby together - Penelope .

‘Soon’ focuses more on the relationship between Juliet and her parents, in particular her mother Sara . Juliet feels a bit out of place now at home, and feels guilty about not being more present for Sara. In turn, ‘Silence’ depicts her own daughter running away from her. Juliet returns to her studies and only hears about Penelope’s life through a chance encounter with a friend who reveals that Penelope is now a mother herself.

The next story is about Grace , an older woman revising the family home of her husband Maury Travers . Their marriage never had a lot of passion in it really - Grace was always more interested in Maury’s family - but both of them were just doing what was expected of them. The contrast comes from Maury’s brother Neil , a doctor who accompanies Grace on a hospital trip when she cuts her foot. This trip becomes longer and more sensual, feeling adulterous even though very little actually transpires between them - the story raises questions around what counts as cheating, and what marriages should entail. 

‘Trespasses’ is slightly deliberately disorienting from the start (which is actually the end of the story). We go on a flashback in the middle to learn about a father, Harry , and his daughter Lauren . One day when moving house, Lauren finds a cardboard box - Harry explains that it contains the ashes of a dead baby who he and his wife Eileen (Lauren’s mother) had had before Lauren. This leads to Lauren questioning if she was adopted, which is further complicated by Delphine , a worker at a hotel who seems to think Lauren is her biological daughter. The ending (which was teased at the beginning) is the evening of confrontation between the four characters where the truth is finally revealed. 

Conversely, ‘Tricks’ has a more linear plot to follow. Robin is a carer for her asthmatic sister Joanne , but she’s taken to watching Shakespeare plays in the next town once a year. One year, she meets a European clockmaker Danilo who plans to meet her next year when she is back in town - but this doesn’t go to plan at all. It’s only 40 years later that Robin finds out Danilo had a twin brother, which is why the plan had gone downhill.

The last story in the collection is arguably the most complex, and it’s broken into 5 parts to reflect that complexity. It follows Nancy as she ages from a fresh high school graduate to an old woman by the end of the sequence, including her marriage to the town doctor Wilf . Importantly, the stories also cover her friendship with Tessa , who has the supernatural powers mentioned in the title. However, by the third story, Tessa has been abandoned in a mental hospital and she has lost her powers. Throughout the stories, we also see Ollie , Wilf’s cousin (or a figment of Nancy’s imagination according to this analysis), who seems to be responsible for Tessa’s demise.

Let’s start tracing some of the common themes between the stories.

A key theme explored throughout many of the stories is marriage and domesticity . There’s a strong sense that it’s an underwhelming experience : it doesn’t live up to expectations and it particularly dampens the lives of the women involved. Nancy’s marriage to Wilf in ‘Powers’ only happens because she feels guilty - 'I could hardly [turn him down] without landing us both in…embarrassment' - but, as a result, she loses her fun, intellectual streak as he tells her to put down her book, 'give Dante a rest'. A similar fate befalls Juliet, who gives up her study in the process of becoming married.

 Marriage is also sometimes explored as a deliberate choice , even if it might have unintended consequences - for example, Carla’s marriage to Clark is described as a life that she 'chose'. This interpretation is more unclear though, and is contradicted in other stories like Passion, where Grace’s marriage is described as 'acquiescence ', acceptance without protest. It’s even contradicted to some extent in the same story: Munro compares Carla’s marriage to a 'captive' situation, where she might’ve chosen to enter the marriage, but after that has little say in how it goes.

This sounds a bit trite, but the title is a key theme as well - just not necessarily in the physical sense . Consider all of these different definitions and how they pop up in the stories. In ‘Runaway’, Carla and the goat run away, but also the lie Carla tells Clark about Leon, a runaway lie that taints his relationship with Sylvia completely. Some runaways are described as accidents - 'she – Flora – slipped through' - while others are much more deliberate. The question here is how much control we actually have over our own lives . Not a lot, it would seem.

The other side of runaway/s is to think about who the victim in each runaway is. Does somebody run away because they are 'in a bad situation, the way it happens', a victim of circumstance , or do they run away because they feel guilty , or because they’re abandoning someone else, the true victim of being left behind? Carla does seem like more of a victim of circumstance with good reason to run away, but think about Nancy leaving Tessa behind in ‘Powers’: ‘“I’ll write to you”, she said…she never did.’

This question about who the real victim is might be the hardest to answer for ‘Silence’. Juliet’s daughter abandons her, but it’s not like there’s a strong history of positive mother-daughter relationships in their family: Juliet wasn’t able to give Sara what she needed ( 'she had not protected Sara') and in turn isn’t able to quite give Penelope what she needs either (Penelope having a 'hunger for the things that were not available to her in her home '). At the same time, Penelope’s abandonment does feel quite callous and inexplicable , even if Juliet feels like it’s what she deserves; Munro suggests at the end of the story that a reunion would be an 'undeserved blessing[]'. The intertextuality with Aethiopica reveals Juliet’s good intentions, her similarity to the 'great-hearted queen of Ethiopia', but it doesn’t quite give us the satisfaction of a neat resolution either.

Ethics and Morality

Finally, Munro’s stories also raise questions around morality . Besides what we’ve already covered - adultery, runaways - there are further questions raised around parenthood , particularly in ‘Trespasses’. Harry seems to share a bit too much information with his child, who really doesn’t need to know about the dead baby just yet. Lauren is 'not short of information', and it’s worth questioning where that boundary should be for a child of her age.

But not all ethical questions have simple answers : as in ‘Tricks’ they can sometimes just have 'outrageous', cruel punchlines that don’t reveal themselves for decades. Munro doesn’t necessarily have all the answers on this one. She brings up complex moral situations but does not pass judgment on any.

4. Symbols & Analysis

Greek elements.

Throughout the stories, Munro brings in a few elements of Greek mythology or literature . The intertextuality in ‘Silence’ is one example, drawing on the classical text Aethiopica , but there are a few more scattered throughout the stories: the constellations of Orion and Cassiopeia in ‘Chance’ and an oracle-like figure in Tessa, a main character in ‘Powers’. All of these elements have some significance:

• Cassiopeia is known for her arrogance and vanity, which parallels with the way Juliet detaches herself from her life ('she had made herself into a rather superior, invulnerable observer' - despite her very real vulnerabilities)
• Orion is known for his forbidden romance with the virgin goddess Artemis, which parallels with Eric’s romance with Juliet (Juliet being relatively inexperienced with men herself, with all of her experiences being 'fantasy')
• Oracles in mythology are like mouthpieces of the gods who can prophesy about the future. They were often women, so oracles were unusually influential in their male-dominated societies. The question is whether this parallels with Tessa at all: even though she has these supernatural powers, are there other forms of power she might lack instead?

In general, intertextuality is a way to enrich a text by drawing parallels and linking characters to existing stories or archetypes. Here, Munro uses classical texts to add dimension to her characters in a way that is almost-but-not-quite commentary. Pre-existing Greek myths are a way for us to see what’s really going on .

(Rail)Roads and Transit

The other symbol that comes up a few times in the stories is roads or railroads - basically places where runaways might happen . ‘Chance’ is set in the middle of a train journey, ‘Tricks’ involves a couple of train journeys, ‘Runaway’ maps the roads leading in and out of Carla’s home, and almost all of ‘Passion’ takes place on the road. If we broaden ‘places where runaways might happen’ to include planes as well, then we can add ‘Powers’ and ‘Silence’ to the list.

All of these spaces are what might be called liminal - they’re ‘in-between’ spaces with an air of suspense about what can happen. It’s probably most prominent in ‘Passion’, where Grace describes the events of that road trip as a 'passage” in her life, both physically and metaphorically. In general though, they’re the settings where the wildest and most significant events tend to happen.

• 'She—Flora—slipped through.'
• 'She (referring to Carla) chose this life with Clark.'
• 'She is just in a bad situation, the way it happens.'
• 'She saw him as the architect of the life ahead of them, herself as the captive, her submission both proper and exquisite.'
• 'She might be free.' - this is the second last line in the story. Note the ambiguity here (and through all these quotes, to be honest) about which ‘she’ is being referred to (Carla, Flora or even Sylvia)
• 'Juliet was twenty-one years old and already the possessor of a B.A. and an M.A. in classics.'
• 'The problem was that she was a girl. If she got married—which might happen…—she would waste all her hard work.'
• 'She had made herself into a rather superior, invulnerable observer.'
• '…the two of them (referring to Sara and Juliet) intertwined. And then abruptly, Juliet hadn’t wanted any more of it.'
• 'But she had not protected Sara. When Sara had said, soon I’ll see Juliet , Juliet had found no reply. Could it not have been managed?…She had put everything away.'
• Penelope supposedly had a 'hunger for the things that were not available to her in her home.'
• 'Penelope does not have a use for me.'
• 'She hopes as people who know better hope for undeserved blessings, spontaneous remissions, things of that sort.'
• Grace, watching a movie with Maury, felt 'rage…because that was what girls were supposed to be like. That’s what men - people, everybody - thought they should be like. Beautiful, treasured, spoiled, selfish, pea-brained. That was what a girl should be, to be fallen in love with.'
• 'It was not in her nature, of course, to be so openly dumbfounded, so worshipful, as he was.'
• 'Describing this passage, this change in her life, later on, Grace might say - she did say - that it was as if a gate had clanged shut behind her. But at the time there was no clang - acquiescence simply rippled through her.'
• Lauren 'had been brought up to believe that children and adults could be on equal terms with each other.'
• 'How could she be sure that they had not got her as a replacement? If there was one big thing she hadn’t known about, why could there not be another?'
• 'Forgive us our trespasses' - note the ambiguity of ‘trespasses’ (does it mean sins as in the prayer, or overstepping boundaries, or both?)
• 'Some of the best-looking, best-turned-out women in town are those who did not marry.'
• 'A means to an end, those tricks are supposed to be.'
• 'I couldn’t stand for the poor man (referring to Wilf) to have had two girls turn him down’
• 'I used to have a feeling something really unusual would occur in my life, and it would be important to have recorded everything. Was that just a feeling?'
• 'She could be upset to see you leave without her. So I’ll give you an opportunity just to slip away.'
• 'He has nearly forgotten that he ever believed in her powers, he is now only anxious for her and for himself, that their counterfeit should work well.'

Having great quotes is one thing, but you also want to make sure you know How To Embed Quotes in Your Essay Like a Boss !

6. Sample Essay Topics

• What does Runaway teach us about romance?
• Carla, Grace and Tessa are more similar than different in terms of their relationships with the men in their lives. Do you agree?
• How does Munro contrast younger and older women in Runaway ?
• What does the setting contribute to the overall effect of Runaway ?
• 'Forgive us our trespasses.' What types of boundaries are created and overstepped in Runaway ?

