thomas mills high school english department a level ... · aqa anthology of love poetry through the...
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THOMAS MILLS HIGH SCHOOL ENGLISH DEPARTMENT
A Level English Literature - AQA –A
LOVE THROUGH THE AGES
& MODERN TIMES
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Welcome to A Level English Literature at Thomas Mills.
Teaching staff:
• Mrs Constanti
• Mrs Peers
• Mrs Goodwin
• Mrs Howard
How is A level different to GCSE?
You need to be prepared to do a fair amount of research and wider reading. If you
keep up-to-date with the work set, you’ll be fine. You won’t be ‘spoon-fed’ like you
might have been at GCSE! You’ll have to read independently. We will assume
you’ve picked the subject because you enjoy books and reading!
What if I can’t manage my workload?
Speak to your teacher. Don’t suffer in silence. It’s usually best to speak to your
teacher outside lesson time and explain what you’re finding challenging.
How much homework will I get?
That depends. You are likely to get one homework per week from each of your
teachers.
What type of homework can I expect?
It might be preparing notes or presentations, it might be writing essays, or it might be
carrying out research. Be organised: write your homework down and do it in good
time.
Anything else I should know?
Keep abreast of what’s going on. We’ll occasionally draw your attention to new
resources and/or interesting articles. Follow the department on Twitter:
@TMHSEnglishDept
Check your school email regularly. Try to make this habitual.
Make good use of the department’s shared area on the school’s intranet
We have a subscription to the EMC’s emagazine which is published monthly and
contains all manner of fantastic essays and articles on all things English.
Login: User name: Thomas Mills Password: emagazine
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Required texts – for year 1
✓ Othello
✓ The Great Gatsby
✓ AQA Anthology of Love Poetry through the Ages Pre-1900
You will be provided with a copy of the poetry anthology. You can choose to
purchase your own copy of Othello and The Great Gatsby or we can lend you copies
which must be returned, without annotation, at the end of the course. If you buy
your own, please ensure you get the correct editions:
Required texts - for year 2
✓ The Handmaid’s Tale – Margaret Atwood
✓ Feminine Gospels – Carol Ann Duffy
✓ A Streetcar named Desire – Tennessee Williams
You can choose to purchase your own copies of these texts or we can lend you copies
which must be returned, without annotation, at the end of the course. If you buy
your own, please ensure you get the correct editions:
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Our Expectations
• We expect you to attend lessons
• We expect you to come to lessons on time and prepared
• We expect you to submit all work on time
• We expect you to develop independence. You might be set work that isn’t
checked by your teacher. You are expected to self-manage, if you want to be
successful.
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FAQs
What if I have to miss a lesson?
You should all have a homework buddy who can let you know of any work missed.
If you have good reason to miss a lesson, email your teacher in advance. If you miss
a lesson in which homework is due, you can email it to your teacher or hand it in at
the next opportunity.
For Paper 1 – year 1:
You will study three texts:
• Othello – William Shakespeare
• The Great Gatsby – F. Scott Fitzgerald
• Love poetry through the ages (pre-1900)
You will be allowed to take a clean copy of The Great Gatsby and the poetry
anthology into the exam.
You will also respond to two unseen poems in the exam.
The exam is: 3 hours long
• 1 question on Othello
• 1 question on Unseen Poetry
• 1 question linking pre-1900 love poetry to The Great Gatsby
areas that can usefully be explored include:
• romantic love of many kinds
• love and sex
• love and loss
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• social conventions and taboos
• love through the ages according to history and time
• love through the ages according to individual lives (young love, maturing love)
• jealousy and guilt; truth and deception; proximity and distance; marriage;
approval and disapproval.
