journey to a poem english subject leaders and year 7...

SecondaryNational Strategy

Journey to a PoemYear 7 reading task

Teacher pack

Guidance

Curriculum andStandards

English subjectleaders and teachers of EnglishStatus: Recommended

Date of issue: 01-2006

Ref: DfES 1789-2005 CDO-EN

Assessing pupils’ progress in English at Key Stage 3

Journey to a Poem

Year 7 reading task

Framework objectivesReading 8Infer and deduce meanings using evidence in the text, identifying where andhow meanings are implied.

Reading 14Recognise how writers’ language choices can enhance meaning, e.g. repetition,emotive vocabulary, varied sentence structure or line length, sound effects.

Assessment focusesAF2 Understand, describe, select or retrieve information, events or ideas

from texts and use quotation and reference to text.AF3 Deduce, infer or interpret information, events or ideas from texts.AF4 Identify and comment on the structure and organisation of texts,

including grammatical and presentational features at text level.AF5 Explain and comment on writers’ use of language, including

grammatical and literary features at word and sentence level.AF6 Identify and comment on writers’ purposes and viewpoints, and the

overall effect of the text on the reader.

Time neededTwo consecutive one-hour lessons. Timings will need to be adapted if lessonsare longer or shorter than 60 minutes.

These timings are estimates for guidance rather than obligatory timings. The most important consideration is that pupils should have sufficient time to complete the task, working independently. Unfinished tasks are unlikely toproduce evidence on all the assessment focuses.

Teachers may adjust the timings for the task to take account of their particularcircumstances, but should bear in mind that spending overmuch time on anysection may disadvantage pupils.

Pack includesTeacher notesOHT 1 – I am a ParrotOHT 2 – Journey to a PoemOHT 3 – extractPages 2–4 of reading bookletPages of answer bookletMarking guidelinesExemplar responses

Task outlineThis task requires pupils to read and respond to a poem and a piece ofautobiographical writing by Grace Nichols which deals with the inspiration forsome of her poetry. Pupils are supported by a shared reading of the poemand with their initial reading of the prose text by an activity which requiresthem to agree a title for each paragraph.

2 Secondary National Strategy | Assessing pupils’ progress in © Crown copyright 2006English at Key Stage 3 DfES 1789-2005 CDO-EN

3© Crown copyright 2006 Secondary National Strategy | Assessing pupils’ progress in DfES 1789-2005 CDO-EN English at Key Stage 3

Teacher notes

Teaching sequence

LESSON 1 � Share the learning objectives with the class, rephrasing as appropriate for

the group.

Starter (10 minutes)� Ask pupils where they might get ideas to write a poem or a story.

This might be a paired activity, using whiteboards. Ask them to write downtwo or three ideas. Then take feedback. Ideas might include:– something that’s happened to them– something they’ve heard about– something they’ve read about or seen on TV– something they feel strongly about– something from their imagination.

� Record ideas on a large sheet of paper and keep for the next lesson.� Take the opportunity to introduce the notion of using personal experience

as a stimulus for writing creatively. Remind pupils about some features ofautobiographical writing which, while based on the writer’s experience, mayalso be embroidered with fiction.

This activity is designed to prepare pupils for the ideas in Journey to a Poem,in which the writer explains where ideas for her poetry come from.

Introduction (25 minutes)� Tell pupils they are going to read a poem by a writer called Grace Nichols.

Tell them that she grew up in Guyana, a country in South America, but that she now lives in England.

� Show OHT 1 (page 2 of the reading booklet) and read the poem together,using questioning as follows:– Who or what seems to be speaking in the poem?– What kind of mood is the parrot in and why?– What picture are we given of his life before he was caged?– How do we know this is a poem?– We know that Grace Nichols wrote this poem. How do you think she

feels about the parrot?� Clarify any unfamiliar vocabulary, e.g. vex-up.� Make sure that you draw out the following:

– The voice and viewpoint of the parrot– The mood of the parrot– The way the writer’s choice of words creates a picture, e.g. luscious

green forest canopy– Poetic structures, e.g. verses; line lengths; rhyme and rhythm; repetition– The writer’s purpose.

The main purpose here is to encourage pupils to engage with the text.However, it also provides an opportunity to remind them of some poeticterminology as well as exploring the notion of narrative voice and viewpoint.

Development (15 minutes)� Tell pupils they are going to read another piece of writing by Grace Nichols

in which she describes her childhood in Guyana.� Ask for quick predictions – what might she write about in this passage?� Show OHT 2 – Journey to a Poem (page 3 of the reading booklet) – and

ask pupils to read it a paragraph at a time (there are five paragraphsaltogether). Ask them, as they read, to think of a title for each paragraph(no more than five words per title) and to make a note of it.

