Scribble Issue 12

SCRIBBLE

NOTE FROM THE EDITOR

Dear Scribble Readers!

Firstly I hope everyone enjoyed Edition 11 of Scribble, which included many intriguing articles.

Secondly, welcome to our latest issue of Scribble, I hope you enjoy it just as much as the last! The focus of this edition’s Scribble is ‘The relevance and importance of literature in your other A level subjects’.

The Scribble Team and I felt this was a key area to explore as it enabled us to further investigate elements of two of our subjects, providing a greater insight and exposition on key areas. Furthermore, this topic has pushed for a greater variation of articles due to the vast combination of the Scribble teams A level subjects.

Furthermore, this issue contains the first interview of the school year, with Pastoral Deputy Head Ms Mackie. This interview provides a great reflection of Ms Mackie’s life, such as her many exhilarating and how literature influences the subjects she teaches and the influence travelling has had on literature.

Lastly, this issue includes a number of book reviews, in an effort to influence your reading list!

I hope this edition is largely insightful on a number of different issues due to the vast variation included and I hope you enjoy the interview!

Enjoy!

Uma O'Hara

What is the play about?

‘Lemons’ is a play written by Sam Steiner that explores the power of language and the ways in which it can be used to control, manipulate, and censor communication. The play takes place in a world where people are limited to speaking only 140 words per day due to the new ‘Hush Law’ imposed by the government. The story follows the relationship between two characters, Bernadette, and Oliver, as they navigate their new reality and struggle to communicate with one another. Oliver is the activist and musician and Bernadette is a divorce lawyer and pragmatist. The narrative is non-linear with flashbacks or forwards in the pair’s relationship.

My interpretations of the script

I personally felt one of the most thoughtprovoking moments was when Oliver stated that although in this futuristic world everybody gets the same number of words, it is the working class that need them the most. ‘The powerful stay powerful because nobody has enough words to challenge them, and nepotism multiplies exponentially’.

As the play begins to unfold, it becomes clear that language is being used as a tool of political control, with government authorities attempting to silence and shape public opinion by limiting the amount of speech allowed. What I found interesting was how the characters then grappled with the consequences of this restriction on their personal lives and relationships and question the role of language and communication in society as a whole.

Lemons Lemons Lemons Lemons Lemons

by Sam Steiner

A review and comparison of reading a script and watching a play.

by Alice Lewis

Like many plays I have read, if I were to make an alteration to this performance it would be the ending as I felt it was rather unsatisfactory in both my read and watched experience. While having a mixed timeline throughout the plot, I felt the piece ended quite abruptly and passively.

My thoughts on the live performance

I thought that Jenna Coleman (Bernadette) and Aiden Turner (Oliver) did a fantastic job of rounding their characters and illustrating their differences, while still presenting their romantic connection. The lived experience of visiting a theatre helped to give the piece a real structure despite being a minimalistic and naturalistic production.

The comparison to reading a script and watching a play

Having engaged in both the text and live performance I would say they were two very different experiences. One of the biggest challenges when reading the script was the constant shift in time between short scenes. However, this was overcome by the use of lighting to mark the change in time. I found it far more challenging to create a world for my character from the words in my script in comparison to the physical and visual elements of a performance.

When reading a script, you have the freedom to interpret the characters and the story in your own way. One can imagine the characters and setting differently to how the playwright intended. I had imagined two much younger characters whose approach to relationships was not as mature as the director and actors’ interpretation of the script.

One of the biggest differences I felt was emotion. Watching the play was a much more emotional experience, the entire production must be watched to understand the story and unlike reading there are no points in which you can change the pace you read or which parts you may want to skip. The performance, music and visual effects elicited strong emotional responses from the audience which for me personally did not come across when reading the written words of the script.

Finally, ‘Lemons’ is written to be a romantic comedy therefore the audience participation I felt was key to add to my enjoyment. Reading a script is a solitary experience which does not involve any interactions with others, ultimately making it less entertaining.