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The poetry - pre-1900
• Whoso list to Hunt Sir Thomas Wyatt
• Sonnet 116 William Shakespeare
• The Flea John Donne
• To His Coy Mistress Andrew Marvell
• The Scrutiny Richard Lovelace
• Absent from Thee John Wilmot, Earl of Rochester
• The Garden of Love William Blake
• Ae Fond Kiss Robert Burns
• She Walks in Beauty Lord Byron
• Remember Christina Rossetti
• The Ruined Maid Thomas Hardy
• At an Inn Thomas Hardy
• La Belle Dame sans Merci. A Ballad John Keats
• Non sum qualis eram bonae sub regno
Cynarae
Ernest Dowson
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Year 1 – Course Structure
Teacher 1 – 3 lessons Teacher 2 – 2 lessons
Term 1
Pre-1900 Love poetry & The Great
Gatsby
Othello & Unseen poetry
Key assessment - Othello
Term 2
Pre-1900 Love poetry & The Great
Gatsby
Othello & Unseen poetry
Key assessment – Gatsby & Poetry essay + Unseen Poetry
Term 3a
Internal exam preparation (Paper 1)
Gatsby/Poetry
Internal exam preparation (Paper 1)
Othello/Unseen poetry
Internal exams – paper 1
Term 3b
NEA
+
Pre-reading
The Handmaid’s Tale
NEA
+
Pre-reading
The Handmaid’s Tale
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A Level: Paper 2 (year 2) - Modern times: literature from 1945 to the present day
(40% of your A level)
You will study three texts:
• Prose - Margaret Atwood The Handmaid’s Tale
• Drama - Tennessee Williams A Streetcar named Desire
• Poetry - Carol Ann Duffy Feminine Gospels (post-2000)
You will be allowed to take a copy of all three studies texts into the exam
The exam is: 2 ½ hours long
• 1 question (out of a choice of 2) on either The Handmaid’s Tale or Feminine
Gospels or A Streetcar named Desire (25 marks)
• 1 unseen prose question (25 marks)
• 1 question comparing your other two set texts (ie the ones you didn’t write
about in the first question)
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•
• Year 2 – Course Structure
Teacher 1 – 3 lessons Teacher 2 – 3 lessons
Term 1
tbd
tbd
Key assessment -
Term 2
tbd
tbd
Key assessment –
Term 3a
Internal exam preparation (Paper 1)
Gatsby/Poetry
Internal exam preparation (Paper 1)
Othello/Unseen poetry
Internal exam –
Term 3b
tbd
tbd
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AOs
Assessment objectives (AOs) are set by Ofqual and are the same across all AS and A-
level English Literature specifications and all exam boards.
The exams and non-exam assessment will measure to what extent students have
achieved the following AOs:
• AO1: Articulate informed, personal and creative responses to literary texts, using
associated concepts and terminology, and coherent, accurate written expression.
• AO2: Analyse ways in which meanings are shaped in literary texts.
• AO3: Demonstrate understanding of the significance and influence of the contexts in
which literary texts are written and received.
• AO4: Explore connections across literary texts.
• AO5: Explore literary texts informed by different interpretations.
The specification reflects the belief that the assessment objectives (AOs) work best
together, producing a rounded and holistic view of English literature. You will need
to show coverage of all AOs in all tasks. To be specific:
• AO1 essentially requires informed and relevant responses which are accurately
written and use appropriate concepts and terminology.
• AO2 requires students to analyse ways in which meanings are shaped in literary
texts, with particular focus on the structures of texts as a form of shaping.
• AO3 relates to the many possible contexts which arise out of the text, the
specific task and the period being studied.
This specification treats AOs 1, 2 and 3 as broadly equal, given their relative
weightings: AO1 has a weighting of 28% whilst AOs 2 and 3 both have a weighting
of 24%.
• AO4 involves connections across texts and sees possible meanings and
interpretations arising not only out of the contexts of the text itself (AO3
above) but also out of the wider and broader contexts which comes from the
study of period. Thus even when an individual text is being investigated it
should still be seen as being framed by a wider network of texts and contexts
to which it connects.
• AO5 completes the picture by acknowledging that if work in AOs 2, 3 and 4
had been included in the response to the question then debate and
interpretations will arise out of this work showing that the interpretation of
texts is not a fixed process but a dynamic one.
AOs 4 and 5 each have a weighting of 12% in all questions.