This activity is designed to support pupils through an initial reading of thepassage. It is important that pupils read independently at this point. Do notread the passage aloud to them.

Plenary (10 minutes)� Take brief feedback and agree a class title for each paragraph. Write these

on the board or flipchart and keep for the next lesson.



LESSON 2 � Remind pupils of the learning objectives for these two lessons.

Starter (5 minutes)� Ask pupils what they remember about the previous lesson. Give them time

to think and then ask them to share ideas with a partner. Take brieffeedback, drawing out the following:– They read a poem about a parrot and a passage about the writer’s

childhood– Both texts were written by Grace Nichols who grew up in Guyana.

This should be a brisk activity. It is designed to remind pupils about the mostimportant points from the previous lesson.

Introduction (15 minutes)� Show OHT 3. Tell pupils that it was written by Grace Nichols and

that it is taken from the end of the passage they read last lesson. Checkpupils’ understanding of any unfamiliar vocabulary, e.g. tropical, or familiarvocabulary used in an unfamiliar context, e.g. awakened.

� Remind pupils of where they said they might get ideas from for a poem orstory. Display their ideas from the previous lesson. Ask pupils what theythink Grace Nichols is saying about where her ideas come from. Ask themto work in pairs and write their ideas down on the sheet. Take feedback,drawing out the following:– She gets ideas from her childhood memories– She grew up in a tropical country (Guyana)– Her childhood in Guyana has provided her with the creative stimulus

she needs as a writer.

� Ask pupils to turn to page 5 of their reading booklet. Explain that it is theoriginal text where the prose and poetry are linked and the poem comes atthe end. Ask them to read it independently.

It is important that pupils read independently at this point. Do not read thepassage aloud to them.

Development (40 minutes)� Distribute answer booklets and briefly point out the format of the questions

and the spaces for their answers.� Explain to pupils that they should:

– spend approximately the same amount of time on each answer– answer all of the questions– move on to the next question if they get stuck and go back to that

question later on– refer to the poem in order to answer Question 5 and to both texts in

order to answer Questions 6a and 6b.� Pupils should spend the rest of the session working independently on the

questions in the pupil answer booklet.

These are not test conditions so prompt pupils if necessary (e.g. to writemore, to explain themselves more clearly). Do not, however, provide supportthat means that the pupils are no longer responding to the text independently.If this kind of support is necessary for an individual pupil in the context of thelesson, you will need to take the degree of support into account when makingthe assessment judgement.

It is good practice to:� tell pupils if they have not written enough or are writing too much;� prompt them to explain their answer more clearly;� generally encourage them through praise;� clarify a question or issue for the whole class if there seems to be a fairly

general misunderstanding;� remind pupils how much time they have to complete the task.

Assessment� Use the assessment guidelines to judge pupils’ overall levels on the

specified assessment focuses. Highlight, then tick, the sections of themarking guidelines according to the features you find and then considerwhether the weight of evidence is at secure or low level 3, 4 or 5.

� Exemplar responses to each question at every level are also included forreference and to give guidance on how the criteria are to be applied.



OHT 1/Page 2 of reading bookletI am a Parrot

I am a Parrot

I'm a parrot I live in a cage I'm nearly always in a vex-up rage

I used to fly all light and free in the luscious green forest canopy

I'm a parrot I live in a cage I'm nearly alwaysin a vex-up rage

I miss the wind against my wing I miss the nut and the fruit picking

I'm a parrot I live in a cage I'm nearly always In a vex-up rage

I squawk I talkI curse I swearI repeat the thingsI shouldn't hear

So don't come near meOr put out your hand because I'll pick youif I can

pickyoupickyou if I can

I want to be free

CAN'T YOU UNDERSTAND

© G

race

Nic

hols

198

4R

epro

duce

d w

ith

perm

issi

on o

f C

urti

s B

row

n L

td L

ondo

n on

beh

alf

of G

race

Nic

hols


OHT 2/Page 3 of reading bookletJourney to a Poem

Grace Nichols: Journey to a Poem

Whenever I remember the country village along the Guyana coast, where Ispent my small-girl days, I can't help seeing water water everywhere. Brownsilky water when it rained heavily. Fish swimming into people's yards andchildren catching them in old baskets. One of the best memories I have ofmyself is standing up to my calves in the sunlit water, watching the shapes offish go by and every now and then cupping my own hands underneath andfeeling the slippery fish slip through my fingers. My favourite fish was thesunfish. It was a little longer than some of the other fishes, with a fine greyscale on top and a reddish orange glow of a belly below.

