oxford cambridge and rsa monday 23 may 2016 – morning

Monday 23 May 2016 – MorningGCSE ENGLISH LITERATURE

A663/02 Prose from Different Cultures (Higher Tier)

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Candidates answer on the Answer Booklet.

OCR supplied materials:• 12 page Answer Booklet (OCR12)

(sent with general stationery)

Other materials required:• This is an open book paper. Texts should

be taken into the examination. They must not be annotated.

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Duration: 45 minutes

Oxford Cambridge and RSA

INSTRUCTIONS TO CANDIDATES• Write your name, centre number and candidate number in the spaces provided on the

Answer Booklet. Please write clearly and in capital letters.• Use black ink.• Answer one question on the text you have studied.

Of Mice and Men: John Steinbeck page 2 Questions 1(a)–(b) To Kill a Mockingbird: Harper Lee page 3 Questions 2(a)–(b) Anita and Me: Meera Syal pages 4–5 Questions 3(a)–(b) The Joy Luck Club: Amy Tan pages 6–7 Questions 4(a)–(b) Paddy Clarke Ha Ha Ha: Roddy Doyle pages 8–9 Questions 5(a)–(b) Tsotsi: Athol Fugard pages 10–11 Questions 6(a)–(b)

• Read each question carefully. Make sure you know what you have to do before starting your answer.

INFORMATION FOR CANDIDATES• The number of marks is given in brackets [ ] at the end of each question or part

question.• Your Quality of Written Communication will be assessed in this paper.• The total number of marks for this paper is 40.• This document consists of 12 pages. Any blank pages are indicated.

INSTRUCTION TO EXAMS OFFICER / INVIGILATOR• Do not send this Question Paper for marking; it should be retained in the centre or

recycled. Please contact OCR Copyright should you wish to re-use this document.

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JOHN STEINBECK: Of Mice and Men

1 (a) George’svoicebecamedeeper.Herepeatedhiswordsrhythmicallyas though he had said them many times before. “Guys like us, that work on ranches, are the loneliest guys in the world. They got no family. They don’tbelongnoplace.Theycometoaranchan’workupastakeandthentheygointatownandblowtheirstake,andthefirstthingyouknowthey’repoundin’ their tail on some other ranch. They ain’t got nothing to look ahead to.”

Lenniewasdelighted.“That’sit—that’sit.Nowtellhowitiswithus.” Georgewenton. “Withus itain’t like that.Wegota future.Wegot

somebodytotalktothatgivesadamnaboutus.Wedon’thavetosit innobarroomblowin’inourjackjus’becausewegotnoplaceelsetogo.Ifthemotherguysgetsinjailtheycanrotforallanybodygivesadamn.Butnot us.”

Lennie broke in. “But not us! An’ why? Because … because I got you to look after me, and you got me to look after you, and that’s why.” He laughed delightedly. “Go on now, George!”

“You got it by heart. You can do it yourself.” “No,you.Iforgetsomea’thethings.Tellabouthowit’sgonnabe.” “O.K.Someday—we’regonnagetthejacktogetherandwe’regonna

havealittlehouseandacoupleofacresan’acowandsomepigsand—” “An’ live off the fatta the lan’,”Lennieshouted.“An’haverabbits. Go

on,George!Tellaboutwhatwe’regonnahaveinthegardenandabouttherabbits in the cages and about the rain in the winter and the stove, and how thick the cream is on the milk like you can hardly cut it. Tell about that, George.”

“Why’n’tyoudoityourself?Youknowallofit.” “No…youtellit.Itain’tthesameifItellit.Goon…George.HowI

get to tend the rabbits.” “Well,” saidGeorge, “we’ll haveabig vegetablepatchanda rabbit

hutchandchickens.Andwhenitrainsinthewinter,we’lljustsaythehellwithgoin’towork,andwe’llbuildupafireinthestoveandsetarounditan’listentotheraincomin’downontheroof—Nuts!”Hetookouthispocketknife.“Iain’tgottimefornomore.”Hedrovehisknifethroughthetopofone of the bean cans, sawed out the top and passed the can to Lennie. Then he opened a second can. From his side pocket he brought out two spoons and passed one of them to Lennie.

Either 1 (a) HowdoesSteinbeck’swritingmakethissuchamovingandrevealingmomentinthenovel?

Remembertorefertothewriter’suseof languageandtosupportyourideaswithdetails from the passage and the rest of the novel. [40]

Or 1 (b) ExplorehowSteinbeck’swritingvividlyconveysthelonelinessoflifeontheranch.

