Anthology Booklet Flashcards
(31 cards)
Danger MS Short – Diction
The opening simple sentence “I’m a storyteller” uses first-person singular to build a personal connection and establish the speaker’s role as someone who relates many personal tales. The second-person pronoun “you” actively involves the audience, urging them to reflect on their own experiences with stories. Abstract nouns like “poverty” and “catastrophe” highlight the limitations and dangers of accepting a single narrative. Emotive adjectives “impressionable” and “vulnerable” reveal how easily readers can be influenced by one-sided stories; the use of “we” underscores a collective susceptibility. The conjunction “But” at the start of the fifth paragraph marks a “mental shift” experienced when the writer discovered African books.
Danger MS Short – Figurative/Metaphorical Language
The metaphor “we regain a kind of paradise” suggests the restorative power of embracing multiple stories. Stories are personified—capable of “dispossessing” and “humanising”—to show their powerful impact on our perceptions. The phrase “They stirred my imagination” implies that a diversity of stories fuels creativity and broadens perspective.
Danger MS Short – Structure
Repetition of the phrase “single story” reinforces its metaphorical significance concerning racial stereotyping and limited narratives. The single, short sentence “She assumed that I did not know how to use a stove” spotlights the ignorance and limiting assumptions people make. The brief opening sentence that establishes the speaker as “a storyteller” sets an intimate, credible tone for the address.
Africa MS Short – Diction
The statement “What might have appalled us when we’d started our trip … no longer impressed us much” juxtaposes “appalled” with “impressed” to show rapid desensitisation. Powerful adjectives such as “festering wound”, “struggling breath”, and “shrivelled body” along with abstract terms like “the degeneration of the human body” emphasize intense physical suffering. The repetition of abstract nouns “Pity and revulsion” captures the writer’s conflicting emotions and shock at the observed devastation.
Africa MS Short – Figurative/Metaphorical Language
The metaphor “on the hunt” frames journalists as predatory figures in search of dramatic stories. The simile “like a ghost village” evokes an eerie scene of abandonment and death. An extended metaphor comparing journalists’ work to “the craving for a drug” suggests they become increasingly desensitised and require more shocking imagery for their “fix.”
Africa MS Short – Structure
Repetition of “feeding centre” underscores the dehumanising conditions of the people depicted. Parallel structure in the sentence “It was rotting; she was rotting” reinforces the consuming nature of decay. A brief two-word sentence (“Yes, revulsion”) draws attention to the reader’s unspoken shock. A listing—“between me and him, between us and him, between the rich world and the poor world”—invites reflection on social divisions. The later expression of compassion (through “one regret” and a “brief encounter”) contrasts with earlier clinical observations, signalling a change in emotional tone.
Explorer’s Daughter MS Short – Diction
The consistent use of the noun phrase “the hunters” anonymises the men and defines them solely by their role. Visual imagery—phrases like “glittering kingdom” and “The evening light was turning butter-gold”—shows awe for the landscape while also questioning whether observed phenomena are “mischievous tricks of the shifting light.” The inclusive pronoun “we” in “we sat at the lookout” creates a sense of community with other women sharing the experience.
Explorer’s Daughter MS Short – Figurative/Metaphorical Language
The narwhal spray is described as “catching the light in a spectral play of colour,” lending a mystical quality to the scene. Personification is used in phrases like “My heart leaped” and “My heart also urged,” conveying deep emotional involvement and inner conflict. An analogy “It was like watching a vast, waterborne game” underscores the writer’s excitement and wonder. A contrasting simile “the hunters spread like a net” reminds the reader of the hunters’ predatory intent.
Explorer’s Daughter MS Short – Structure
The text opens with time markers (“Two hours after” and “Within an hour”) to generate urgency and excitement. A tricolon of infinitives—urging the narwhal “to dive, to leave, to survive”—emphasises the writer’s emotional intensity. The final paragraph shifts to a calmer tone, using personal pronouns (“I understand the harshness,” “I know one cannot afford to be sentimental in the Arctic”) to signal understanding and acceptance.
Explorers or Boys Messing Around – Diction
The text employs a semantic field of the theatre: words such as “farce” and “The drama began” simultaneously suggest comedy and foreshadow tragedy. The verb “plucked” connotes the men’s insignificance. Juxtaposing the Royal Navy’s “surveying uncharted waters” with the ambiguous “trying” indicates the writer’s critical view of their lack of purpose. Adverbs such as “ironically” and descriptive phrases about “confusion” question the sincerity of the men’s mission, implying failure.
Explorers or Boys Messing Around – Figurative/Metaphorical Language
Personification in “a hostile environment” suggests the men do not fully grasp the local dangers. The image of a “trusty helicopter” is used to invoke a childlike sense of adventure. The metaphor “carve its way through ice floes” emphasises their confident (if reckless) approach to danger.
Explorers or Boys Messing Around – Structure
A list naming “the Royal Navy, the RAF and British coastguards” heightens the gravity of the rescue situation. The passage concludes with Jo Vestey’s remark that the men will “probably have their bottoms kicked and be sent home the long way,” leaving a lasting impression of immaturity and foolishness. A hypophora in the headline (“Explorers or Boys Messing about? Either way…”) sets a critical and ironic tone regarding their recklessness and its impact on taxpayers.