But the nice thing about Highdam, that was the name of the village, was thatthe water in the yards and pastures never stayed on the land for too longbecause there were these two kokers with big wheels on either side of thevillage bridge. Workmen would go and turn the wheels, which always mademe think of windmills, until bit by bit the water drained away into a canal atthe back of the village. Then the hot sun would soon make everything dryand children could run around again playing their cricket and rounders andhopscotch.

Another Highdam thing I remember is sneaking down to the seashore withmy sisters and brother to catch crab in the early mornings, just before the lastbit of darkness disappeared from the skies.

But you must be wondering what all this has to do with poetry.

Well, my childhood life in that country village plays a big part in my poetrybecause a lot of my poems are about creatures and back-home happenings.Just as how your own imagination might be stirred by thoughts of winter forexample – of crunching through thick powdery snow, tobogganning, makinga snow man, maybe curling up in front of fires with a hot drink – so my ownimagination is stirred by my childhood. I was awakened by tropical things.

© G

race

Nic

hols

198

8Jo

urne

y to

a p

oem

fro

m T

here

’s a

poe

t be

hind

you

Rep

rodu

ced

wit

h pe

rmis

sion

of

Cur

tis

Bro

wn

Ltd

Lon

don

on b

ehal

f of

Gra

ce N

icho

ls


OHT 3/Page 4 of reading bookletExtract

‘My own imagination is stirredby my childhood. I wasawakened by tropical things.’

Original text ofJourney to a Poem

Whenever I remember the country village along the Guyana coast, where Ispent my small-girl days, I can't help seeing water water everywhere. Brownsilky water when it rained heavily. Fish swimming into people's yards andchildren catching them in old baskets. One of the best memories I have ofmyself is standing up to my calves in the sunlit water, watching the shapes offish go by and every now and then cupping my own hands underneath andfeeling the slippery fish slip through my fingers. My favourite fish was thesunfish. It was a little longer than some of the other fishes, with a fine greyscale on top and a reddish orange glow of a belly below.

But the nice thing about Highdam, that was the name of the village, was thatthe water in the yards and pastures never stayed on the land for too longbecause there were these two kokers with big wheels on either side of thevillage bridge. Workmen would go and turn the wheels, which always mademe think of windmills, until bit by bit the water drained away into a canal atthe back of the village. Then the hot sun would soon make everything dryand children could run around again playing their cricket and rounders andhopscotch.

Another Highdam thing I remember is sneaking down to the seashore withmy sisters and brother to catch crab in the early mornings, just before the lastbit of darkness disappeared from the skies.

But you must be wondering what all this has to do with poetry.

Well, my childhood life in that country village plays a big part in my poetrybecause a lot of my poems are about creatures and back-home happenings.Just as how your own imagination might be stirred by thoughts of winter forexample – of crunching through thick powdery snow, tobogganning, makinga snow man, maybe curling up in front of fires with a hot drink – so my ownimagination is stirred by my childhood. I was awakened by tropical things:

I am a Parrot

I'm a parrot I live in a cage I'm nearly always in a vex-up rage

I used to fly all light and free in the luscious green forest canopy

© G

race

Nic

hols

198

8Jo

urne

y to

a p

oem

fro

m T

here

’s a

poe

t be

hind

you

Rep

rodu

ced

wit

h pe

rmis

sion

of

Cur

tis

Bro

wn

Ltd

Lon

don

on b

ehal

f of

Gra

ce N

icho

ls


I'm a parrot I live in a cage I'm nearly alwaysin a vex-up rage

I miss the wind against my wing I miss the nut and the fruit picking

I'm a parrot I live in a cage I'm nearly always In a vex-up rage

I squawk I talkI curse I swearI repeat the thingsI shouldn't hear

So don't come near meOr put out your hand because I'll pick youif I can

pickyoupickyou if I can

I want to be free

CAN'T YOU UNDERSTAND©

Gra

ce N

icho

ls 1

984

Rep

rodu

ced

wit

h pe

rmis

sion

of

Cur

tis

Bro

wn

Ltd

Lon

don

on b

ehal

f of

Gra

ce N

icho

ls



1. When the writer thinks of her childhood, she thinks of water. She says, “I can’thelp seeing water water everywhere.”

Give two reasons why you think she says this and find a quotation from the textto support each reason (AF2).