Reflection

Overall, I thought the play was a thought provoking exploration of the power dynamics inherent in language and the importance of free expression in a democratic society. Speech is integral to a functioning society and without it, many things wouldn’t exist such as interviews, protests and songs with lyrics. Its unique concept, strong performances, thought-provoking themes, and engaging writing make it a compelling piece of theatre.

The History and Politics behind Romanticism

Romanticism is a movement in the arts and literature that originated in the late 18th century, emphasising inspiration, subjectivity and the primacy of the individual. Many extremely famous poets were involved in the Romantic movement such as William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley and William Blake, however there were many more artists who also influenced the movement. Although Romanticism is seen as a literary movement, it is also highly political in nature. Romanticism was seen to have a large impact on Liberalism and Nationalism, two key political ideologies that influenced the UK and many other countries around the world, which highlights how literature has a large importance upon many other subjects as well like politics and the workings and structure of society.

Firstly,Romanticism can be seen to coincide with aspects of the ideological theory of Nationalism. Romantic Nationalism its the celebration of the nation, defined by it’s language, history and cultural character, as an inspiring ideal for artistic expression which raises political consciousness. It is unsurprising that these two movements have impacted one another as they found momentum at a similar time; therefore it was inevitable they would share similar features. For example, both movements are seen to draw upon the past, as Romanticism was seen to glorify aspects of the past, whilst nationalism was seen to celebrate cultural traditions and the natural diversity that was once prominent throughout Spain. The fact that smaller dialects have managed to rebuild themselves shows the strength of their importance. Nationalism is the identification with one’s own nation and support for its interests, especially to the exclusion or detriment of the interests of other nations. Nationalism became a central theme of Romantic art and political philosophy, which could be seen through the earliest areas of the movement with the romantic focus on folklore, redevelopment of national languages and a focus on the importance of local customs and traditions to create a cultural identity. These aspects motivated self-determination of nations to regain their national identity. Nationalism’s focus on cultural identity was one of the key catalysts for the role of Romanticism. Early Romantic Nationalism was highly inspired by Rousseau, who advocated Nationalism as he wanted all citizens and groups to put the nation first before any other association due to his personal hatred of interestbased politics and class based society. Rousseau pictured a society without a ruling aristocracy, merchant elite or military class and saw nationalism as fuel for freedom and equality.

“The Bard” by John Martin: a romantic vision of a single Welsh bard escaping a massacre ordered by Edward I of England, intended to destroy Welsh culture

John Gast, American Progress, (circa 1872) celebrates U.S. romantic nationalism in the form of westward expansion – an idea known as “Manifest Destiny”.

“Liberty Leading the People”, embodying the Romantic view of the French Revolution of 1830, also known as the July Revolution; its painter Eugène Delacroix also served as an elected deputy

Jean-Jacques Rousseau ( 1712-1778) Maurice Quentin de La Tour, 1753

Rousseau was a Genevan philosopher, writer, and composer. His political philosophy influenced the progress of the Age of Enlightenment throughout Europe, as well as aspects of the French Revolution and the development of modern political, economic, and educational thought.

Rousseau’s philosophy was a combination of the realistic and the ideal as he hoped for a better world. Rousseau placed an importance on free expression in the creative world, highlighting that it is more important than following rules, which later became a key characteristic of Romanticism. Rousseau additionally placed an importance on the return to nature like many other romantics.

Johann Gottfried Von Herder argued language contributes to the shaping structure of how every linguistic community feels and thinks, showing his clear support for Nationalism. Furthermore, Herder was seen to place a peripheral importance on the concept of nationalism: “he that has lost his patriotic spirit has lost himself and the whole worlds about himself”, further highlighting how he thought the nation someone lived in, had a large affect on their life. Heightened by his argument, suggesting geography formed the natural economy of people and shaped societal customs, this creates the idea that the nation is a key part of someone’s identity as it greatly shapes how they live. Herder thought the true German culture could be found by practising folk traditions. This shows his connection with Romanticism as Romantics often used songs, folk poetry and folk dances to illuminate the nation’s natural spirit, to reclaim traditional aspects. Therefore Nationalism and Romanticism can be seen to catalyse one another’s affect as they help regain national identity and tradition.