7. 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 give you a brief glimpse 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

‘Forgive us our trespasses.’ What types of boundaries are created and overstepped in Runaway ?

Step 1: Analyse

This quote is from ‘Trespasses’ and captures the double meaning of the word as both overstepping physical boundaries and sinning in the moral or religious sense . It’s likely we’ll want to talk about both interpretations - physically trespassing but also encroaching on boundaries in immoral ways. Note that the prompt also includes the action words ‘created’ and ‘overstepped’, meaning that there’ll be a pretty diverse range of examples that we’ll need to use to answer this prompt comprehensively.

Step 2: Brainstorm

Let’s start with physical boundaries : Carla’s marriage and the fences on her property and the US-Canada border in ‘Powers’ come to mind. Then, we’ve got non-physical boundaries: emotionally as in ‘Chance’ and ethically as in ‘Trespasses’. This is where we start getting into whether these boundaries are created or overstepped .

Clark creates boundaries for Carla and her attempts to break free from them are unsuccessful. The border in ‘Powers’ is more of an excuse for Nancy to neglect Tessa, a boundary she creates and never makes the effort to overstep. Finally, the ethical boundaries in ‘Trespasses’ are overstepped from the get-go. How can we synthesise these ideas into one essay?

Step 3: Create a Plan

I think the trick with questions like this is not to just allocate different types of boundaries and/or different action words to each paragraph. Try to think of creative ways to string these ideas together that also build towards a bigger picture or overall contention about the text as a whole. This example plan explores physical and emotional boundaries but makes a bigger argument that they are often associated with regret in Munro’s stories.

‍ Paragraph 1 : Physical boundaries are both the most intentional and the most difficult to overstep.

• Carla’s farmstead is isolated and bordered by roads; her marriage to Clark and her life on this farmstead is likened to a 'captive' situation, with Clark being the 'architect' of it all
• Munro ends Runaway on a pessimistic note about Carla’s ability to leave this boundary: 'She might be free'
• International borders also constitute physical barriers, and these are used by Nancy in ‘Powers’ to avoid responsibility; because this is an active decision (‘“I’ll write to you”, she said…she never did.’), it’s a barrier that never really gets broken. Similar to Penelope in ‘Silence’

Paragraph 2 : Munro’s stories, however, focus more on emotional boundaries , and the way these are applied varies greatly. This variation underscores their complexity .

• Emotional boundaries when created can prevent intimacy: Juliet 'ma[kes] herself into a rather superior, invulnerable observer' so as to avoid commitment. These boundaries come back to bite when she has a daughter
• Conversely, they cause a great deal of harm when overstepped: for example, ‘Trespasses’ sees 'crazy and dangerous' adults toy with the life of a child, constantly assuming that she 'can take it' when in fact this is not the case

Paragraph 3 : Regardless, Munro’s characters often come to regret the boundaries they erect or overstep.

• Carla’s ambivalence about her marriage is tinged with regret either way: when she’s there, she wants to escape, and when she escapes, she questions if she has 'anything left in [her]'
• Juliet reflects on the boundaries she puts up between herself and Penelope and realises that 'spontaneous remissions' between them are undeserved and impossible
• In ‘Powers’, Nancy struggles with the guilt of abandoning Tessa: many years later, she still wants to 'open [the past] up' and understand her motives. However, it is too late, and the boundaries are already there
• Munro does not suggest that boundaries are inherently good or bad, but her stories show how they can be sources of regret when treated improperly

Runaway is usually studied in the Australian curriculum under Area of Study 1 - Creative Response. Check out Audrey's blog on how to approach Runaway as a Creative Response for more.

For a detailed guide on Creative Response as a whole, check out our Ultimate Guide to VCE Creative Writing .

Whether you consider yourself a Frankenstein expert, or someone who is a bit taken back by the density of the novel and Shelley’s writing, do not fret! Below I will outline 3 tips which, will hopefully give you a clearer perspective on how to approach writing on Frankenstein! Let’s get started!

1. ALWAYS TRY TO TALK ABOUT SHELLEY’S CONCERNS

Since the book was set during the Age of Enlightenment and the Romantic era, Shelley essentially used Frankenstein as a vessel to criticise and warn readers against many of the values upheld during her era. It’s therefore crucial that you address this!

The late 18th century and the first decades of the 19th century were exciting times for science and exploration. Shelley’s two main protagonists, Walton and Frankenstein, both passionately sough to discover what had previously been hidden. Walton wanted to be the first to find a passage through the Arctic Circle; Frankenstein wanted to be the first to create manmade life, to uncover the mysteries of Nature.  Both men claimed to be desirous of benefitting humankind but both wanted glory more. This obsession to win accolades for their discoveries will destroy Victor, and turn Walton for a while into a hard taskmaster over his crew.

Juxtaposed against these two characters is Henry Clerval. Clerval, too, has an inquiring mind but he also cares about humanity, family and friends. He represents the balanced human being who is sociable, compassionate, intelligent and loyal to his friends. Victor’s ability to reanimate the dead, to bring to life his gigantic Creature using the newly discovered electricity, makes him a genius but also a monster. In his inexperience he botches the work producing a hideous and terrifying creature with, ironically, initially all the virtues of the ideal man of he world. Repulsed by his amateurish handiwork, Victor abandons his creation, setting in place the vengeance that will unfold later.

Try to ground any response to Shelley’s text in the enormous enthusiasm for new discoveries and new geographic phenomena that attracted lavish praise for those who went where others feared to tread. It was this praise that drove Walton and Frankenstein to exceed reasonable expectations becoming reckless and careless of the consequences of their actions.

2. ALWAYS TRY TO DRAWS LINKS AND CONTRAST DIFFERENT CHARACTERS AND THEMES!

Walton, Frankenstein and the Creature are interconnected in so many ways – whether it be their isolation, ambition, desire for companionship, desire for vengeance or the Romantic values they share. I’ve also noted that it is also really easy to connect themes in Frankenstein as the tragic story-arc of the novel is built upon many different causes. What I mean by this is that there is a clearly define relationship between isolation, ambition and vengeance (and ultimately tragedy) in the sense that isolation is what led to the brewing of unchecked ambition which essentially causes the resultant tragedy.

Take Frankenstein for example: having left his loving family and friends, who provided him with love and companionship for Ingolstadt, there was no one to hold him back from his natural tendencies towards unchecked ambitions, leading him to creating the monster who out of spite towards society kills all of Frankenstein’s loved ones, leading them towards the desire for mutual destruction. Being able to see these links and draw them together will not only add depth to your writing but it also arms you with the ability to be able to deal with a wider array of prompts.

3. ALWAYS TRY TO LOOK FOR MORE NUANCED EXAMPLES AND DISCUSSIONS!

While Walton, Frankenstein and the Creature can be discussed incredibly thoroughly (and by all means go ahead and do it), but it is also very important to consider the novel as a whole and talk about, if not more thoroughly, on the minor characters. While characters such as the De Laceys, villagers and the rustic in the forest can be used to highlight the injustices brought upon the creature and people’s natural instincts of self preservation and prejudice, innocent characters such as Elizabeth and Justine can be used to emphasise the injustice of society and the consequences of unchecked ambition and isolation.

Henry Clerval (like previously mentioned) can be contrasted against Walton and his best friend Frankenstein to show that as long as we have a balanced lifestyle and companionship, ambition will not lead us to ruin. Characters such as the Turkish merchant can also have parallels drawn with Frankenstein in telling how our selfish desire and actions, born out of inconsideration for their consequences, can backfire with great intensity. Lastly the character of Safie (someone I used a lot in my discussions) can be compared and contrasted with the Creature to show the different treatment they receive despite both being “outsiders” to the De Laceys due to their starkly different appearances.

Mentioning these characters and utilising these contrasts can be monumental in showing your understanding of the novel and by extension, your English analytical ability.

[Video Transcription]