2. In paragraph 2, the writer mentions “two kokers” but she does not explainexactly what these are. What do you think the people of Highdam used thekokers for? Use clues from the rest of the paragraphs to help you (AF3).

Reasons why she says this.

�

�

A quotation which supports this.

The people used the kokers to…

I know this because…


3. The writer chooses words and phrases carefully to help the reader to imaginewhat her childhood was like. Complete the table to show how she does this. Oneexample has been done to help you (AF5).

4. How do we know that the writer enjoyed her childhood?

Answer as fully as you can and refer to the text in your answer (AF3).

The words/phrases used by the writerHow they help the reader to imaginewhat her childhood was like

1. “brown silky water”

2.

3.

“Silky” makes the water sound very‘smooth and soft to touch


5. Re-read the poem I am a Parrot.

How does the writer make us feel sorry for the parrot (AF6)?

6a. Look again at the poem I am a Parrot and the account of the writer’s childhood.The same writer wrote both texts but she has organised them differently.

Find two differences between the way she has organised the poem and theaccount of her childhood (AF4).

I am a Parrot

� �

� �

The account of her childhood


6b. Why is it important that the poem I am a Parrot follows the account of herchildhood (AF4)?


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Pupil

nam

e........................................................................................

Form

.................................

Date

...............................

AF

2 –

un

ders

tan

d,

descri

be,

sele

ct

or

retr

ieve

in

form

ati

on

, e

ven

ts o

r id

eas

fro

m t

exts

an

d u

se q

uo

tati

on

an

d

refe

ren

ce

to

te

xt.

AF

3 –

de

du

ce

, in

fer

or

inte

rpre

t in

form

ati

on

, e

ve

nts

or

ide

as f

rom

tex

ts.

AF

4 –

id

en

tify

an

d c

om

men

t o

n t

he

str

uctu

re a

nd

org

an

isati

on

of

texts

, in

clu

din

g g

ram

mati

cal

an

d p

resen

tati

on

al

fea

ture

s a

t te

xt

level.

AF

5 –

exp

lain

an

d c

om

men

t o

n w

rite

rs'

use o

f la

ng

uag

e,

inclu

din

g g

ram

mati

cal

an

d l

ite

rary

fe

atu

res

at

wo

rd a

nd

s

en

ten

ce

le

vel.

AF

6 –

id

en

tify

an

d c

om

me

nt

on

wri

ters

' p

urp

oses a

nd

vie

wp

oin

ts,

an

d t

he o

vera

ll

eff

ect

of

the t

ext

on

th

e r

ead

er.

Le

ve

l 5

In

Q1

, p

up

ils g

ive

tw

o r

ele

va

nt

rea

so

ns a

nd

ea

ch

is s

up

po

rte

d b

y a

re

leva

nt

qu

ota

tio

n,

e.g

. sh

ere

me

mb

ers

ho

w p

eo

ple

’s y

ard

s

use

d t

o f

loo

d d

uri

ng

he

avy r

ain

–

“Fis

h s

wim

min

g in

to p

eo

ple

’s

ya

rds”.

In Q

2,

pu

pils

use

in

fere

nce

to

wo

rk o

ut

tha

t th

e k

oke

rs a

re u

se

d t

o d

rain

th

e

flo

od

wa

ter

aw

ay f

rom

th

e la

nd

. T

he

y

pro

vid

e a

n e

xp

lan

atio

n w

hic

h is r

oo

ted

se

cu

rely

in

th

e t

ext,

e.g

. I

kn

ow

th

is

be

ca

use

aft

er

the

y’v

e b

ee

n u

se

d,

the

w

ate

r sta

rts t

o d

rain

aw

ay in

to t

he

ca

na

l.

In Q

4,

an

sw

ers

use

in

fere

nce

, w

hic

h

dra

ws o

n a

nd

exp

lain

s e

vid

en

ce

in

th

e

text,

e.g

. sh

e in

clu

de

s lo

ts o

f h

ap

py

me

mo

rie

s s

uch

as c

atc

hin

g c

rab

s o

n

the

se

ash

ore

an

d f

ee

ling

th

e f

ish

sw

imm

ing

in

th

e f

loo

d w

ate

r.S

he

als

o

tells

us t

ha

t it h

as g

ive

n h

er

ide

as f

or

he

r p

oe

try s

o it

wa

s d

efin

ite

ly a

spe

cia

l tim

e.

In Q

6a

, p

up

ils c

lea

rly id

en

tify

tw

o

diffe

ren

ce

s in

org

an

isa

tio

n,

e.g

. ve

rse

s

v p

ara

gra

ph

s;

rhym

e v

no

rh

ym

e.