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Command words
Command words are the words and phrases used in exams and other assessment tasks
that tell students how they should answer the question.
The following command words are taken from Ofqual’s official list of command
words and their meanings that are relevant to this subject. In addition, where
necessary, we have included our own command words and their meanings to
complement Ofqual’s list.
• Analyse
• separate information into components and identify their
characteristics
• Compare and contrast
• identify similarities and differences
• Discuss
• present key points about different ideas or strengths and
weaknesses of an idea
• Examine
• investigate closely
• Explore
• investigate without preconceptions about the outcome
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AO2 - the ways in which meanings are shaped
AS and A-level English Literature require you to analyse a range of ways in which
meanings are shaped in literary texts. Within this, English Literature A welcomes a
particular focus on the structures of texts as a form of constructing meaning. In both
examination and NEA responses, however, students should select those ways they
think most relevant and appropriate to the discussion of their chosen texts.
Comments on the ways in which meanings are shaped must be more than mere
feature-spotting; they need to be relevantly integrated into your arguments and
discussions and grounded in understanding of the whole text. Strong essay responses
often demonstrate perceptive and assured overview as well as provide analysis of
detail.
You may find the following useful in starting to think about some of the ways in
which meanings are constructed in your texts. The ways listed are not exhaustive nor
will discussion of all of these be relevant to all texts.
The ways that meanings are shaped in drama texts
You will necessarily explore the dramatic methods chosen by playwrights to convey
meaning: dramatic structure, stagecraft, dramatic characterisation and dramatic
speech and language.
Dramatic structure
You will consider how meaning is enhanced by the organisation of events in a play;
how playwrights add to the significance of certain events by the position of those
events in the play’s narrative; what characters know and don’t know at specific times.
Meanings might be constructed by:
• conventions of structure in both traditional and modern drama e.g. a classic
five-act Shakespearian play includes: introduction, exposition, complication,
crisis, resolution and denouement; a classic three-act ‘well-made play’ can be in
real time (Cat on a Hot Tin Roof)
• the division of the play into acts and scenes
• the use of features such as sub-plot, frame, the ‘Green World’ etc.
• linearity, chronological events, flashbacks, climax, anti-climax, cyclical effect,
repetition
• how the drama is set up and resolved in the opening and ending of the play
• conflict and change
• naturalistic, non-naturalistic dramatic effect
• choice of setting
• use of an allegory
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• inclusion of protagonist, antagonist and catalyst.
Stagecraft
You should consider the text as incomplete in written form, a blueprint for
performance that needs the directors' and actors' input and interpretation, and should
note how little or how much direction and specific detail playwrights give about
aspects of stagecraft such as:
• stage directions
• lighting
• music/sound/sound effects
• set
• costume
• disguise
• status
• contrast
• act opening/ending
• scene opening/ending
• entrance/exit with opening and closing lines
• dramatic irony
• pace
• tension/suspense/surprise
• twist
• comic relief.
Dramatic characterisation
You should consider the range of strategies used by playwrights to create and develop
characters such as:
• how characters are established
• how characters are presented: physical appearance or suggestions about this;
actions and motives for them; what they say and think; how they interact with
others; what others say and think about them
• how far the characters conform to or subvert stereotypes
• the function of minor characters
• relationships between characters.
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Dramatic speech and language
Students should consider the ways in which playwrights organise speech and language
such as:
• dialogue
• use of monologues
• soliloquy
• asides
• functional and literal
• metaphorical, poetic, symbolic (e.g. ‘there is something about her uncertain
manner, as well as her white clothes, that suggests a moth’ A Streetcar Named
Desire) Shakespearian conventions of verse and prose
• the use of character to act as a mouthpiece for the playwright – authorial
intrusion a character’s personal vocabulary and syntactic patterns that project
a certain way of seeing the world, which fits with/subverts stereotypes.