‍ Hey guys, I'm Lisa, welcome back to Lisa's Study Guides. Today, we're going to be talking about Frankenstein and breaking down an essay topic for it. So in the past, I've done plenty of videos looking at different types of essay topics and breaking them down by looking at keywords and then going into the body paragraphs and looking at those ideas. This time round, the takeaway message that I want you to leave with is understanding what types of evidence you should be using inside your body paragraphs. Specifically, I wanted to talk about literary devices or metalanguage. Mary Shelley, the author of Frankenstein uses so many literary devices that it's impossible to ignore. If you are somebody who is studying this text or other texts that you use and are heavily embedded with literary techniques, then it's really important that you don't just use dialogue as part of your quotes, but actually reading between the lines. I'll teach you on how it's not just about finding dialogue, which you include as quotes inside your body paragraphs, but reading between the lines, so looking at literary devices like metaphors, symbols, imagery, so let's get started. Mary Shelley's Frankenstein constitutes escaping critique of the prioritization of scientific advancement over human welfare and relationship. Dr. Frankenstein is fascinated with science and discovery, he is consumed with the idea of a new and more noble race by stitching up dead body parts from a cemetery. He feverishly works away at his experiment until one day the creature is born. Frankenstein is horrified at the living thing he has made and completely rejects the creature, leaving it without a parental figure. The creature is left alone to look after himself. He educates himself and on repeated occasions tries to approach people in society, however, is rejected every time because of his monstrous appearance. As a result, the creature becomes enraged at humanity and Frankenstein's unfair treatment towards him and consequently exacts revenge on Frankenstein and his family. The essay topic we'll be looking at today is, Our sympathies in this novel ultimately lie with the creature. Discuss. So in previous videos, we've looked at keywords, how to identify them and how to define them. Since it's pretty straightforward for this essay topic, I thought I would skip that part and then go into the more nitty gritty with the body paragraphs. But, if you are unfamiliar with these steps, then I'll link them in the card above and also in the description below so you can have a look at how I went ahead and did the keyword section in my planning, now back to the prompt. Unequivocally within Frankenstein, Shelley portrays sympathy as spread throughout the text through depicting the creature as innately human through his desire for relationship and the challenges he faces at the hands of the prejudice enlightenment society he's born into, Shelley elicits sympathy for his situation. However, through the notable absence of the female gender throughout the text, Shelley portrays those silent within society as most deserving of sympathy. So, with this in mind, here are the potential paragraphs in response to this prompt. Paragraph one, Shelley's depiction of the creature as innately human motivates support for his challenges at the hands of a prejudice society. The action of the creature to open his dull yellow eye, symbolic of his nature as a human being alongside a green wrinkled on his cheeks, with one hand stretched out, indicates his simple desire for paternal connection. Through constructing the creature's actions as innately human Shelley acts proleptically of the inequitable experiences the creature will experience throughout the structural architecture of the text. And through doing so, depicts his character as worthy of support. Similarly, through the metaphor of fire, Shelley explores the duality of progress and innovation of which the creature desires. The fire, one that gives light as well as heat, yet also causes a cry of pain, indicates the hardships of the creature in his isolation, whereby, his forced to withdraw from his desire for education. Upon viewing himself in a pool, the creature becomes "fully convinced that I was in reality [a] monster" with the consequent sensations of despondency and mortification granting the reader the opportunity to sympathize with the creature in order to indicate the intensely negative social prejudices that are inflicted upon the creature. So you can see that we've looked at symbols of the creature's nature and the metaphor of fire to support our topic sentence. Using literary techniques is what's going to make the difference between you and another student who might be saying the same thing. Why? Because when you look at literary devices, it means that you're reading just beyond the lines, just beyond what's in front of you. You're now introducing your own interpretation, so you're looking at fire and thinking about what that means in connection to the text, and why Mary Shelley would use the term of a fire and revolve her discussion around that. So let's see how we keep doing this in the next body paragraph. Paragraph two, Shelley indicates the significance of relationships as a key element of human nature that the creature is denied, motivating affinity from readers. In replacement of human relationships, the creature rather seeks comfort within the natural world. The metaphorical huge cloak that the creature takes refuge within indicates this, illustrative of an ecosystem, the forest allows the creator to surround himself with life. The subsequent attempts to "imitate the pleasant songs of the birds" reveals the desperate urge of the creature for companionship as he is abandoned by the paternal relationship represented by Victor Frankenstein, which forms a core of human relationships. Again, here we've discussed the metaphorical huge cloak and its connection with the forest, I strongly encourage you to have the goal of discussing at least one literary device per body paragraph. And no, there is no such thing as talking about too many literary devices because it's really just about whether or not your argument is concise and whether or not you're backing that up with evidence. Paragraph three. However, it is Shelley's depiction of the submissive female sex within Frankenstein that becomes most deserving of sympathy. Each female character is characterized as passive, disposable, and they're serving a utilitarian function, namely as a channel of action for the male characters within the text. Notably, the complete lack of absence of Margaret Saville, functioning only as an audience for Walton's letters exemplifies this. Margaret's role within the text is simply to enable Walton to relay the story of Frankenstein and as such were the most necessary character of the texts whilst the most distant. This ironic dichotomy enables Shelley to exemplify the difficult role of the female within society, arising sympathy from the readership. Here, even the purposeful emission of a character is discussed as a language technique. So, this type of literary device definitely tops the cake because you're literally looking at what's not even there. That's definitely reading between the lines. Frankenstein is a very complex novel, and sometimes that's what makes it a difficult text to study. But, it lends itself to many unique interpretations and it's heavily dressed with heaps of literary devices or metalanguage, however you want to call it. So, that's what makes it an absolutely fantastic text for high school students to study. If you wanted to find out more on how to nail a Frankenstein essay, then I'll link you to my blog just down below, because there are definitely more tips there to help you excel in this particular text. Thank you so much for watching, and especially even if you're not studying this text, I hope you've been able to take something away from this video. And I'm confident that you have because talking about literary devices is definitely a topic that isn't necessarily the fore front of discussion in classrooms, and it's something that a lot of people struggle with. So, I hope you are able to walk away with a new goal in sight in order to improve your English essays. So, I will see you guys next time, thank you so much for joining me, see you guys soon. Bye!

This blog covers choosing the perfect topic for your next Oral Presentation. To get a better overview of what's expected of you in Oral Presentations, writing up your speech, and speech delivery, check out Our Ultimate Guide to Oral Presentations.

The following is the LSG criteria that will ensure you find an interesting topic!

Step 1: Select a topic that has appeared in the media since 1 September of the previous year

Getting started on this first part can be tricky, especially if you want to choose something a bit more original or fresh.

In any case, the first thing you need is an event . An event in the VCE English context is anything that happens which also generates opinionated media coverage —so, it’s not just an event but it has to be an event that people have published opinions about, and they have to have been published since September 1.

You might wonder why we don’t go to the issue straight away. Here’s a hypothetical to illustrate: if you asked me to name an issue, the best I could probably come up with off the top of my head is climate change. However, if you asked me to name an event, I’d pretty easily recall the Australian bushfires—something much more concrete which a) has generated specific and passionate opinions in the media; and b) can easily be linked to a wider issue such as climate change.

So where do you find an event? If you can’t think of a particularly interesting one right away, you could always try Wikipedia. Seriously, Wikipedia very helpfully has pages of things that happened in specific years in specific countries, so “2019 in Australia” might well be a starting point. The ABC news archive is also really helpful since you can pick dates or periods of time and see a good mix of news events from then.

I wouldn’t underestimate your own memory here either. Maybe you attended the School Strike for Climate and/or you feel vaguely disappointed in the government. Maybe there was something else happening in the news you remember (even though it is often about the environment these days). It doesn’t have to be from the news though—maybe there was a movie or TV show you watched recently that you have thoughts about. You could really do a speech on any of these, as long as you suspect there might be recent, opinionated media coverage .

Only once you have an event should you look for an issue . This will be a specific debate that comes out of the event, and can usually be framed as a “whether-or-not” question. The bushfires, for example, might generate debate around whether or not the Australian government is doing enough to combat climate change, whether or not Scott Morrison has fulfilled his duties as Prime Minister, whether or not it’s appropriate to discuss policy already when people are still grieving. All of these issues are going to be more current and more focused than just ‘climate change’, so pick one that resonates for your speech. In the next couple of sections, I’ll offer you a list of 2019-20 issue-debate breakdowns (i.e. topic ideas!).

Most importantly, choose an event/issue that is interesting for you . You’re the one who’s going to deal most intimately with this event/issue - you’ll have to research multiple sources, come up with a contention and arguments, write the essay, present the essay - so make it easier for yourself because you’re going to be spending a lot of time completing all these steps. Besides, an inherently interesting topic means that you’ll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.

Step 2: Filter out the boring events/issues

“Your aim of this entire Oral Presentation SAC is to persuade your audience to agree with your contention (whatever that may be) based off the issue you’ve selected.”   -The VCAA English Study Design

Next, you’ll need use this test to see whether or not your topic will stand up to the test of being ‘interesting’ enough for your audience. My first question to you is: who is your audience?

Is it your classroom and teacher? Is it a handful of teachers? If you don’t know, stop right now and find out. Only continue to the next question once you’re 100% certain of your audience.

Once you know who your audience is, ask yourself: Does this event and issue relate to my audience?

This question matters because “your aim of this entire Oral Presentation SAC is to persuade your audience to agree with your contention (whatever that may be) based off the issue you’ve selected.” This means that what you say to your audience and how they respond to your speech matters . Even if your assessor isn’t counting exactly how many people are still listening to your speech at the end, everyone knows a powerful speech when they’re in the presence of one - it hooks the audience from start to end - and an assessor, consciously or subconsciously, cannot deny that the collective attentiveness of the room has an influence on their marking of your Oral Presentation.

That’s why you should choose a topic that your audience can relate to. This is just my personal opinion, but I don’t find a speech on the Adani Coalmine (broad issue = climate change) as interesting and engaging as School Strike For The Climate (broad issue = climate change). That’s not to say that I’m for or against the Adani Coal Mine, but I know that if I’m speaking to a crowd of 17-18 years olds, the School Strike For The Climate would be a better choice because it’s going to hit a lot closer to home (1) (perhaps some of those in your audience - including yourself - have attended one of those strikes).

To extrapolate this idea further, I try to avoid topics that have too many unfamiliar words for my audience. For example, I recall one year when one of my students decided to take a stance on pain medications and that they should be restricted to only over-the-counter in pharmacies. Have I lost you already with the ‘over-the-counter’? Yeah, I have no doubt that some of you are unfamiliar with that word (don’t stress, I didn’t know it either when I was in school). On top of this phrase, she used words like ‘Schedule A’, ‘Pharmaceuticals Benefits Scheme’, ‘Medicare rebate’, ‘opioids', ‘subsidised’, and other words that aren’t part of the usual vocabulary of her audience. I’d take heed because in order to captivate the audience’s attention, they need to understand what you’re talking about. As soon as there’s something they don’t understand, it becomes much harder for them to follow your speech, and before you know it, Sarah, the class sleeper is taking her afternoon snooze and the others are struggling to keep their eyes open! Having said all that, if you have an equivalent jargon-heavy topic like pain medications that really does interest you, then go for it. Just bear in mind that you’ll need to explain any new vocabulary during your speech to keep your audience’s attention.

Keen to learn more? My How To Write A Killer Oral Presentation eBook continues on this same path, covering the next steps in your Oral Presentation journey!

• Access a step-by-step guide on how to write your Oral Presentation with simple, easy-to-follow advice
• Read and analyse sample A+ Oral Presentations with EVERY speech annotated and broken down on HOW and WHY students achieved A+ so you reach your goal
• Learn how to stand out from other students with advice on your speech delivery

Sounds like something that'd help you? I think so too! Access the full eBook by clicking here !

For an overview of the EAL study design plus tips and tricks for reading comprehension, time management and more, check out The Ultimate Guide to EAL .

The listening tasks of the EAL exam are worth 20% of the total exam marks.  Since this section was introduced to the exam fairly recently, limited past exam questions are available for students to practice. In my blog post EAL Listening Practice and Resources , I provide you with some awesome listening resources that you should definitely check out! And more importantly, I teach you a step-by-step approach for how to use those listening resources to help you better prepare for EAL listening. If you haven’t already read that blog post, go and check it out before coming back to this one so that you understand the steps we’re following.

Here we’ll be working through another exam-style practice to help us improve on the EAL listening section. We will be adopting the same strategies introduced in EAL Listening Practice and Resources . For more advice on how to boost your skills in the listening section, check out Tips on EAL Listening .

Use this link to access the audio clip that we’ll be using in this listening practice: Hospital Parking Fees - Classroom - BTN (abc.net.au)

Download this worksheet so that you can work through this listening task on your own too!

1st Time Listening

Step 1:  read and annotate background information (below).

• Highlight the name of the speakers.
• Underline important information.

Step 2:  Read and Annotate the Questions 

Develop a system that works well for you personally. For example, I usually underline the keywords that give me information on ‘what’, ‘why’, ‘how’, ‘where’, ‘when’. I highlight the speakers in the example below. 

Step 3: Listen to the Audio (Without the Visual)

Hospital Parking Fees - Classroom - BTN (abc.net.au)

Step 4: Write Down Side Notes

2nd Time Listening  

Step 1: Fill in the blanks and try to be aware of words you don’t quite ‘get’.