Str

on

ge

r a

nsw

ers

ma

y id

en

tify

th

e

sh

ort

, u

np

un

ctu

ate

d lin

es o

f th

e p

oe

m

v t

he

pu

nctu

ate

d s

en

ten

ce

s o

f th

e

pro

se

or

the

tig

ht

rhyth

m o

f th

e p

oe

m

or

the

use

of

co

nn

ective

s (

wh

en

eve

r,

bu

t, a

no

the

r, w

ell)

in

th

e p

rose

.

In Q

6b

, a

nsw

ers

sh

ow

an

aw

are

ne

ss

tha

t th

e f

ina

l se

nte

nce

of

the

pro

se

a

cco

un

t (f

ollo

we

d b

y a

co

lon

) se

rve

s

as a

n in

tro

du

ctio

n t

o t

he

po

em

. S

tro

ng

er

an

sw

ers

ma

y a

ckn

ow

led

ge

th

e s

ign

ific

an

ce

of

the

title

Jo

urn

ey t

o a

P

oe

m.

In Q

3,

pu

pils

id

en

tify

ap

pro

pri

ate

w

ord

s/p

hra

se

s.

Th

eir

exp

lan

atio

ns

sh

ow

so

me

aw

are

ne

ss o

f th

e e

ffe

ct

of

the

write

r’s la

ng

ua

ge

ch

oic

es,

e.g

. th

ere

pe

titio

n o

f “s

lip”

an

d “

slip

pin

g”

he

lps

the

re

ad

er

to a

lmo

st

fee

l h

ow

difficu

lt it

wa

s t

o c

atc

h t

he

fis

h in

he

r h

an

ds.

In Q

5,so

me

lim

ite

d e

xp

lan

atio

n o

f th

e

wri

ter’

s v

iew

po

int

is p

rovid

ed

, e

.g.

the

pa

rro

t se

em

s t

o b

e s

pe

akin

g t

o u

s in

th

e p

oe

m a

nd

he

se

em

s r

ea

lly a

ng

ry

(“in

a v

ex-u

p r

ag

e”)

, w

hic

h h

elp

s u

s t

o

un

de

rsta

nd

exa

ctly h

ow

he

fe

els

.

Le

ve

l 4

In

Q1

, p

up

ils g

ive

tw

o r

ele

va

nt

rea

so

ns,

e.g

. sh

e liv

ed

by t

he

co

ast;

it u

se

d t

o r

ain

a lo

t; p

eo

ple

’s y

ard

s

wo

uld

flo

od

an

d f

ish

wo

uld

sw

im

there

.

So

me

qu

ota

tio

n is p

rovid

ed

to

su

pp

ort

th

e p

oin

ts m

ad

e b

ut

it m

ay

be

un

se

lective

, e

.g.

sh

e liv

ed

by th

e

se

a –

“B

row

n s

ilky w

ate

r”.

In Q

2,

pu

pils

use

in

fere

nce

to

wo

rk o

ut

tha

t th

e k

oke

rs a

re u

se

d t

o d

rain

th

e

flo

od

wa

ter

aw

ay f

rom

th

e la

nd

.

In Q

4,

infe

ren

ce

s a

re c

orr

ect

alth

ou

gh

co

mm

en

ts m

ay h

ave

little

exp

lan

atio

n,

e.g

.sh

e t

hin

ks a

bo

ut

it a

lo

t; s

he

use

s

wo

rds lik

e b

est,

fa

vo

uri

te a

nd

nic

e;

he

r m

em

ori

es a

re g

oo

d o

ne

s;

it p

lays a

big

p

art

in

he

r p

oe

try.

An

sw

ers

ma

y r

ep

ea

t th

e c

on

ten

t o

f th

e t

ext.

In Q

6a

, p

up

ils id

en

tify

tw

o b

asic

d

iffe

ren

ce

s in

org

an

isa

tio

n,

e.g

. ve

rse

s

v p

ara

gra

ph

s;

rhym

e v

no

rh

ym

e.

In Q

6b

,p

up

ils p

rovid

ea

str

aig

htf

orw

ard

co

mm

en

t w

hic

h m

ay b

e

ge

ne

ralis

ed

in

na

ture

, e

.g.

be

ca

use

sh

e t

ells

yo

u a

bo

ut

he

r p

oe

ms a

nd

th

en

sh

e w

rite

s a

po

em

.

In Q

3,

pu

pils

id

en

tify

ap

pro

pri

ate

w

ord

s/p

hra

se

s.