• The ways that meanings are shaped in poetry texts
You will necessarily explore the poetic methods chosen by poets to convey meaning:
poetic structure, poetic imagery and sound effects. Analysis will reflect the
conventions of relevant poetry movements (e.g. Metaphysicals, Cavaliers, Romantics,
Victorians, Modernists etc.) and relevant poetic form (e.g. elegy, ballad, lyric,
dramatic monologue, sonnet etc.).
Poetic structure
Students will consider how meaning around subject matter and attitudes and ideas is
shaped through such aspects as: stanza length (e.g. couplet, tercet, quatrain, sestet,
octave etc.), shape, regularity line length, shape, regularity end-stopped lines,
caesura, enjambment contrast motif cumulative effect (e.g. development of an
argument, telling of a story) climax and anti-climax shift in mood or tone linear
structure, cyclical structure.
Poetic imagery
Students will consider how subject matter, attitudes and ideas are conveyed using:
• image
• simile
• metaphor
• symbol
• use of colours
• concrete images
• abstract images
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• personification
• pathetic fallacy
• natural imagery, pastoral imagery
• symbol, motif
• conceit
• diction, military diction, biblical diction.
Sound and sound effects
Students will consider how subject matter, attitudes and ideas are conveyed using:
• voice
• tone
• alliteration
• sibilance
• rhyme
• rhythm
• pace
• sound repetition
• meter and regularity
• variation in meter
• open vowels
• rolling vowels
• hard or soft consonants
• plosive consonants
• onomatopoeia.
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The ways that meanings are shaped in prose texts
You will necessarily explore how writers use narrative structure, time and place,
characterisation and point of view to shape meaning in their prose narratives.
Narrative structure
Students will explore how the events in a story are organised. Exploration of different
possible narrative structures might include:
• simple chronology, framed narratives, use of flashbacks, cyclical structure, shifts
in time and place, use of multiple narrators, foreshadowing, analeptic/proleptic
narrative, stream of consciousness
• episodic novel, epistolary structure, autobiographical or diary form
• organisation by volumes, chapters, sections.
• Students will also consider:
• how authors privilege certain events by their position in the narrative
• the privileged position of beginnings and endings in terms of narrative structure
and their importance in introducing and concluding key aspects of setting,
character, themes and context
• development of an incident, an idea or the story, suspense, tension
• contrast, twist, shift in tone, climax, anti-climax.
Time and place
You will consider the importance of the time in which the story is set to the detail of
the narrative; how the narrative is structured around time; how the author creates
meaning through the locations used in the narrative such as:
• ways of using time and sequence to add complexity to a narrative (e.g. use of
flashback, different narrators for different time periods)
• ways of describing settings through specific authorial methods
• how choice of place(s) can symbolise aspects of characters and relationships.
Characterisation
Students will consider the range of strategies used by authors and readers to create
and develop characters such as: how characters are presented: physical appearance;
their actions and motives; what they say and think; how they interact with others;
what others say and think about them; any direct or implicit revelation of
author’s/narrator’s attitude to them
• how realistic or unrealistic the presentation of character is
• the effect of ‘gaps’ in the reader’s knowledge of a character
• the focus given to different characters at particular points in the novel
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• use of symbolism
• caricature
• empathy or lack of towards a character
• conflict associated with a character
• pathos associated with a character characters as a vehicle for the author’s
views, through direct or indirect speech.
Point of view
You will consider the perspectives (often shifting), through which the narrative is
presented and the methods used by the author to present those perspectives such as:
• different types of narration e.g. first person, second person, third person; third
person narrative that privileges the perspective of a given character; third
person narrative with character as the centre of consciousness; singular or
multiple narrators
• events seen from different points of view (e.g. physical, ideological,
perceptual); points of view which are privileged, those which are marginalised,
those which create narrative gaps
• categories of speech and thought (e.g. direct, indirect and narrator’s
representation of speech/thought acts); the ambiguity created where
indirect/free indirect speech/thought is not attributed to a particular character;
patterns of or changes in a character’s speech/thought across or at certain
points of the novel
• reliable and unreliable narrators: self-reflexive narrator; the narrator who
draws attention to the novel’s artifice; intrusive narrator; omniscient narrator;
narrative intrusion; subjective and objective narrators.