This is where you have the opportunity to fill in the blanks for the challenging words that you did not pick up in the first round. For example: petition, democratic, campaign, rare. 

COMMON MISTAKE: check the spelling for ‘rare’, not ‘rear’

Step 2: Note down how the speakers convey their attitude, feeling, ideas, etc.

Let's take a look at this section of the audio clip:

GIDON: ‘ It gives me a really good feeling to know that I've made a change, that change has happened. I think what I would like to say to all the other people, especially kids who want to start change, is that it really does sometimes seem impossible that someone that doesn't have a vote and who doesn't have as much democratic power really as adults do, I think what this has shown is that it really is possible to do these things that we still can affect our country and that small people can make great change.’  

Here’s one way I analysed the delivery of the audio:

The cheerful and hopeful tone used to deliver the message that the change brings him ‘a really good feeling’ demonstrates Gidon’s approval of the change in parking fees. Furthermore, Gidon states this in a high pitch and fast pace, unveiling that he is pleased and satisfied about the reduction in hospital parking fees . 

Step 3: Interaction between speakers. 

This step does not apply to this particular audio clip since the audio/ video is a recount of the event rather than direct conversation between two or more speakers. 

3rd Time Listening  

The transcript is available HERE . 

Whilst reading through the transcript with the audio on, try and pick up any information that you missed in previous rounds of listening and also words that you might have spelt incorrectly. 

Sample Questions and Answers

Have a go at these VCAA-style questions that I wrote up, and then check out my sample answers to see how your own answers compare. You will probably notice that a lot of the information you gather from the ‘W’ words actually provides you with the answers to the majority of the questions here.

Sample Questions

Sample answers.

1.  Gidon’s petition is about lowering the fee for parking in hospitals and putting a limit on how much the hospital can charge.

2. Gidon has a rare blood condition which means he visits the hospital quite regularly. Since his diagnosis, Gidon’s family paid more than ten thousand dollars just to visit the hospital.

3.  When hospital parking fees are too expensive, patients will buy food and other necessities instead of going to the hospital. Thus, patients may not go to the hospital because parking is too expensive, these poor patients need to choose between paying parking fees and buying food. 

4. Regular hospital attendants will receive a 90% discount on what they are currently paying.

 5. Families, patients and carers for regular visitors of public hospitals.

COMMON MISTAKE: check the spelling for ‘carer’, not ‘career’ or ‘carrier’

6. Gidon is very happy and proud of the change in hospital fees. Gidon uses a cheerful and hopeful tone (1st mark) to deliver the message that the change brings him ‘a really good feeling’ and he feels ‘unbelievably proud’ that ‘small people can make great change’ (2nd mark). In addition, Gidon states this in a high pitch and fast pace, demonstrating that he is pleased and satisfied with the reduction in hospital parking fees (3rd mark).

--- I hope you found this guide handy! For further tips and tricks on tackling the EAL Listening Exam, check out How To ACE the EAL Listening Exam .

You’ll often find that study guides begin with a section on historical context. Even though it might be tempting to skip over this section, there’s a lot you can take away from understanding the period of time in which your texts are set in. I’ll show you how with examples for both Ransom and The Queen in this video.

Let’s start with a brief overview of why you need to know the historical context. Context, a topic explored in detail in our  How To Write A Killer Text Response , plummets you back to the era of when your texts were set. You effectively ‘step into the shoes’ of the people living in that time, and in doing so, gain a better understanding of their views and values. People’s views and values are often shaped by important events of the time, social culture and norms, and everyday experiences. For example, think about your own context. You’re part of Generation Z, and one defining part of a Gen Z experience is growing up with technology from a young age. Social media is just normality, pretty much everyone has it, uses it as a source of online communication. So how does this shape your views and values? By having access to online information in this way, Gen Zers tend to be more passionate about social issues, because people of this age can leverage social media to voice their opinions or follow those who resonate with them. Only 20 years or so ago, we only had giant media that voiced their own opinions via newspapers or TV. You didn’t have such a wide array of voices from people of different races or experiences. Think about the recent death of George Floyd, and the incredible ripple effect his death had on the world and the power of social media in the Black Lives Matter movement.

So looking at The Queen and Ransom , we want to dive right into their respective eras and understand how people thought and felt during these time periods. This helps us better understand what the messages Frears and Malouf are trying to tell or teach us through their works, enabling you to write better essays. Let’s start with The Queen.

The 1980s to 1990s was a time when the world was  enamoured  by the Princess of Wales (or Diana, as we’ll call her). Her shyness, broken family history, ongoing charitable efforts, and iconic fashion choices made her a royal favourite. She was dubbed the ‘People’s Princess’ not only because of her relatability but also because of her tenuous relationship with the royal family. She’d been wronged by the royal family; first by Prince Charles’ affair with Camilla, then with the lack of support from the Queen when she asked for marriage advice.

At the time, public opinion of the royal family was greatly influenced by tabloid papers - after all, there was no Instagram for the royals to tell their own story. After an estimated 750 million people tuned in to watch Diana’s wedding to Charles, paparazzi began documenting her every move. Princess Diana became the most photographed person in the world, with paparazzi offered up to £500,000 for even grainy pictures of her (that’s equivalent to $1.5 million AUD today!). In the competitive fight to snap the most profitable photos of Diana, the paparazzi invaded her most private moments, taking shots of her kissing Dodi Al Fayed while on holidays, and sunbathing topless at her hotel in Spain. Diana’s despair and requests to be left alone remained unanswered, so when the paparazzi chased her to her death in 1997, the  public response was emphatic .

The public turned against Britain's press and photographers, and the overwhelming outpour of grief is a testament to the injustice the public felt on behalf of Diana. To add insult to injury, the monarchy’s initial reticent response was deemed inadequate, negatively shifting the public’s attitude or ‘mood’ - a term we often hear in the film - towards the royals. The monarchy needs to stay in the public’s favour, lest the end of the institution.

That’s why  The Queen   is a film about change on several fronts,  the first dynamic response from the public, The Queen abandoning royal tradition and acquiescing to public demand, and how all this happens within months of  Tony Blair’s new premiership .

With this, you can understand why change is one of the biggest themes discussed when comparing these two texts. Let’s look at Ransom.

Moving back a further 3000 years earlier than The Queen ,  Ransom is  a retelling the Trojan War, one of the most famous events in Greek mythology. To truly understand random, you must first familiarise yourself with Greek mythology, the Trojan War, and The Iliad. We’ll have a look at these three as if they’re matryoshka dolls (where dolls of decreasing size are place done inside another):

The biggest doll: Greek mythology

We’ll start with  Greek mythology  since it’s the umbrella knowledge you need to know before understanding the Trojan War and  The Iliad . Essentially a collection of stories about gods, heroes and other creatures, Greek mythology was used by ancient Greeks to explain the existence of the world. Without the scientific developments we’ve discovered to date, ancient Greeks attempted to explain the creation of the earth, human behaviour, death and love through their mythical stories. Notice how the gods  (Iris, Hermes)  appear  when  Priam needs help and advice throughout  Ransom. 

The reason why Greek mythology is still prevalent in modern society is that the lessons taught in these stories are still applicable today as they depict universal truths about human qualities such as our strengths and flaws. Without you even realising it, our world today is filled with references to Greek mythology. Take, for example,  Pandora , (the jewellery company that sells little charms you need to buy separately to make up a bracelet), whose namesake comes from the myth about Pandora’s box (basically, Pandora’s unchecked curiosity led her to open a forbidden box, releasing all illnesses and death into the world - side note, could we blame Pandora for COVID-19 then? Just kidding). Or take the first  God of War  game ,  which follows the story of Kratos whose ability to be a loving father is overpowered by his anger and desire for vengeance. Interestingly, the tale of Pandora’s box also is featured in this game.

Luckily for you though, you don’t have to be an expert in  all  Greek mythology, but you should probably have a good gist of the Trojan War.

The middle doll: The Trojan War  

Now we narrow things down to  one  of the most legendary Greek myths - the Trojan War.  This war might be familiar to you because it is the backdrop and context for Malouf’s  Ransom . 

The myth begins with  Zeus , the father of all gods, and his brother  Poseidon  lusting after the goddess of water,  Thetis . However, they are warned by  Prometheus , an intelligent mortal - better known for being chained to a rock as a result of stealing Zeus’ fire - that Thetis would give birth to a son who would be mightier than his father. Alarmed at this possibility, the two gods arrange for Thetis to marry Peleus, a mortal. Since humans were believed to be inferior to gods, this ensured that Thetis’ child would be a mere mortal, rendering the prophecy redundant.

Any potential issues appeared resolved until the gods omitted  Eris , the  goddess of discord  from Thetis and Peleus’ wedding invitation list. Furious at this insult, Eris arrives at the wedding with her own plans. She inscribes a golden apple with the words, ‘To The Fairest’ and throws it amongst the guests. Naturally, all goddesses want to claim the prize. Eventually, the choice is narrowed down to three of the most beautiful goddesses:  Aphrodite ,  Athena  and  Hera . Unable to reach a decision, they turned to Zeus to judge who should win the title. However, Zeus refuses to do so and instead, elects a mortal with good judgment of beauty to make the choice. This mortal is  Paris, Prince of Troy  and whose birth produced a prophecy that he would one day bring misfortune to his people and town.

The three goddesses approach Paris with not only their beauty but also bribes. Hera offers him power and control over Europe and Asia, Athena promises that she will make him a great warrior while Aphrodite proposes to him the most beautiful woman on earth. Since Paris is more interested in women than power and war, he awards Aphrodite with the golden apple. With this exchange sealed, the beginning of Troy’s troubles begin as the most beautiful woman on earth, Helen is already married to Menelaus, king of Sparta.

After a diplomatic mission to Sparta, Paris elopes with Helen, who falls in love with Paris upon their first encounter (literature concerning this part of the story remains ambiguous). Upon discovering Paris’ betrayal, Menelaus calls on Helen’s many suitors to invade Troy and retrieve his wife. His brother,  Agamemnon  recruits and leads the Greek army into battle against the city of Troy, and thus begins the Trojan War.

And finally, the baby doll: The Iliad

Homer’s  The Iliad  is a poem that begins ten years into the Trojan War. By now, Thetis, the goddess who had married Peleus, has given birth to their mortal son  Achilles , the mightiest of all Greeks, as predicted by the prophecy (Achilles should definitely be familiar to you because he’s the main character in Ransom !). Although he is a fighter for Agamemnon, their relationship is strained after Agamemnon demands that Achilles give up his beloved war prize,  Briseis . Since Agamemnon desires Briseis for himself, this enrages Achilles to the point where he refuses to fight in the Trojan War. This leads to dire consequences for the Greeks as they lose many men in battle and are forced to retreat to their ships after the Trojans successfully turn the tide of the battle.