Remembertorefertothewriter’suseof languageandtosupportyourideaswithdetails from the novel. [40]

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HARPER LEE: To Kill a Mockingbird

2 (a) ‘Thenallofasuddensomethin’grabbedmean’mashedmycostume…thinkIduckedontheground…heardatusslin’underthetreesortof…theywerebammin’againstthetrunk,soundedlike.Jemfoundmeandstartedpullin’metowardstheroad.Some–MrEwellyankedhimdown,Ireckon.Theytussledsomemoreandthentherewasthisfunnynoise–Jemhollered…’Istopped.ThatwasJem’sarm.

‘Anyway, Jemholleredand Ididn’t hearhimanymorean’ thenextthing – Mr Ewell was tryin’ to squeeze me to death, I reckon… thensomebodyyankedMrEwelldown.Jemmusthavegotup,Iguess.That’sallIknow…’

‘Andthen?’MrTatewaslookingatmesharply. ‘Somebodywasstaggerin’aroundandpantin’and–coughing fit to

die. I thought itwas Jemat first, but it didn’t sound like him, so Iwentlookin’forJemontheground.IthoughtAtticushadcometohelpusandhadgotworeout—’

‘Whowasit?’ ‘Whythereheis,MrTate,hecantellyouhisname.’ As Isaid it, Ihalfpointed to theman in thecorner,butbroughtmy

armdownquicklylestAtticusreprimandmeforpointing.Itwasimpolitetopoint.

He was still leaning against the wall. He had been leaning against thewallwhenIcameintotheroom,hisarmsfoldedacrosshischest.AsIpointedhebroughthisarmsdownandpressedthepalmsofhishandsagainst the wall. They were white hands, sickly white hands that had never seen the sun, so white they stood out garishly against the dull cream wall inthedimlightofJem’sroom.

I looked from his hands to his sand-stained khaki pants; my eyestravelled up his thin frame to his torn denim shirt. His face was as white ashishandsbut forashadowonhis juttingchin.Hischeekswere thinto hollowness; his mouth was wide; there were shallow, almost delicate indentationsathistemples,andhisgreyeyesweresocolourlessIthoughthe was blind. His hair was dead and thin, almost feathery on top of his head.

WhenIpointedtohimhispalmsslippedslightly,leavinggreasysweatstreaks on the wall, and he hooked his thumbs in his belt. A strange small spasmshookhim,asifheheardfingernailsscrapeslate,butasIgazedathim in wonder the tension slowly drained from his face. His lips parted into atimidsmileandourneighbour’simageblurredwithmysuddentears.

‘Hey,Boo,’Isaid.

Either 2 (a) HowdoesLee’swritingmake this suchadramatic and revealingmoment in thenovel?


Or 2 (b) HowdoesLee’swritingmakeScoutandJem’s trip to theFirstPurchaseChurchwithCalpurniasuchamemorablemomentinthenovel?


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MEERA SYAL: Anita and Me

3 (a) Isoonfoundoutwheremydividedloyaltiesreallylay,andithappenedthat afternoon when Pinky and Baby arrived. Auntie Shaila had decided to comeearlytohelpmamawiththecookingfortheeveningmeal,‘Asshenever gets any rest with that mundaonherbackalltheday…Still,suchachumpy-sweetiepieheis…’WhatIhadnotbargainedforwasthatshewould drag along her two docile daughters who had once been my friends but whose presence now made me groan inwardly as they carefully got outofAuntieShaila’sHillmanImp.

‘SomecompanyforyouMeenabeti!’AuntieShailatrilledasshesweptpastmeinacloudofperfumeandcoriander.‘Whydon’tyoushowthemround,huh?Gotothepark,Babylovesswings,don’tyou,beti?’

Baby nodded shyly, hiding behind Pinky as usual, looking to her to answerforher.Oncetheadultshaddisappearedintothehouse,IstoppedpretendingIwasvaguelypleasedtoseethemandstaredatthemmoodily.Theywereinmatchingoutfitsagain,pinkjumperswithheartsanddaisiesaround theneck, jeanswithacarefully ironedcrease runningdown thelegs, long black hair in bunches, held together with cutesy plastic bobbles. Pinky was my age, Baby a year younger, and they looked to me like infants.

‘HelloMeena.Shallwegototheparkthen?’ EvenPinky’svoicesetmyteethonedge,asoftpliantwhinewithalilt

ofPunjabi in it, theover-pronunciationof theconsonants, thewayeverysentence rose at the end so everything became a question, forcing you to answerandjoinin.

‘No!’ I spat back, furious thatmy afternoon plans of strolling up toSherrie’sfarmwithAnitahadbeenruined.

LookingatPinkyandBaby’stimid,apprehensivefaces,IknewAnitawould enjoy snacking on their insecurities, their obvious lack ofWenchpotential. If anything, theywere tooeasya target,merehorsd’oeuvresforAnita’sappetite.IalsoknewthatifIhadanysenseofmercyIshouldbundle them both into the house and leave them in front of the television, their purity intact. But it was too late; Anita was standing at my front gate in askirtthatbarelycoveredherthighsandoneofhermum’soldcardiganswhich had two saggy pouches at the front, like deflated balloons, where Deirdre’sboobsshouldhavebeen.