Th

ey p

rovid

e

str

aig

htf

orw

ard

co

mm

en

ts o

n t

he

w

rite

r’s la

ng

ua

ge

ch

oic

es,

e.g

. sn

ea

kin

g m

ake

s it

so

un

d a

s t

ho

ug

h

sh

e’s

do

ing

so

me

thin

g t

ha

t sh

e

sh

ou

ldn

’t.

In Q

5,

str

aig

htf

orw

ard

co

mm

en

ts s

ho

w

so

me

aw

are

ne

ss o

f th

e w

rite

r’s

vie

wp

oin

t, e

.g.

sh

e t

ells

us t

ha

t th

e

pa

rro

t’s c

on

ditio

ns a

re b

ad

/he

is

imp

riso

ne

d/h

e m

isse

s h

is f

ree

do

m.

Insu

ffic

ien

te

vid

en

ce

Ove

rall

asse

ssm

en

t (t

ick o

ne

bo

x o

nly

) S

ecu

re 5

L

ow

5

Se

cu

re 4

L

ow

4

Secondary

Nat

iona

l Str

ateg

yfo

r sc

hool

imp

rove

men

t


Ma

rkin

g g

uid

eli

ne

s –

Ye

ar

7 t

as

k –

Jo

urn

ey t

o a

Po

em

Asse

ssin

g p

up

ils’ p

rog

ress in

En

glis

h a

t K

ey S

tag

e 3

Pupil

nam

e........................................................................................

Form

.................................

Date

...............................

AF

2 –

un

ders

tan

d,

descri

be,

sele

ct

or

retr

ieve

in

form

ati

on

, e

ven

ts o

r id

eas

fro

m t

exts

an

d u

se q

uo

tati

on

an

d

refe

ren

ce

to

te

xt.

AF

3 –

de

du

ce

, in

fer

or

inte

rpre

t in

form

ati

on

, e

ve

nts

or

ide

as f

rom

tex

ts.

AF

4 –

id

en

tify

an

d c

om

men

t o

n t

he

str

uctu

re a

nd

org

an

isati

on

of

texts

, in

clu

din

g g

ram

mati

cal

an

d p

resen

tati

on

al

fea

ture

s a

t te

xt

level.

AF

5 –

exp

lain

an

d c

om

men

t o

n w

rite

rs'

use o

f la

ng

uag

e,

inclu

din

g g

ram

mati

cal

an

d l

ite

rary

fe

atu

res

at

wo

rd a

nd

s

en

ten

ce

le

vel.

AF

6 –

id

en

tify

an

d c

om

me

nt

on

wri

ters

' p

urp

oses a

nd

vie

wp

oin

ts,

an

d t

he o

vera

ll

eff

ect

of

the t

ext

on

th

e r

ead

er.

Le

ve

l 4

In

Q1

, p

up

ils g

ive

tw

o r

ele

va

nt

rea

so

ns,

e.g

. sh

e liv

ed

by t

he

co

ast;

it u

se

d t

o r

ain

a lo

t; p

eo

ple

’s y

ard

s

wo

uld

flo

od

an

d f

ish

wo

uld

sw

im

there

.

So

me

qu

ota

tio

n is p

rovid

ed

to

su

pp

ort

th

e p

oin

ts m

ad

e b

ut

it m

ay

be

un

se

lective

, e

.g.

sh

e liv

ed

by th

e

se

a –

“B

row

n s

ilky w

ate

r”

In Q

2,

pu

pils

use

in

fere

nce

to

wo

rk o

ut

tha

t th

e k

oke

rs a

re u

se

d t

o d

rain

th

e

flo

od

wa

ter

aw

ay f

rom

th

e la

nd

.

In Q

4,

infe

ren

ce

s a

re c

orr

ect

alth

ou

gh

co

mm

en

ts m

ay h

ave

little

exp

lan

atio

n,

e.g

.sh

e t

hin

ks a

bo

ut

it a

lo

t; s

he

use

s

wo

rds lik

e b

est,

fa

vo

uri

te a

nd

nic

e;

he

r m

em

ori

es a

re g

oo

d o

ne

s;

it p

lays a

big

p

art

in

he

r p

oe

try.

An

sw

ers

ma

y r

ep

ea

t th

e c

on

ten

t o

f th

e t

ext.

In Q

6a

, p

up

ils id

en

tify

tw

o b

asic

d

iffe

ren

ce

s in

org

an

isa

tio

n,

e.g

. ve

rse

s

v p

ara

gra

ph

s;

rhym

e v

no

rh

ym

e.