Concerned for his Myrmidons (a group of the strongest and skilled warriors who fight for Achilles) yet too proud to budge from his position, Achilles is persuaded to allow his close friend and comrade Patroclus, to wear Achilles’ renowned armour and lead his Myrmidons into battle (ah, we’re starting to see even stronger connections to  Ransom  now). This strategy is designed to rouse fear in the Trojans and cause them to temporarily retreat - enough time to allow the Greeks to rest and recover - as they’d see ‘Achilles’ back in battle.

Despite Patroclus’ skills as a soldier, Achilles insists that Patroclus only fight until the Greeks can successfully fend off the Trojans away from their ships. During the fight, however, Patroclus disobeys Achilles’ orders and continues to pursue the Trojans back to their gates. At this point, he encounters and is killed by Hector, the prince of Troy and leader of the Trojan army.

Fuelled with rage and grief over Patroclus’ death, Achilles agrees to fight once again for the Greek army, much to Agamemnon’s pleasure. In their next battle, Achilles kills many warriors and the Trojans are forced to retreat back to the safety of their walls. Hector, against the will of his family, faces Achilles alone outside the walls of his home, knowing that Achilles is on a path to avenge Patroclus’s death. In a fierce battle between the two greatest Trojan war warriors, Hector was killed. Achilles takes Hector’s body with him and dishonours it day after day by chaining it to a chariot and dragging it along the walls of Troy. Malouf begins the  Ransom  story here. The gods agree that this blasphemous behaviour cannot continue and send the god Hermes to guide king Priam, father of Hector to the Greek camp. Once in their camp, Priam falls to his knees and pleads Achilles for the body of his son. Touched by the king’s words, Achilles relents, allowing Priam to finally hold a proper burial for Hector.

Appreciating the differences between  The Iliad  and Ransom storyline will lead to a better understanding of the themes and symbols in  Ransom .

One of the main differences between the two texts is their depiction of  Priam’s  journey to  Achilles . In  The Iliad , this journey is explored only momentarily and focuses more on the presence of Hermes. The inclusion of the new character  Somax  in Ransom also offers a new perspective on this old tale. While  The Iliad  only touches upon Achilles’ and Priam’s suffering, Malouf delves into the emotional journey that the characters undergo during the darkest episode in the Trojan War.

That’s why the themes of  grief ,  loss  and  death  should be quite prominent in your comparison between  Ransom  and  The Queen  along with the importance of  stories  and storytelling.

In my new study guide  Ransom and The Queen , I show you how you can use your knowledge you’ve learned there to write A+ essays. Take a look at our study guide below!

Additional resources for Ransom and The Queen

A Killer Comparative Guide: Ransom and The Queen

[Video] Ransom and The Queen (Themes, Film Techniques, Literary Devices)

How to Write a Killer Comparative Ebook

Ransom Study Guide

[Video] Ransom Themes (Revenge, Grief, Forgiveness and Essay Topics)

If you are anything like me, the thought of standing up in front of a classroom, or even a small panel of teachers, having to hold the floor for five minutes, and being assessed on your performance is just about as terrifying as it gets. Where other students thrived on the oral presentation SAC, embracing its change of pace in comparison to the other written tasks, I dreaded it. I knew the feeling all too well: legs jelly-like and quivering, breath short and rapid, palms sweating, tongue uncomfortably heavy as the words tumble out too fast to keep up with…essentially (as I, a true master of the English language, would put it) the absolute worst. 

Fast forward to the present day and, I hate to break it to you, I am still not a fan of public speaking. But guess what? I did my oral presentation and I’m still alive to tell the tale. Plus, as a bonus, it did not involve me passing out, and as a double bonus, I still ended up with a great result. So I am here, my fellow members of the ‘Might Go Ahead and Drop Out of VCE so I Don’t Have To Do My Oral’ club, as proof that it can be done and to help you get through it. 

What Do We Mean by ‘Overcoming’?

As I have already mentioned, emerging triumphant from your oral does not require you to magically become a public speaking fanatic. Let me manage your expectations right now: that probably isn’t going to happen overnight, and likely never will. But you can still be good at public speaking, perhaps great at it, even if it scares you. Trying to figure out a magical formula of preparation that will have you breezing through the oral in total zen-mode is not only going to waste your time, but will likely also make you more frightened when you realise that you can’t completely shake the nerves. So, by accepting the reality that the fear probably isn’t going to go away any time soon we can start to learn how to manage it, at least succeed in spite of it, and hopefully even use it to our advantage. 

Selecting a ‘WOW’ Topic

Arguably the best way to improve the delivery, and overall quality, of your oral presentation is to choose a topic and contention that you actually care about. In our eBook How to Write a Killer Oral Presentation we cite the first pillar of the process as being to choose a ‘WOW’ topic and contention . As Lisa says,

“an inherently interesting topic means that you’ll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.”

This becomes particularly significant for someone dealing with a fear of public speaking because of this basic principle: when you care about something it is easier to talk about, even in front of other people. This means that you don’t just need to choose a topic that will engage your audience, but also one that you yourself find engaging. 

Fear is an intense emotional response to a situation, and as we know it can easily consume us in the moment. If your oral topic is boring and does not interest you on a personal level then what is going to be the strongest emotion you feel when delivering it? Fear. However, passion is another intense emotional response, and so if you are passionate about the arguments you are making then, although your fear will still be there, you will feel another strong emotion that can balance it out. 

So how do you find a contention that you care about? Often the best place to start is to think about the things that affect your life. We know that your topic has to have been in the media since September of last year, but lots of things are on the news and they don’t only matter to the older generations. Think about issues that relate to schools, jobs, climate change, animals, drug-taking, fashion – these are all aspects of our lives that you might be able to form a personal connection to, and that personal connection will help you find the passion you need to get through the speech, and also get through to your audience. Check out our 2021 Oral Presentation Topics for some topic inspiration, and then learn how to create a killer contention here . 

More About the Voice, Less About the Words

It is quite likely that if you know you struggle with the delivery of oral presentations, you might try to compensate by overreaching with your script. For someone who feels more comfortable with written assessments, it can be easy to try to make the oral as close to one as possible by writing it almost as you would an essay – using lots of impressive vocabulary, complex sentences and a formal structure. This approach is all well and good until you try to say it all out loud. This isn’t to say that your command of language isn’t important to the oral, but by trying to craft a safety net of eloquent, written words you are simply distracting yourself from what makes this SAC unique; you can’t avoid the fear by avoiding the task altogether. So, you need to write a speech that you can say, not just one that sounds good on paper. Writing with the wrong sense of tone is one of the points we touch on in 5 Common Oral Presentation Mistakes.

During the writing process, you need to make your speech work for you rather than make yourself work for it. This means constantly thinking about what the words will sound like in front of an audience, and not making the performance unnecessarily hard for yourself before you even start practicing. When you’re already nervous about speaking in front of other people, the last thing you want to have to worry about is tripping over difficult language to make convoluted arguments. So, simplicity and punch is always better than verbosity and pretence. Here are some ideas of how to use this strategy:

• Make your arguments short, sharp, and to the point. Avoid going off on any tangents, and just stick to the main points you need to get across. You are trying to persuade your audience, not confuse them. 
• Use a mixture of long and short sentences, because a script that uses varied sentence structures is easier to say out loud without stumbling due to nerves. Short, bold statements are both less prone to being mangled by nerves and more memorable for your listeners – just make sure you don’t only use short sentences and prevent your oral from flowing. 
• Think about where you can schedule in pauses for emphasis, because these will give you space to stop and catch your breath without revealing your nervousness. 
• Write like you speak! Of course you want your tone to be assertive and intelligent, but it is possible to maintain this whilst also incorporating some relaxed language. You are allowed to use the first person in this task, so take the opportunity to personalise what you say, which will help you appear more comfortable and also form a personal connection with your audience. Remember that an oral is essentially a conversation with your audience, even if they don’t get to speak back, and this means that as long as you don’t use slang you can have some fun with your delivery. 
• Don’t rely on an essay-like structure. Your audience won’t know when a paragraph ends, so the way the script looks on the page is largely irrelevant. Make it easy for yourself to follow. 

Remember, when you struggle with a fear of public speaking it is difficult to make what you say in the spotlight sound natural. To overcome this, you want to prepare yourself to almost sound unscripted (as ironic as that sounds). Without slipping into an overly casual or informal voice, it is best if you sound comfortable and relaxed when addressing your audience. This is of course the exact opposite of how you might feel going into the assessment, so you write a speech that will make you seem like you aren’t worried about passing out. The ancient adage ‘fake it ‘til you make it baby’ definitely rings true here. However, that said, really believing what you are saying and caring that the audience believes it too, as we advised earlier, will also help you avoid sounding forced and uncomfortable. 

Preparation and Memorisation

Another mistake often made when attempting to compensate for a fear of public speaking is to rely too heavily on cue cards in the oral. Having your entire speech on hand when you complete the assessment just in case you get lost might seem like a good idea, but it is most likely actually going to hold you back from giving your best performance. Ideally, you want to have done enough preparation so that you do not need to look at your notes at all. As we discussed earlier, having a script that is as simple as possible, and that mimics your speech patterns, will help you sound less fearful – and will also be easier to memorise.

Memorise your speech by practicing it as much as possible. Make sure to get your script written as far in advance as you can, so you have plenty of time to practice without stressing yourself out further. When you do practice, do so standing up, envision an audience in front of you (or practice in front of friends or family), and rehearse how you might move around the space as you talk. You can start by having your whole script with you, but eventually you should work up to only needing a few dot points for each section that can jog your memory if you forget. This strategy might seem to make the speech even scarier, but in reality not reading off a script will help you relax into the performance, and allow you to focus on your movements and voice. Practicing enough to have the speech memorised will also help build your confidence. 

Making the Most of Your Nerves

As much as I would love to tell you that you can be ‘cured’ of your fear of public speaking, it is best to accept that the nerves are going to be there and learn how to succeed in tandem with them, rather than just hoping that they go away. Instead of being convinced that fear is going to be your downfall, try to think about how, as impossible as it sounds, you can use the nerves to your advantage. Apart from making you jittery and uncomfortable, nerves also boost your energy and adrenaline, and with the right attitude you can turn this energy into confidence. Instead of letting your nerves cause you to close up, you can use them to help you open up. Often those of us who fear feeling exposed in front of a crowd have quiet, reserved personalities that we might think of as preventing us from being able to perform. However, when our bodies are flooded with nerves this ‘wired’ feeling can be used to help us project our voices and to take up space, therefore driving us to appear more outgoing. Instead of just making you feel ‘on edge’, a manageable amount of nervous energy can give you an edge that will amp up your performance. 