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Coursework
***
Independent
critical study
texts across time
(20% of you’re a Level)
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In this coursework component, you will write a comparative critical study of two
texts.
You will be required to commit to autonomous personal reading and Texts across
Time provides a challenging and wide-ranging opportunity for independent study.
You are free to develop their own interests from their own wider and independent
reading.
The following conditions apply to the texts chosen:
• one text must have been written pre-1900
• two different authors must be studied
• A-level core set texts cannot be used for non-exam assessment – see the forbidden
texts list!
• the essay is comparative and connective so equal attention must be paid to both texts
• collections of short poems are not recommended as texts for study. Longer narrative
poems can be used
• texts chosen for study may include texts in translation that have been influential and
significant in the development of literature in English.
• The word count is 2,500 words.
• Tasks should be designed to ensure that you can address all assessment objectives in
your essay response.
• An appropriate academic bibliography (not included within the 2,500 word count)
must be included.
• An appropriately academic form of referencing must be used.
Possible themes to connect texts include:
• crime and punishment
• the struggle for identity
• minds under stress
• nostalgia and the past
• the Gothic
• satire and dystopia
• war and conflict
• representations of race and ethnicity
• representations of sexuality
• representations of women
• representations of men
• representations of social class and culture.
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You might choose from this list (BUT YOU DON’T HAVE TO)
Prose
• Jane Austen
• Northanger Abbey
• Mansfield Park
• Anne Brontë
• The Tenant of Wildfell Hall
• Wilkie Collins
• The Moonstone
• The Woman in White
• Charles Dickens
• Hard Times
• George Eliot
• Middlemarch
• The Mill on the Floss
• Elizabeth Gaskell
• North and South
• Mary Shelley
• Frankenstein
• William Makepeace Thackeray
• Vanity Fair
• Oscar Wilde
• The Picture of Dorian Gray
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Drama
• William Congreve
• The Way of the World
• Henrik Ibsen
• A Doll's House
• Hedda Gabler
• Oliver Goldsmith
• She Stoops to Conquer
• George Bernard Shaw
• any pre-1900 play by this writer
• Richard Brinsley Sheridan
• The School for Scandal
• Oscar Wilde
• any pre-1900 play by this writer
• William Wycherley
• The Country Wife
Poetry
• Geoffrey Chaucer
• 'The Wife of Bath’s Tale'
• 'The Miller’s Tale'
• Samuel Taylor Coleridge
• 'The Rime of the Ancient
Mariner'
• John Keats
• 'Lamia'
• 'Isabella or The Pot of Basil'
• 'The Eve of St Agnes'
SEE THE LIST OF FORBIDDEN TEXTS AT THE END OF THIS BOOKLET
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examples of choices of non-exam assessment texts and possible connections
1. John R. Reed (1973) has suggested that the ‘unacknowledged crime’ of Wilkie
Collins’ The Moonstone is the colonial guilt of the British Empire for its
annexation of the entire Indian sub-continent rather than the theft of a single
exquisite diamond.
Compare and contrast the presentation of British attitudes to race and ethnicity in
The Moonstone and in Zadie Smith’s White Teeth in the light of this view.
2. Compare and contrast the presentation of women in Keats’ narrative poems
'Lamia', 'Isabella' and 'The Eve of St Agnes' with that of Anne Brontë's in her novel
The Tenant of Wildfell Hall.
In what ways do you think the Gothic settings of these texts help the writers to
shape their presentation of heroines in peril?
3. Sarah Waters has argued that the Victorian ‘sensation novel’ genre ‘was at its best
when tugging at the seams of certainties and easy solutions’.
Compare and contrast the presentation of Sue Trinder in Fingersmith with Marian
Halcombe in The Woman in White in the light of this view.