In Q

6b

,p

up

ils p

rovid

ea

str

aig

htf

orw

ard

co

mm

en

t w

hic

h m

ay

be

ge

ne

ralis

ed

in

na

ture

, e

.g.

be

ca

use

sh

e t

ells

yo

u a

bo

ut

he

r p

oe

ms a

nd

the

n s

he

wri

tes a

po

em

.

In Q

3,

pu

pils

id

en

tify

ap

pro

pri

ate

w

ord

s/p

hra

se

s.

Th

ey p

rovid

e

str

aig

htf

orw

ard

co

mm

en

ts o

n t

he

w

rite

r’s la

ng

ua

ge

ch

oic

es,

e.g

. sn

ea

kin

g m

ake

s it

so

un

d a

s t

ho

ug

h

sh

e’s

do

ing

so

me

thin

g t

ha

t sh

e

sh

ou

ldn

’t.

In Q

5,

str

aig

htf

orw

ard

co

mm

en

ts s

ho

w

so

me

aw

are

ne

ss o

f th

e w

rite

r’s

vie

wp

oin

t, e

.g.

sh

e t

ells

us t

ha

t th

e

pa

rro

t’s c

on

ditio

ns a

re b

ad

/he

is

imp

riso

ne

d/h

e m

isse

s h

is f

ree

do

m.

Le

ve

l 3

In

Q1

, p

up

ils m

ay g

ive

on

ly o

ne

re

aso

n o

r co

py c

hu

nks o

f te

xt

with

ou

t a

ny c

lea

r d

em

on

str

atio

n o

f u

nd

ers

tan

din

g.

Qu

ota

tio

n m

ay b

e u

se

d a

s

pa

rap

hra

se

in

pla

ce

of

a r

ea

so

n

rath

er

tha

n u

sin

g it

to s

up

po

rt t

he

p

oin

t m

ad

e.

In Q

2,

pu

pils

ma

y b

e u

na

ble

to

de

du

ce

th

e p

urp

ose

of

the

ko

ke

rs.

An

sw

ers

m

ay b

e in

co

mp

lete

or

the

re m

ay b

e

mis

un

de

rsta

nd

ing

, e

.g.

the

y t

urn

th

e

wh

ee

ls.

In Q

4,

an

sw

ers

re

ma

in a

t a

lite

ral le

ve

l,

e.g

.sh

e g

rew

up

in

Gu

ya

na

or

ma

y b

e

ba

se

d o

n p

ers

on

al sp

ecu

latio

n,

e.g

. I

wo

uld

ha

ve

lik

ed

to

gro

w u

p t

he

re.

In Q

6a

, p

up

ils m

ay r

efe

r to

th

e o

ve

rall

sh

ap

e o

f th

e t

exts

on

th

e p

ag

e,

ackn

ow

led

gin

g t

ha

t o

ne

is a

po

em

w

hile

th

e o

the

r is

mo

re lik

e a

sto

ry.

Th

ey m

ay n

ot

ide

ntify

mo

re t

ha

n o

ne

b

asic

diffe

ren

ce

.

In Q

6b

, lit

tle

or

no

co

mm

en

t is

p

rovid

ed

. W

he

re c

om

me

nt

is p

rovid

ed

, it is lik

ely

to

be

un

co

nvin

cin

g,

e.g

. b

eca

use

th

at’s h

ow

sh

e w

rote

it/b

eca

use

it’s b

ett

er

tha

t w

ay.

In Q

3,

pu

pils

id

en

tify

so

me

ap

pro

pri

ate

w

ord

s/p

hra

se

s b

ut

co

mm

en

ts m

ay b

e

mis

sin

g,

irre

levan

t o

r u

nco

nvin

cin

g,

e.g

.it h

elp

s m

e t

o im

ag

ine

wh

at

it w

as

like

.

Co

mm

en

ts m

ay s

imp

ly p

ara

ph

rase

th

e

text,

e.g

. sh

e c

ou

ld f

ee

l th

e f

ish

slip

th

rou

gh

he

r fin

ge

rs.

In Q

5,

co

mm

en

ts m

ay e

xp

ress

sym

pa

thy f

or

the

pa

rro

t b

ut

the

y a

re

ba

se

d o

n p

ers

on

al re

sp

on

se

with

little

a

wa

ren

ess o

f th

e w

rite

r’s v

iew

po

int,

e

.g.

it m

ust

be

aw

ful to

be

sh

ut

up

in

a

ca

ge

.