Even if all of this sounds completely different to your experience of fear, what I am trying to communicate is that the way you frame the oral, and the nerves that come with it, in your mind makes all the difference. If you convince yourself that you are too scared of public speaking to ever succeed with this task, you are severely limiting your chances of achieving a positive outcome. So, focussing on retraining your mindset in the lead up to delivering your speech is very important. Try not to think of this one assessment task as being a make or break five minutes, and instead view it as a learning experience that you can use to your advantage. After all, public speaking is something most of us will have to deal with multiple times over the course of our lives, so you may as well work on getting better at it. That said, my number one piece of advice about the oral presentation is to…*drumroll please*...not take it too seriously! This might sound unrealistic, and I am definitely not telling you to put in less effort, but the more pressure you put on yourself the more nervous you are going to be. Choose a topic that interests you, believe in your contention, make use of humour and personal anecdotes, and just have fun with what you say! Your fear is probably going to be your biggest obstacle, so make it as easy as you can on yourself and the rest should fall into place…as long as you put in the work. 

Finally, our Ultimate Guide to Oral Presentations is a must-read for anybody who is doing an Oral Presentation!

Updated 24/12/2020

• Themes, Motifs and Key Ideas
• Comparative Essay Prompt Example
• Sample Essay Topics

The Crucible is a four-act play that portrays the atmosphere of the witch trials in Salem. As an allegory of McCarthyism, the play primarily focuses on criticising the ways in which innocent people are prosecuted without any founded evidence, reflecting the unjust nature of the corrupted authoritarian system that governs Salem. It starts off with the girls dancing in the woods and Betty’s unconsciousness, which causes the people of Salem to look for unnatural causes. People start scapegoating others to escape prosecution and falsely accuse others to gain power and land, facilitating mass hysteria which ultimately leads to the downfall of the Salem theocracy. The protagonist John Proctor is one of those that decides to defy the courts and sacrifices his life towards the end of the play, ending the play on a quiet note in contrast with its frenzied conflict throughout the acts.

The Dressmaker shows the audience the treatment towards Tilly Dunnage upon her return to fictional town Dungatar years after she was wrongly accused of being a murderess. Rosalie Ham critiques the impacts of rumours on Tilly and Molly, also establishing her condemnation of the societal stigma of this isolated town. Tilly starts making haute couture outfits to transform the lives of the women in the town and help them present themselves as more desirable and elevate their ranks. However, the townspeople still see Tilly negatively, except for some individuals who are able to look past the opinions of others and get to know Tilly themselves. Ham’s gothic novel garners the audience’s sympathy towards the outcasts of the town and antagonises those who find pleasure in creating drama and spreading rumours about others.  

2. Themes, Motifs and Key Ideas

Through discussing themes, motifs, and key ideas , we’ll gain a clearer understanding of some super important ideas to bring out in your essays. Remember, that when it comes to themes, there’s a whole host of ways you can express your ideas - but this is what I’d suggest as the most impressive method to blow away the VCAA examiners. Throughout this section, we'll be adhering to the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out How To Write A Killer Comparative . I use this strategy throughout this discussion of themes and in the next section, Comparative Essay Prompt Example.

Similarities and Differences (CONVERGENT and DIVERGENT Ideas)

Social class .

Both The Crucible and The Dressmaker talk extensively about class. By class, what I mean is the economic and social divisions which determine where people sit in society. For instance, we could say that the British Royals are ‘upper class’, whilst people living paycheck to paycheck and struggling to get by are ‘lower class’.

Ultimately, both The Crucible and The Dressmaker are set in classist societies where there is no opportunity for social advancement. Whilst Thomas Putnam steals the land of poor Salemites accused of witchcraft, the McSwineys are left to live in absolute poverty and never leave the ‘tip’ where they have lived for generations. Dungatar and Salem view this social division as a ‘given’ and reject the idea that there is anything wrong with certain people living a life of suffering so others can have lives of wealth and pleasure. As such, for both Salem and Dungatar, the very idea that anyone could move between the classes and make a better life for themselves is inherently dangerous. What we can see here is that class shapes the way communities deal with crisis. Anything that overturns class is dangerous because it challenges the social order – meaning that individuals such as Reverend Parris in The Crucible , or Councillor Pettyman in The Dressmaker may lose all their power and authority.

For The Crucible , that’s precisely why the witchcraft crisis is so threatening, as the Salemites are prepared to replace Reverend Parris and deny his authority. Although Abigail and the group of girls thus single-handedly overturn Salem’s class structures and replace it with their own tyranny, Parris’ original intention was to use their power to reinforce his authority. In The Dressmaker , Tilly is threatening because she doesn’t neatly fit in to Dungatar’s class structure. Having travelled the outside world, she represents a worldly mindset and breadth of experiences which the townspeople know they cannot match.

For this theme, there’s a DIVERGENCE of ideas too, and this is clear because the way that class is expressed and enforced in both texts is vastly different. For The Crucible , it’s all about religion – Reverend Parris’ assertion that all Christians must be loyal to him ensures the class structure remains intact. More than that, to challenge him would be to challenge God, which also guides Danforth in executing those who don’t follow his will. In the case of The Dressmaker , there’s no central authority who imposes class on Dungatar. Rather, the people do it themselves; putting people back in their place through rumour and suspicion. However, by creating extravagant, expensive dresses for the townspeople, Tilly inadvertently provides people with another way to express class.  

Isolated Communities

CONVERGENT:

The setting forms an essential thematic element of The Crucible and The Dressmaker . Both communities are thoroughly isolated and, in colloquial terms, live in the ‘middle of no-where’.

However, what is starkly different between the texts is how this isolation shapes the respective communities’ self-image. For Salem, its citizens adopt a mindset of religious and cultural superiority – believing that their faith, dedication to hard work and unity under God make them the most blessed people in the world. Individuals as diverse as Rebecca Nurse and Thomas Putnam perceive Salem to be a genuinely incredible place. They see Salem as the first battleground between God and the Devil in the Americas, and as such, construct a grand narrative in which they are God’s soldiers protecting his kingdom. Even the name ‘Salem’ references ‘Jerusalem’, revealing that the Salemites see themselves as the second coming of Christ, and the fulfilment of the Bible’s promises.

Not much of the same can be said for The Dressmaker . Dungatar lacks the same religious context, and the very name of ‘Dungatar’ references ‘dung’, or beetle poop. The next part of the name is 'tar', a sticky substance, creating the impression that Dungatar's people are stuck in their disgusting ways. The townspeople of Dungatar are acutely aware of their own inadequacy, and that is why they fight so hard to remain isolated from the outside world. Tilly is therefore a threat because she challenges their isolation and forces the men and women of Dungatar to reconsider why their community has shunned progress for so long. In short, she makes a once-isolated people realise that fear, paranoia, division and superstition are no way to run a town, and brings them to acknowledge the terribly harmful impacts of their own hatred.

On top of that, because Salem is literally the only Christian, European settlement for miles, it is simply impossible for them to even think about alternatives to their way of life. They are completely isolated and thus, all of their problems come from ‘within’ and are a result of their own division. For Dungatar, it’s a mix of societal issues on the inside being made worse by the arrival of people from the outside. The township is isolated, but unlike Salem, it at least has contact with the outside world. All Tilly does, therefore, is show the people of Dungatar an alternative to their way of life. But, for a community used to the way they have lived for decades, it ultimately contributes to its destruction.

By the way, to download a PDF version of this blog for printing or offline use, click here !

3. Comparative Essay Prompt Example

The following essay topic breakdown was written by Lindsey Dang. If you'd like to see a completed A+ essay based off this same essay topic, then check out LSG's A Killer Comparative Guide: The Crucible & The Dressmaker , written by 50 study scorer and LSG tutor, Jordan Bassilious!

Compare the ways in which outcasts are treated in The Crucible and The Dressmaker.

Before writing our topic sentences, we need to look at our key words first. The keywords in this prompt are outcasts and treated .

So, who are considered outcasts in the two texts? Outcasts can be those of traditionally lower classes, they can be characters with physical flaws, those that are different to others or those who do not abide by the standards of their respective societies.

• In The Crucible : Tituba, Abigail, John Proctor or even Martha Giles can be considered as outcasts.
• In The Dressmaker : We can consider Tilly, Molly, The McSwineys, etc.

We also need to look our second key word ‘treated’. How would we describe the treatment towards these characters? Are they treated nicely or are they mistreated and discriminated against? Do ALL members of that community have that same treatment towards those outcasts or are there exceptions? Remember this point because we might be able to use this to challenge the prompt.

We’re going to skip Step 2: Brainstorm today, but if you’re familiar with LSG teachings, including the THINK and EXECUTE strategy discussed in my How To Write A Killer Text Response ebook, then you’ll be good for this part.

Both texts portray outcasts as victims of relentless accusations or rumours, seeking to engage the pathos of the audience towards those who are marginalised.

• In The Crucible , Tituba the ‘Negro slave’ is the first person to be accused by witchcraft in Salem. Her ‘consequent low standing’ is also shown through her use of language ‘You beg me to conjure! She beg me make charm’ which is fraught with grammatical errors, compared to Judge Danforth who uses legal jargon and the Putnams who are much more well-spoken.
• Similarly, the McSwineys are also those of lower class and are seen as the outcasts of Dungatar. Their names show us their position in the social hierarchy because they are associated with swines which are pigs. This is confirmed by Sergeant Farrat who said ‘Teddy McSwiney was, by the natural order of the town, an outcast who lived by the tip’. Even when Teddy McSwiney died, the townspeople still did not reflect on the impacts that their prejudice and bigotry had on him, eventually forcing the McSwineys to leave the town because they could not find a sense of belonging living there.
• Tilly is also poorly treated due to the fact that she is fatherless, being bullied by the kids at school especially Stewart Pettyman and also used by William as a leverage to marry Gertrude, threatening Elsbeth that ‘it’s either her [Gertrude] or Tilly Dunnage’
• Also discuss Giles Corey’s death and the significance of his punishment as the stones that are laid on his chest can be argued to symbolise the weight of authority

Miller and Ham also denounce the ways in which outcasts are maltreated due to their position in the social hierarchy through his antagonisation of other townspeople.