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ASSESSMENT
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THOMAS MILLS HIGH SCHOOL ENGLISH DEPARTMENT
A LEVEL AQA English Literature Syllabus A Marksheet
NAME OF STUDENT: _______________________________________________ TEACHER: ____________________
TEXT(S) FOR ASSESSMENT: _____________________________________
Essay Title:
_______________________________________________________________________________________________
_______________________________________________________________________________________________
Ba
nd
5
21
-25
ma
rks
Per
cep
tive
/ass
ure
d
AO1 (28%)
• perceptive, assured and sophisticated argument in relation to the task
• assured use of literary critical concepts and terminology; mature and impressive expression
AO2 (24%)
● perceptive understanding of authorial methods in relation to the task
• assured engagement with how meanings are shaped by the methods used
AO3 (24%)
• perceptive understanding of the significance of relevant contexts in relation to the task
• assuredness in the connection between those contexts and the historicist literary concept studied
AO4 (12%)
• perceptive exploration of connections across literary texts arising out of historicist study
AO5 (12%)
• perceptive and confident engagement with the debate set up in the task
Ba
nd
4
16
-20
ma
rks
Co
her
ent/
th
oro
ug
h
AO1 (28%)
• logical, thorough and coherent argument in relation to the task where ideas are debated in depth
• appropriate use of literary critical concepts and terminology; precise and accurate expression
AO2 (24%)
• thorough understanding of authorial methods in relation to the task
• thorough engagement with how meanings are shaped by the methods used
AO3 (24%)
• thorough understanding of the significance of relevant contexts in relation to the task
• coherence in the connection between those contexts and the historicist literary concept studied
AO4 (12%)
• logical and consistent exploration of connections across literary texts arising out of historicist study
AO5 (12%)
• thorough engagement with the debate set up in the task
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Ba
nd
3
11
-15
ma
rks
Stra
igh
tfo
rwa
rd/r
elev
an
t
AO1 (28%)
• sensibly ordered ideas in a relevant argument in relation to the task
• some use of literary critical concepts and terminology which are mainly appropriate; straightforward and clear expression
AO2 (24%)
• straightforward understanding of authorial methods in relation to the task
• relevant engagement with how meanings are shaped by the methods used
AO3 (24%)
• straightforward understanding of the significance of relevant contexts in relation to the task
• relevant connections between those contexts and the historicist literary concept studied
AO4 (12%)
• explores connections across literary texts arising out of historicist study in a straightforward way
AO5 (12%)
• straightforward engagement with the debate set up in the task
Ba
nd
2
6-1
0 m
ark
s Si
mp
le/g
ener
alis
ed
AO1 (28%)
● a simple structure to the argument which may not be consistent but which does relate to the task
• generalised use of literary critical concepts and terminology; simple expression
AO2 (24%)
• simple understanding of authorial methods in relation to the task
• generalised engagement with how meanings are shaped by the methods used
AO3 (24%)
• simple understanding of the significance of relevant contexts in relation to the task
• generalised connections between those contexts and the historicist literary concept studied
AO4 (12%)
• simple exploration of connections across literary texts arising out of historicist study
AO5 (12%)
• simple and generalised response to the debate set up in the task
Ba
nd
1
1-5
ma
rks
Larg
ely
irre
leva
nt/
mis
un
der
sto
od
/
ina
ccu
rate
• some vague points in relation to the task and some ideas about task and text(s)
• the writing is likely to be unclear and incorrect; if it is accurate the content will be irrelevant