Be

low

3

Insu

ffic

ien

te

vid

en

ce

Ove

rall

asse

ssm

en

t (t

ick o

ne

bo

x o

nly

) S

ecu

re 4

L

ow

4S

ecu

re 3

L

ow

3

Be

low

3

Secondary

Nat

iona

l Str

ateg

yfo

r sc

hool

imp

rove

men

t

Exemplar responses


1. When the writer thinks of her childhood, she thinks of water. She says, “I can’t helpseeing water water everywhere.”

Give two reasons why you think she says this and find a quotation from the text tosupport each reason (AF2).

Level 3: Response and commentary

Two appropriate reasons are briefly given, but there is little relevant supporting quotation.


The first reason is not precisely identified, but the second is more clearly focused – “sheused to live there”. Two relevant quotations are given in support.



Two relevant reasons are given and each is supported by a relevant quotation.


2. In paragraph 2, the writer mentions “two kokers” but she does not explain exactlywhat these are. What do you think the people of Highdam used the kokers for? Useclues from the rest of the paragraphs to help you (AF3).


An imprecise inference is drawn about the purpose of the kokers although their use isrelated to the turning of the wheels to drain the land.


A correct inference is drawn about the use of the kokers, supported by reference to anappropriate section of the text as evidence.



A correct inference is drawn about the use of the kokers, supported by precise evidence fromthe text.


3. The writer chooses words and phrases carefully to help the reader to imagine whather childhood was like. Complete the table to show how she does this. One examplehas been done to help you (AF5).


Two quotations are given, but the comments are unconvincing and have only limitedrelevance to understanding of the nature of the writer’s childhood.


Two appropriate quotations are given and the comments – “bright and colourful” and“summer hoildays and days after school” – suggest an implicit awareness of some of thejoys of the writer’s childhood.



Two appropriate quotations are given and comment on each shows an awareness of boththe meaning and impact of the chosen phrases – “sounds like a big adventure” and“always lovely and warm”.


4. How do we know that the writer enjoyed her childhood?

Answer as fully as you can and refer to the text in your answer (AF3).


This answer comprises a straightforward assumption based on the content of the writer’swork.


A correct inference is made based on the content of the writer’s work, built around “herhappy times back home”.


This answer makes appropriate inferences drawn from evidence across the text, withreferences to memories that are “really happy”, weather that is “really hot” and waterthat is “fun to play in” even if it comes in downpours.


5. Re-read the poem I am a Parrot.

How does the writer make us feel sorry for the parrot (AF6)?


Comment implies sympathy is generated for the parrot simply because it is now in a cagewhereas it used to be a “wild loving nice creature”.


This answer shows an implicit awareness that the writer creates sympathy for the parrotby dwelling on various aspects of being in a cage – “he can not go out of the cage”; “hewish he could”; “what he miss is about being Free”.



Some explanation is provided of how the writer creates sympathy for the parrot byspecific references to the fact that it is trapped, that it can no longer feel “the airtouching the parrots wing” and that “the parrot is in a vex up rage”.


6a. Look again at the poem I am a Parrot and the account of the writer’s childhood. Thesame writer wrote both texts but she has organised them differently.

Find two differences between the way she has organised the poem and the accountof her childhood (AF4).


This response is limited to a clear understanding that the main difference between the twotexts is that one is a poem and the other is a story and that they are, therefore, set outdifferently on the page.


One basic organisational difference is identified – the contrast between the use of versesand rhyme in the poem and of paragraphs in the account. A second, less relevant,distinction is made between the way punctuation is used in the two texts.



Two basic organisational difference are clearly identified: firstly, the contrast between theuse of verses in the poem and their absence in the story; and secondly, the fact that someof the verses in the poem are repeated whereas each section in the account is aboutsomething different.


6b. Why is it important that the poem I am a Parrot follows the account of her childhood(AF4)?


This response does little more than reiterate rather unconvincingly points made abouttextual differences in response to the previous question.


Comment implies that the sequencing of the texts is dependent on a straightforwardlogic, firstly telling the reader about what she writes about – “her ideas and says shewrites about tropical things” – and following this by the poem which “is a tropical thing”.



The use – and implications – of the colon at the end of the account are clearly recognised,showing understanding that the account of her childhood is introductory in terms of thewriter’s material and that the poem exemplifies the nature and range of the sort of ideasshe has been describing.

These materials have been developed by QCA in partnership with the Secondary National Strategy.

The help provided by the teachers and pupils who have trialled the materials as part of the Monitoring Pupils’ Progress in English project has been invaluable.

journey to a poem english subject leaders and year 7...

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