• There’s also a quote on this by Molly ‘But you don’t matter – it’s open slather on outcasts'. Herein, she warns the audience of how quickly outcasts can become victims of rumours and accusations as the term ‘slather’ carries negative connotations.
• Similarly, the theocracy that governs Salem dictates the rights of their people and children. He specifically states 'children were anything but thankful for being permitted to walk straight, eyes slightly lowered, arms at sides, and mouths shut until bidden to speak', which explains the girls’ extreme fear of being whipped. Salem is very violent to children, slaves and helpers and it can be seen that this is the result of the social hierarchy and the Puritan ideology.
• For The Dressmaker , also discuss the ways in which they name others in this quote ‘daughter of Mad Molly is back – the murderess!’ Likewise discuss how Goody Osbourne the ‘drunkard half-witted’ and Sarah Good an old beggar woman are the first ones to be named. You can talk about Martha who is accused of being a witch just because she has been ‘reading strange books’, and Sarah Good due to the mere act of ‘mumbling’. The normality of these actions underlines the absurdity of the accusations made against these individuals, furthering Miller’s chastisement of the fictitious nature of the trials and also the ways in which outcasts are the first to be scapegoated.

However, there are still characters that are driven by their sense of morality or remorse instead of mistreating the outcasts of their community.

• Both Sergeant Farrat and Proctor are motivated by their remorse to make amends. Proctor’s evasion of ‘tearing the paper’ and finding ‘his goodness’ is motivated by his desire to atone for his sin (having committed adultery with Abigail), and Sergeant regretted sending Tilly away. He, in his eulogy, says ‘if you had included [Tilly], Teddy would have always been with us’, expressing his regret for the ways outcasts are treated in Dungatar. Similarly, Teddy McSwiney also has a pure relationship with Tilly and treats her differently instead of judging her based on the rumours about her being a ‘murderess’.
• While those who can sympathise with outcasts in The Dressmaker are either outcasts themselves or are remorseful (or both), there are those in The Crucible that are purely and solely motivated by their moral uprightness. Rebecca Nurse is neither an outcast (as she is highly respected for her wisdom) nor remorseful (as she has remained kind and pure from the beginning of the play). She is always the voice of reason in the play and tries to stop authoritative figures from convicting and prosecuting outcasts. A quote you can use would be ‘I think you best send Reverend Hale back as soon as he come. This will set us all to arguin’ again in the society, and we thought to have peace this year'.

4. Sample Essay Topics

1. 'I say—I say—God is dead.' —John Proctor, The Crucible . Explore how communities respond to crisis.

2. People must conform to societal expectations in The Crucible and The Dressmaker . Do you agree?

3. Discuss how The Crucible and The Dressmaker use textual features to convey the author’s perspective.

4. Gender repression is rife in both The Crucible and The Dressmaker . Discuss.

Now it's your turn! Give these essay topics a go. If you're interested in reading a 50 study scorer's completed essays based off these 4 essay topics, along with annotations so you can understand his thinking process, then I would highly recommend checking out LSG's A Killer Comparative Guide: The Crucible & The Dressmaker.

This blog has written contributions from Lindsey Dang.

Download a PDF version of this blog for printing or offline use

Understanding Context in The Crucible and The Dressmaker

The Crucible by Arthur Miller

The Dressmaker by Rosalie Ham

For a step-by-step explanation of everything you need to know to ace your SAC or exam, check out our How To Write A Killer Language Analysis ebook.

For many students, Language Analysis is their downfall. Here is the main reason why: Lots of students don’t think about  how language is used to persuade , instead they rely on lists of language techniques to tell them the answer. These sheets are usually distributed by teachers when you first start language analysis – see below.

Whether or not you’ve seen that particular document before, you’ve probably got something similar. You’ve also probably thought, ‘this sheet is absolutely amazing – it has everything I need  and  it tells me how language persuades!’ – I know I did. Unfortunately, this mindset is wrong. Don’t fall into the trap like so many other students have over the years. For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis .

The following comes from VCAA 2009 English Assessment Report:

…some students presented a simple summary [when analysing]…with little development. These responses did not score well as they did not fulfil the task as required.

The ‘simple summary’ refers to students who rely on those technique sheets to paraphrase the explanations regarding how language persuades. There is ‘little development’ because copying the explanations provided on these sheets doesn’t demonstrate enough insight into the article you’re analysing. Let’s have a look at the VCAA English Practice Exam published in 2009, ‘Chickens Range Free’ so that we can demonstrate this point. We will look at two students, both analysing the same technique. Compare the two and determine who you believe provides the better analysis.

Student 1:  Emotive language such as “abominably cruel” and “dire plight” is intended to stimulate strong emotional reactions that manipulate readers’ responses.

Student 2:  The use of emotive language such as “abominably cruel” and “dire plight” intends to appeal to people’s instinctive compassion for the chickens by describing their dreadful treatment, hence causing readers to agree with Smith that urgent action is required to save these animals.

It should be clear that Student 2’s example is best. Let’s see why.

Student 1 has determined the correct language technique and found suitable evidence from the article. This is a good start. However, Student 1 goes on to merely reiterate the explanations provided by language technique sheets and as a result, their analysis is too broad and non-specific to the article.

Student 2 conversely, understands that this last step – the analysing part – is the most important and vital component that will distinguish themselves from others. Instead of merely quoting that the article ‘manipulates the reader response’ like student 1, they provide an in-depth analysis of  how   and why  reader feelings are manipulated because of this technique. Student 2 was able to use the information to illustrate the author’s contention that we should feel sorry for these caged chickens – and we do because of our ‘instinctive compassion.’ They explain that the sympathy expressed from readers encourages them to agree that some action needs to be taken to help the chickens. As you can see, Student 2 has gone beyond identifying that ‘strong emotional reactions’ will be displayed by readers, to  establishing  what emotions are involved, and the consequences of those emotions.

This is why it’s best to avoid paraphrasing language technique sheets. By all means, don’t totally disregard them altogether. They’re definitely great for learning new language techniques – just be mindful of the explanations given. The part regarding  how the author persuades  is the downfall of many students because even though teachers tell you to analyse more, they often don’t show you the difference between what you’re doing wrong and what you should be doing right.

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“Montana 1948” Book Review and Analysis

The book ‘Montana 1948’ reflects themes of; the importance of family, loyalty, guilt, law, and order, and justice. The book is told from a third-person perspective of David Hayden, who recaps the events of his childhood Bentock, Montana in the summer of 1948. The issue of identity and decision-making are a central focus of this book as the narrator tells of how each character, is confronted with the tough decision of making choices on matters like family, racial difference, and environment. The interest of this research is to determine the lack of determination in Wesley, in making a choice between justice and family, and which caused him to fail in making the right decision in regards to the punishment of Frank his brother.

The toughness of deciding either arresting or setting his brother Frank free arose from Wesley’s deep family convictions and strong identity. This scenario is presented in Montana’s environment that was highly racist, as the inhabitants of Bantock disliked Native Americans. These differences in appearance and customs made whites dislike natives to the extent that the dislike was passed down to generations. As a result of the racist environment, Wesley deliberately became slow in arresting his brother who had been suspected of rape. The confusion in Wesley is explained by his son David the narrator who said, ‘my father did not like Indians … he simply held them in low regard (Watson 34). The racist factor is prevalent in this book for the narrator confesses that they ‘learned of racism at the age of seven or eight’ (Watson 34). This factor strongly drove Wesley’s commitment to his family since he upheld his brother on a higher level than that he gave to the raped native girl.

Wesley’s inability to decide on whether to uphold justice or respect family ties is from his environmental experiences. The lack of determination to uphold justice comes from the deep family association he received from his father. Wesley like his son David had learned to turn the other way when crimes against Native Americans were committed by whites like it was done during the reign of his father. We find that the acceptance of truth and justice and the presentation of morality made it difficult for Wesley to make a choice.

The difficulty in making this choice is seen as Wesley fights with thoughts on decisions about his family and carrying out justice for the Native Americans. The fight is thought is seen when he shouts to David’s wife ‘Don’t blame Montana’ (Watson 175). The struggle Wesley was going through was because he did not think that his environment or Montana was the cause for his difficulty in getting justice and protecting the family. Wesley believed he was led by the strong family bonds often seen between blood brothers. Wesley’s difficulty in making a decision was because he was raised to have pride in his family and his family name, Hayden.

The pride in family and the strong family name present the other factor that prevented Wesley from making a fast decision. David narrates that as he grew up he was aware that the name, Hayden was well respected in Montana, Bentock (Watson 126). Therefore, as Wesley was taught by his father, their family name Hayden was much respected and had to be respected by family members. In addition, the family name also made the Hayden men very powerful, admired, and respected in the Bentock community. Therefore, this factor made Wesley find it hard to decide on carrying out justice as he learned of his brother’s actions of sexually abusing his female patients. Family ties often make it very difficult for a person to go against their own and for this reason; Wesley was slow in locking up Frank or placing charges against him. As the sheriff of this community, Wesley was obligated to protect its citizens including Native Americans. This duty also involved the enforcement of the law as was stipulated by the county of Montana. However, the carrying out of these duties was prevented by Wesley’s strong family relations and respect for the Hayden family. This is also presented by David who clearly describes the strong family commitment he was raised in by his father Wesley. David was taught and brought up in a strong Hayden family heritage by Wesley, who was also under the influence of family commitment.

The environment in which David found himself was where, if Wesley arrested Frank, it was seen as a betrayal to the Hayden family. We find that the strong ties between the brothers are in blood as Wesley comments; ‘Don’t’ you think I wish it was some other way? … He is my brother; we grew up together, sucked together with the same breasts’ (Watson 150). These are the thoughts that were slowing down Wesley’s ability to decide on whether to arrest Frank and follow justice or abide by family commitment.

Wesley eventually locks up his brother in their family basement and is still struggling with the thought of freeing him. The mix of his identity as the sheriff of this highly racial community and that of a strong respected family led him to slowly make his tough decision. The fact that Wesley was aware that his brother was guilty of his crime of sexually abusing women as his wife Gail told him, made Wesley lock him up in the basement. This shows the struggle in Wesley because he could not lock Frank in jail as criminals are supposed to, but rather since he was family, he was locked up in their family basement. The bond between the family and his brother and the respect for Hayden’s name made Wesley lock his brother in the basement. Though he had locked him up, Wesley was still fighting with this decision since he still could not hate his brother. The bond of growing up together made the relationship between Wesley and Frank strong and this made it difficult for Wesley to take his brother to jail.

Despite his mother’s awareness that there was a struggle in Wesley, she asked him to set his brother free, which he does but still regrets. Wesley’s regret of setting his brother free from the basement is based on Frank’s own refusal to fully repent. Though Frank had confessed his crimes, he did not have a hint of regret in his voice. This factor made Wesley have more regrets for setting his brother free, as he said, ‘I Can not set him loose, I cannot live with myself’ (Watson 150). This presents the thesis for this research, as Wesley is bound by environment and nurture. He is struggling with the strong environmental factors of justice for the whites by ignoring those of the Native Americans and following strong family ties.