Self-determination was especially seen as a catalyst to bring about Nationalism in Ireland and Germany. This is highlighted by Irish writer, poet and lyricist Thomas Moore’s poem

‘The Minstrel Boy’, a patriotic song that has largely influenced Nationalism and is ranked as one of the most internationally celebrated and widely recorded Irish songs of all time. Many think the song was written in remembrance of Moore’s

friends who were killed in the Irish Rebellion of 1798. The song is clearly seen to advocate national independence, due to the largely proud tone:

Moore used the image of a warrior musician to symbolise a patriotic figure that would be repeatedly found in Irish rebellions. The protagonist is seen as young man passionately devoted to fighting for his country, in the hope of achieving Irish Nationalism, even though he is not well experienced in warfare as he has to borrow his father’s sword. The song reflects upon the Minstrel Boy, whose music would never be played again after dying in battle as it was made for the pure and free and not for his enemy to ruin. It is no surprise that this song became popular with the people of Ireland who were affected by the war, due to the proud and determined tone of the lyrics. The song is of a traditional Irish air of “The Moreen”, further encouraging Nationalism as the Minstrel Boy, like many of the other Irish Melodies, is melancholy and nostalgic as Moore draws upon the key image of a harp, a romantic symbol for Ireland. Moore’s poem The Minstrel Boy can also be seen as a piece which fuels both Romanticism and Nationalism due to the contemporary Romantic notions of democracy, showing how he too was seen to agree with the thoughts of Herder and Rousseau who believed in fairness between the classes. It additionally became popular with those who fought in the American Civil War (1861-1865) and WW1 (1914-1918), as it does not specifically mention Ireland although it is about Ireland so can be used to motivate Nationalism in other countries due to the proud tone. In Germany, Romanticism was seen to influence Nationalism following the wars of liberation, as romantics aimed to glorify past traditions in an effort to make them live on. German Romanticism was influenced by Rousseau, due to his planned rebellion against the

“ Though all the world betrays thee, One sword at least, thy rights shall guard, One faithful harp shall praise thee

spirit of The Enlightenment, his strong emphasis on sentimental aspects of life rather than the solely methodical rationalised approach. The earliest origins of German Nationalism started with the birth of pan-Germanium during the Napoleonic wars. In response to the invasions of German territories by Napoleon,an advocacy for a German nation-state began to gain importance. Johann Gottlieb Fichte contributed to this debate through multiple lectures that he gave to the German Nation:

Therefore, he too, like Moore, advocated the importance of the nation possessing and celebrating their own culture including their language and traditions, key elements of both Romanticism and Nationalism. Therefore the nature of nationalism largely altered after the French Revolution and Napoleon’s rise. At first, Napoleonic Nationalism was seen as inspirational to other countries independence due to the clear self-determination and consciousness of national unity, especially as these two elements were claimed to be two of the reasons France was able to defeat other countries in battle. However, as the French Republic became Napoleon’s Empire, he was no longer seen as a catalyst for Nationalism but instead the reason for its struggle. Lastly Romanticism was seen to greatly impact the political thought of many Central European people in regards to Nationalism. After Poland had failed to gain its independence after the Russian army had crushed the Polish uprising under Nicholas I, the revival and reinterpretation of ancient myths, customs and traditions by Romantic artists helped to distinguish their indigenous cultures from those of the dominant nations and illuminate the myths of Romantic Nationalism. Therefore, Romanticism and Nationalism can be seen as largely intertwined as many countries learned the importance of respecting the traditional language and literature of their own nation due to these factors.