127 Hours MS Short – Diction
The adjective “claustrophobic” immediately conveys the oppressive, cramped space. A series of powerful verbs—“smashes,” “yank,” “ricochets,” “crushes,” “ensnares,” “tearing”—emphasises the brute force of the rock. A detailed list of verbs (“shove,” “heaving,” “pushing,” “lifting,” “brace,” “thrust”) illustrates the extreme physical effort in trying to move the stone. Alliteration in “I grimace and growl” creates an almost animalistic portrayal of the writer’s response to pain. Starting sentences with abstract nouns “Fear” and “My only hope” indicates the overwhelming driving emotions.
127 Hours MS Short – Figurative/Metaphorical Language
The personification in “My desperate brain conjures up” suggests that thoughts take on a life of their own under duress. Again, “My disbelief paralyses me” shows emotions having their own agency and control. The metaphor “Time dilates” conveys the sensation of time stretching during moments of extreme crisis.
127 Hours MS Short – Structure
A short sentence—“Then silence”—creates a powerful contrast to the preceding cacophony of action, highlighting isolation. The penultimate sentence “But I’m stuck.” offers a blunt, impactful statement of the dire reality. Repeated ellipses (after “I grimace and growl …” and “I cry out …”) capture pauses in thought and the struggle to process pain. The final single-word sentence “Nothing.” underlines the utter desperation of the situation.
Young and Dyslexic – Diction
The opening “As a child I suffered” evokes immediate sympathy, while the contrasting “but” introduces hope and resilience. The emphasis on “hard work” of reading—with “hard” underscoring the difficulty—illustrates the challenge of dyslexia. The inclusive “we” connects Zephaniah with his readers, fostering a shared experience. Direct speech (“Shut up, stupid boy” and “How dare you challenge me?”) starkly reveals the harsh treatment from teachers.
Young and Dyslexic – Figurative/Metaphorical Language
The metaphor “the past is a different kind of country” reflects a sense of alienation from previous experiences. The phrase “your creativity muscle gets bigger” portrays creativity as a developable strength. Twin metaphors about “conquering your fears” and “finding your path in life” suggest that overcoming challenges leads to personal direction.
Young and Dyslexic – Structure
Anecdotes (such as the teacher’s dismissive comment and later reflections) personalise his experiences. A list of three negative phrases (“no compassion, no understanding and no humanity”) accentuates the brutality of his schooling. Parallel structuring in “We are the architects; we are the designers” highlights the constructive potential of dyslexia. Time markers (e.g., “When I was 10 or 11”, “When I was 13”, “At 21”) clearly map his developmental journey.
A Game of Polo MS Short – Diction
The term “lads” immediately emphasises youth and camaraderie. Frequent use of the first-person plural “we” suggests a shared experience with Yaqoob and Iqbal. Verbs like “edge out” and “swerve” capture the mix of caution and recklessness in driving. Alliteration in “the perfect place” draws attention to Yaqoob’s skill in positioning the car. References to evolutionary theory (e.g., “survival of the fittest”) imply that the race is a test of superiority. Onomatopoeia in “horns tooting” and “bells ringing” contributes to the sense of a noisy, chaotic environment.
A Game of Polo MS Short – Figurative/Metaphorical Language
Zoomorphism in “roaring up” conveys the wild, animalistic energy of the race. A tonal shift from disinterest (“had never been interested”) to enthusiasm (“were suddenly fired up”) is captured with the metaphor “fired up.” The phrase “nerves of steel” metaphorically encapsulates admiration for bravery.
A Game of Polo MS Short – Structure
Initially, “the lads” are not individually named, but the focus later shifts to the driver Yaqoob (with Iqbal mentioned briefly), underscoring character differences. A short sentence—“Yaqoob loved it”—succinctly summarises the thrill of the moment. The tonal shift from confident youth to relief over potential mishaps (the “donkey race” causing problems) is clearly marked.
Bhutan MS Short – Diction
The noun “mountains” is repeated several times to convey both the abundance of mountains and the writer’s awe or overwhelm. The present tense in “It is my first night in Thimphu” creates immediacy, while “first” underscores newness and wonder. Powerful, precise verbs such as “gathering,” “piling,” “pinching,” “knuckling,” and “poking” vividly describe the crafted quality of the landscape. A comparative adjective (“seems even smaller”) expresses the writer’s surprise at Thimphu’s scale.
Bhutan MS Short – Figurative/Metaphorical Language
Mountains are personified as “climbing” and “rolling,” suggesting that they dominate the landscape with life and movement. The description “rise to meet the moon” metaphorically underscores their vast height and beauty. The metaphor “waves of Tibetan immigrants” conveys the continuous, flowing influx that has shaped the culture. Personification in “terraced fields…climb steadily” gives the impression that the landscape is alive and in harmony with its people.
Bhutan MS Short – Structure
A list at the start of the third paragraph—“instant coffee, powdered milk, plasticky white bread and flavorless red jam”—creates a vivid, if unappetising, picture of the hotel breakfast. An account of Ashley Eden’s “disastrous visit” in the final paragraph highlights ongoing Western underestimations of Bhutan. The extract concludes on an upbeat note, with the writer expressing admiration for Bhutan, leaving a positive overall impression.