In conclusion, this has proven there was a difference in the two brothers, for though they were raised in the same environment and under the same rules, they turned out differently. Wesley respected the family name and his duty as sheriff and therefore carried himself respectfully. However, Frank misused their family name and took advantage of the respect his patients had for him. In the end, mixed feelings in Wesley caused by strong family bonds and his duty as sheriff created difficulties in deciding to arrest Frank. However, in the end, Wesley respected the community of Bentock and his position as sheriff and he arrested Frank, but his family bond caused him to lock him up in the basement. The choices he made therefore defined him.

Watson, Larry. Montana 1948: A Novel . Minneapolis: Milkweed Editions, 1993.

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Montana 1948

52 pages • 1 hour read

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Discussion Questions

Montana 1948 is considered a coming-of-age story. In what ways is David a child at the beginning of the story? In what ways is he an adult by the time of his Uncle’s death?

David’s father’s beliefs and actions change dramatically. At what point does he decide to follow the law rather than remaining loyal to his family? What influences him to arrest and hold his brother?

What is the source of David’s mother’s sense of right and wrong? How do her beliefs and actions change? What makes her tell her husband to release Frank after she has been so insistent that he be punished for his crimes?

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About the Book

"From the summer of my twelfth year I carry a series of images more vivid and lasting than any others of my boyhood and indelible beyond all attempts the years make to erase or fade them...."  So begins David Hayden's story of what happened in Montana in 1948. The events of that cataclysmic summer permanently alter twelve-year-old David's understanding of his family: his father, a small-town sheriff; his remarkably strong mother; the Hayden's Sioux housekeeper, Marie Little Soldier, whose revelations are at the heart of the story; David's uncle, a war hero and respected doctor. As their story unravels around David, he learns that truth is not what you believe it to be, that power is abused, and that sometimes you have to choose between family loyalty and justice.  In a voice as brilliantly clear as the eastern Montana sky, Larry Watson has created a completely new American classic. With nearly perfect pitch, Watson evokes a time, a place, and more: a story whose pages will not stop turning, because its characters will not let them.

Larry Watson, n.d.

• Lit Charts Includes plot summary, analysis, themes, quotes, characters, symbols and theme wheel.
• Write Work Essay: Critical analysis of "Montana 1948" by Larry Watson. Includes plot summary, themes, major and minor characters, conflicts and more.
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• English Tutor Lessons Montana 1948 by Larry Watson: A Brief Synopsis.

Historical Context

The book takes place only three years after the end of World War II, in a small Montana town neighboring a Native American Reservation. After WWII, Americans were elated at the allied victory and admiring of the bravery and heroism of US soldiers, but the war also brought with it several unhappy realisations: the holocaust in Germany and the dropping of the first two atom bombs on Hiroshima and Nagasaki incited new dialogues about human capacity for evil and prejudice and the threat of virtually apocalyptic new technologies. In many ways the postwar climate in America was one where celebration and pride barely disguised profound new worries about the future. The story accordingly investigates hidden evils in an “all-American” Midwestern town, and puts pressure on the concepts of heroism, justice, and liberty by drawing attention to the bigotry and abuse of power that often exist just under the surface.

Lit Charts, 2017.

• Insight Publications Includes context and background as well as genre, style and structure of the text.

About the Author

Larry Watson was born in 1947 in Rugby, North Dakota. He grew up in Bismarck, North Dakota, and was educated in its public schools. Larry married his high school sweetheart, Susan Gibbons, in 1967. He received his BA and MA from the University of North Dakota, his Ph.D. from the creative writing program at the University of Utah, and an honorary Doctor of Letters degree from Ripon College. Watson has received grants and fellowships from the National Endowment for the Arts (1987, 2004) and the Wisconsin Arts Board. Larry Watson is the author of the novels AS GOOD AS GONE, LET HIM GO, MONTANA 1948, AMERICAN BOY, IN A DARK TIME, WHITE CROSSES, LAURA, ORCHARD, and SUNDOWN, YELLOW MOON; the fiction collection JUSTICE; and the chapbook of poetry LEAVING DAKOTA. Watson’s fiction has been published in ten foreign editions, and has received prizes and awards from Milkweed Press, Friends of American Writers, Mountain and Plains Booksellers Association, Mountain and ​Plains Library Association, New York Public Library, Wisconsin Library Association, Critics’ Choice, and The High Plains Book Award. The movie rights to MONTANA 1948 and JUSTICE have been sold to Echo Lake Productions and WHITE CROSSES and ORCHARD have been optioned for film.

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Home — Essay Samples — Literature — Montana 1948 — Analysis of Father-Son Relationship in Montana 1948

Analysis of Father-son Relationship in Montana 1948

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Published: Jun 29, 2018

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Montana 1948

Larry watson, everything you need for every book you read..

Montana 1948

By larry watson, montana 1948 literary elements.

A Revisionist Western novel, a novella, and a bildungsroman.

Setting and Context

The bulk of Montana 1948 is set in Bentrock, Montana, a small fictional town in Mercer County, which is a real county in Montana. It is a few years after the end of World War II, and life has mostly returned to normal in the small town. The story's frame is in the future, 40 years after the events that transpired in chapters 1, 2, and 3.

Narrator and Point of View

The novel is told in a first person point of view. An adult David is the narrator reflecting on events 40 years ago from his childhood.

Tone and Mood

The tone of the novel is at times nostalgic, at times somber, but overall reflective. David is recounting a painful, confusing time from his otherwise halcyon childhood, and viewing it through the lens of old age and wisdom. The novel's mood feeds off of the novel's small town setting. At first the mood is ho-hum and meandering, as life in boring Bentrock passes placidly by. When Marie reveals Frank's crimes, the mood shifts to urgent and anxiety-filled, as the characters struggle to discover the truth.

Protagonist and Antagonist

The protagonists are Gail, David, and Wesley, and the antagonists are Frank and Grandpa Hayden.

Major Conflict

There are several major conflicts in Montana 1948. The first is ostensibly between Wes and Frank, as Wes decides to arrest and charge his brother for the crimes he has committed. The second conflict is between Wes and Grandpa Hayden, who refuses to sit by and allow Wes to punish Frank for his crimes. The third conflict is between Wes and Gail, because Wes at first refuses to perform a complete investigation into Marie Little Soldier’s accusations against Frank. This conflict is eventually resolved when the evidence against Frank grows so great that not even Wes can continue to ignore it. Finally, the last major conflict of the novel is the internal struggle Wes endures as he’s tugged between the forces of family loyalty and the commitment to justice he made as a civil servant.

The climax of the story is when Wes discovers his brother dead in the basement. At this point, the novel's major conflicts all reach a conclusion, albeit a horrible and somewhat unsatisfying one.

Foreshadowing

“And Marie Little Soldier? Her fate contains too much of the story for me to give away" (Watson 12).

This quote is taken from the novel's prologue, where David explains what happens to his mother and father, particularly how they die. He says he cannot tell us what happens to Marie Little Soldier however because her fate is too wrapped up in the central parts of his story. This statement foreshadows Marie's importance in David's tale and the upcoming sad events.

Understatement

“Daisy’s usually loud, brassy voice was lowered, but I heard her say, 'The word is he doesn’t do everything on the up-and-up'” (Watson 52).

In this quote Daisy is telling Gail of the rumors circulating around Bentrock about Frank and his abuse of his Native American patients. Saying that Frank doesn’t do everything on the “up-and-up” is a prime example of understatement, considering that he’s actually raping and assaulting his patients.

In Montana 1948 there are many allusions to World War II, particularly how life was during and after the war. For example, in the beginning of the novel David remarks that 1948 "still felt like a new, blessedly peaceful era" because "the exuberance of the war’s end had faded but the relief had not" (Watson 14). Here he alludes to how life post-World War II still took some getting used to, as life slowly returned to normal. In another allusion, Aunt Gloria confesses at family dinner that she still "feels funny about throwing out a tin can" (Watson 78). Here, she is referring to the strict rationing and recycling laws the U.S. government enacted during World War II.

See the separate “Imagery” section of this ClassicNote.

Parallelism

In grammar, parallelism is the repetition within one or more sentences of similar phrases or clauses that have the same grammatical structure. Below is an example of this from the text:

“Because she talked to me, cared for me. . . . Because she was older but not too old.... Because she was not as quiet and conventional as every other adult I knew.... Because she was sexy, though my love for her was, as a twelve-year-old’s love often is, chaste" (Watson 24).

Metonymy and Synecdoche

In synecdoche, a part of something is used to refer to the whole entity, or a whole entity is used to refer to part of something. When one of the characters talks about ‘’red meat’’ or ‘’red skin’’, they are using a derogatory, offensive synecdoche to refer to Native Americans.

Personification

One meaning of personification is when someone or something embodies a particular quality of trait. In the following quote, David describes how in his view, his father is a personification of the law: “And in my case, my parents were not only figurative agents of the law, my father was the law" (Watson 20).

Montana 1948 Questions and Answers

The Question and Answer section for Montana 1948 is a great resource to ask questions, find answers, and discuss the novel.

Is David’s view of his father changing? How and why? Provide quotes to support your answer

Section please?

Why does David kill the magpie and what important life lessons does he learn from his experience?

In Chapter Two, David's grandfather gives him a pistol and bullets in case he runs into coyotes while he is out riding. Not accustomed to having a multi-shot gun, David looks to his parents for permission, and they agree, but stress that he’s only...

“They couldn’t arrest us -we are the law." (P.75) What is the story behind this quote, and why is it significant to the text as a whole?

This quote alludes to the fact that Wes is sheriff, as was his father before him... thus, they had the power to overlook Frank's crimes and do nothing... and no one could say a thing about it.

Study Guide for Montana 1948

Montana 1948 study guide contains a biography of Larry Watson, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Montana 1948
• Montana 1948 Summary
• Character List

Essays for Montana 1948

Montana 1948 literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Montana 1948 by Larry Watson.

• Role Models: The Relationship Between David and Wesley
• Theme of Work in Montana 1948
• The Underside of Montana 1948: David's Disillusionment
• Personal Ethics and Their Absence in Montana 1948
• Compare the ways in which Lawrence and Watson utilise the features of their text types to explore the impact of secrets and lies.

Lesson Plan for Montana 1948

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Montana 1948
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Montana 1948 Bibliography

Wikipedia Entries for Montana 1948

• Introduction
• Further reading