‘Am yow comin’ then, our Meena?’ Anita’s tone was deceptivelygentle,shestoodbackslightly,sluttishly,andenjoyed thesightofPinkyandBabyshrinkingbackfromhercockygaze.

‘Mecousinsarehere,’Isaidsullenly,ignoringthehurtrealisationthatwasspreadingovertheirfaces.‘I’msupposedtolookafterem…’

I left the unspokenquestion hanging in thewarmafternoonair.Anaeroplanepassedsilentlyaboveourheads,unzippingtheblueskywithathin vapour trail.

‘Yow’ll have to bring ’em then, won’t ya?’Anita said lazily, alreadyturning away, knowing we would all follow.

IpulledPinkytoonesideandhissedinherear,‘Yowcancomewithuz,right,butdon’tsaynothin’anddon’tdonothin’anddon’tshowmeup,gorrit?’

Pinky swallowed and nodded, and then said, ‘Meena didi,why areyouspeakingsostrangely?’

‘Cozthisain’tnaffoldWolverhamptonanymore,’Isaid.‘This,Pinky,isTollington.Right?’

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Either 3 (a) How does Syal’s writing make this moment in the novel so entertaining andrevealing?


Or 3 (b) TowhatextentdoesSyal’swritingencourageyoutofeelsympathyforAnita?


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AMY TAN: The Joy Luck Club

4 (a) WhatIendedupshowinghimwasthegarden.Bythetimehearrived,the late-afternoon summer fog had already blown in. I had the divorcepapers in the pocket of my windbreaker. Ted was shivering in his sports jacketashesurveyedthedamagetothegarden.

“Whatamess,”Iheardhimmuttertohimself,tryingtoshakehispantleg loose of a blackberry vine that had meandered onto the walkway. And Iknewhewascalculatinghowlongitwouldtaketogettheplacebackintoorder.

“I likeit thisway,”Isaid,pattingthetopsofovergrowncarrots,theirorange heads pushing through the earth as if about to be born. And then Isawtheweeds:Somehadsproutedinandoutofthecracksinthepatio.Others had anchored on the side of the house. And even more had found refuge under loose shingles and were on their way to climbing up to theroof.Nowaytopull themoutoncethey’veburied themselves in themasonry;you’denduppullingthewholebuildingdown.

Ted was picking up plums from the ground and tossing them over the fenceintotheneighbor’syard.“Wherearethepapers?”hefinallysaid.

Ihandedthemtohimandhestuffedthemintheinsidepocketofhisjacket.HefacedmeandIsawhiseyes,thelookIhadoncemistakenforkindnessandprotection.“Youdon’thavetomoveoutrightaway,”hesaid.“Iknowyou’llwantatleastamonthtofindaplace.”

“I’vealreadyfoundaplace,”Isaidquickly,becauserightthenIknewwhereIwasgoingtolive.Hiseyebrowsraisedinsurpriseandhesmiled—forthebriefestmoment—untilIsaid,“Here.”

“What’s that?”hesaidsharply.Hiseyebrowswerestill up,butnowthere was no smile.

“IsaidI’mstayinghere,”Iannouncedagain. “Whosays?”Hefoldedhisarmsacrosshischest,squintedhiseyes,

examining my face as if he knew it would crack at any moment. That expression of his used to terrify me into stammers.

NowIfeltnothing,nofear,noanger.“IsayI’mstaying,andmylawyerwilltoo,onceweserveyouthepapers,”Isaid.

Tedpulledoutthedivorcepapersandstaredatthem.Hisx’swerestillthere,theblankswerestillblank.“Whatdoyouthinkyou’redoing?Exactlywhat?”hesaid.

And the answer, the one that was important above everything else, ranthroughmybodyandfell frommylips:“Youcan’t justpullmeoutofyour life and throw me away.”

I saw what I wanted: his eyes, confused, then scared. He washulihudu. The power of my words was that strong.

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Either 4 (a) HowdoesTan’swritingmake this such a powerful and revealingmoment in thenovel?


Or 4 (b) How does Tan powerfully convey the discrimination suffered by women in Chinese society?


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5 (a)

This content has been removed due to third party copyright restrictions.

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Either 5 (a) HowdoesDoyle’swritingmakethissuchatouchingandrevealingmomentinthenovel?


Or 5 (b) Explore one or two momentsinthenovelwhichDoyle’swritingmakesparticularlyupsetting for you.


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Either 6 (a) HowdoesFugardmakethissuchamovingandrevealingmomentinthenovel?


Or 6 (b) How does Fugard powerfully portray violence as part of everyday life in the township?


END OF QUESTION PAPER

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