• little sense of the AOs in relation to the task; little sense of how meanings are shaped; little sense of any relevant contexts; little sense of any connection arising out of historicist study; little sense of an argument in relation to the task
Teacher’s comments:
mark /25
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YOU MAY NOT USE ANY OF THESE TEXTS FROM THE SPECIFICATION
• A
• Author • Text
• Margaret Atwood • The Handmaid’s Tale
• Jane Austen • Persuasion
• B
• Author • Text
• Pat Barker • Regeneration
• Pat Barker • Life Class
• Barry Sebastian • A Long, Long Way
• William Blake • The Garden of Love
• Charlotte Brontë • Jane Eyre
• Emily Brontë • Wuthering Heights
• Robert Burns • Song (Ae fond kiss)
• Lord Byron • She Walks in Beauty
• C
• Author • Text
• Kate Chopin • The Awakening
• Caryl Churchill • Top Girls
• Wendy Cope • After the Lunch
• Richard Curtis and Ben Elton • Blackadder Goes Forth
• D
• Author • Text
• John Donne • The Flea
• Keith Douglas • Vergissmeinnict
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• Author • Text
• Ernest Dowson • Non Sum Qualis Eram Bonae sub Regno
Cynarae
• Daphne Du Maurier • Rebecca
• Carol Ann Duffy • The Love Poem
• Carol Ann Duffy • Feminine Gospels
• E
• Author • Text
• Ben Elton • The First Casualty
• F
• Author • Text
• Sebastian Faulks • Birdsong
• F. Scott Fitzgerald • The Great Gatsby
• E. M. Forster • A Room with a View
• Michael Frayn • Spies
• Brian Friel • Translations
• Robert Frost • Love and a Question
• G
• Author • Text
• Brian Gardner, ed. • Up the Line to Death
• Robert Graves • Goodbye to All That
• H
• Author • Text
• David Haig • My Boy Jack
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• Author • Text
• Thomas Hardy • The Ruined Maid
• Thomas Hardy • At an Inn
• Thomas Hardy • Tess of the D’Urbervilles
• Tony Harrison • Timer
• Tony Harrison • Selected Poems (2013 edition)
• L. P. Hartley • The Go-Between
• Seamus Heaney • Punishment
• Seamus Heaney • New Selected Poems (1966–1987)
• Ernest Hemingway • A Farewell to Arms
• Susan Hill • Strange Meeting
• Ted Hughes • Birthday Letters
• K
• Author • Text
• John Keats • La Belle Dame sans Merci
• Ken Kesey • One Flew Over the Cuckoo’s Nest
• L
• Author • Text
• Philip Larkin • Wild Oats
• Philip Larkin • Talking in Bed
• Joan Littlewood • Oh! What a Lovely War
• Richard Lovelace • The Scrutiny
• M
• Author • Text
• Louis MacNeice • Meeting Point
• Andrew Marvell • To His Coy Mistress
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• Author • Text
• Ian McEwan • Atonement
• Charlotte Mew • A quoi bon dire
• Edna St. Vincent Millay • I, being born a woman and distressed
• Arthur Miller • All My Sons
• Paul Muldoon • Long Finish
• P
• Author • Text
• Sylvia Plath • Ariel
• R
• Author • Text
• Catherine Reilly, ed. • Scars Upon My Heart
• Erich Maria Remarque • All Quiet on the Western Front
• Michael Symmons Roberts • To John Donne
• Christina Rossetti • Remember
• Arundhati Roy • The God of Small Things
• S
• Author • Text
• Anne Sexton • For My Lover, Returning to His Wife
• William Shakespeare • Othello
• William Shakespeare • The Taming of the Shrew
• William Shakespeare • Measure for Measure
• William Shakespeare • The Winter’s Tale
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• Author • Text
• William Shakespeare • Sonnet 116
• Owen Sheers • Skirrid Hill
• R. C. Sherriff • Journey’s End
• Jon Stallworthy, ed. • The Oxford Book of War Poetry
• Jon Stallworthy, ed. • The War Poems of Wilfred Owen
• Kathryn Stockett • The Help
• Graham Swift • Waterland
• W
• Author • Text
• Alice Walker • The Color Purple
• George Walter, ed. • The Penguin Book of First World War
Poetry
• Timberlake Wertenbaker • Our Country’s Good
• Rebecca West • The Return of the Soldier
• Peter Whelan • The Accrington Pals
• Tennessee Williams • A Streetcar Named Desire
• Tennessee Williams • Cat on a Hot Tin Roof
• John Wilmot, Earl of Rochester • Oranges are not the Only Fruit
• Sir Thomas Wyatt • Who so list to hount I knowe where is
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• Author • Text
• Richard Yates • Revolutionary Road
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