Furthermore,Romanticism has direct connections with Liberalism. Liberalism is a political and moral philosophy based on the rights of the individual, liberty, consent of the governed, political equality and equality before the law. Liberalism gained momentum in the 19th century. Liberalism and Romanticism were seen to have many contrasting thoughts such as the liberal focus on rationalism, whereas Romantics placed a greater focus on imagination and emotions. However, there are aspects where the movements can be seen to agree, for example on individualism. The conflicts between the two movements can be largely seen through their difference in opinion surrounding the Age of Enlightenment. Enlightenment is a European intellectual movement of the late 17th and 18th centuries emphasising reason and individualism rather than tradition. Therefore, Romanticism was influenced by The Enlightenment due to the shared focus on the individual and a rebellion against the enlightenment, due to the importance placed on tradition, which the enlightenment dismissed. Liberalism and Romanticism somewhat agree on their ideas surrounding the individual as political philosopher Nancy Rosenblum has noted that Liberalism shares with Romanticism the emphasis on individual self expression and self development. This has been especially true in recent decades since the sexual revolution of the 1960s, a form of Liberalism influenced by romanticism associated with self-expression has become the dominant strand of progressive thought as the rationalist concepts of Liberalism that were born in the enlightenment have been left behind. Liberalism’s fundamental ideas on the individual can be seen in Romanticism, such as the want for an individual to follow any path is influenced by the Romantic notion of being able to flee from conformist notions of good and allow the individual choice to determine how they want to live, as Romantics resisted the idea that society could control the individual mind, imagination and creativity. The work of Romantics rebelled against these constraints highlighting the importance of imagination. Romantics believed that humans had endless scope for new ideas and ways of thinking and existing, an idea which was contrasted through much of the industrial revolution. Furthermore, the liberal idea of power coming from the people and democratic self-autonomy is similar to the Romantic idea of individuals acting on their own subjectivity and making change. Later waves of liberals were seen to especially

“

Those who speak the same language are joined to each other by a multitude of invisible bonds by nature herself

inspire individualism, placing a strong importance on gender equality, gay rights, transgender rights and rights surrounding race. Their focus on these key aspects highlights how liberals also placed a key importance on people having the opportunity to follow their desired path in life. American Romanticism was seen to especially embrace the individual; it was personal and portrayed more emotion than ever seen in neoclassical literature. Consequently, Romantic and Liberal thought surrounding the individual can be seen as largely similar, as both movements value and encourage individual identity and choice.

However,Romantics disagreed with the liberal concept of rationalism holding a greater focus on emotion, which was seen to dominate much of their work. Romantics held onto authentic medieval elements throughout their work, such as medieval art and literature; they did this in a way to rebel against The Enlightenment, to prevent the ongoing process of industrialisation, population growth and the urbanisation. Romantics unmissable focus on nature highlighted their overwhelming appreciation of the natural landscape. Romantic poets felt that human’s internal lives largely coincided with the external natural world, due to the many emotions both were capable of, such as freedom, terror and mystery; this similarity between the human and nature highlights how nature is important to human life.

Caspar David Friedrich, Wanderer above the Sea

Fog, 1818 Romantics believed that a close connection with nature was mentally and morally healthy and were distrustful of the human world, which contrasted the social art of the enlightenment.

The movement emphasised intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as fear, horror, terror and awe.

These emotions can be seen in William Wordsworth’s poem The Prelude. For example, the poem’s protagonist is clearly seen to possess feelings of awe: “small circles glittering idly in the moon, until they melted all into one track of sparkling light”, as they become enchanted by the movement of the water, showing the clear romantic pathway for imagination above the rationalisation held by liberals. The imagination held by Romantics, Wordsworth is shown through the protagonist’s fear: “The horizon’s bound, a huge peak, black and huge. As if with voluntary power instinct, up reared its head” and “growing still in stature the grim shape towered between me and the stars…with purpose of its own and measured motion like a living thing, Strode after me”. Here the protagonist is clearly feeling intimidated by the capacity of the peak in comparison, to the much smaller human form, making them feel belittled by the effect of nature. This is especially significant due to the character’s previous arrogance, further highlighting the effect of nature upon the protagonist, due to the large pivot in their character arc. This change illuminates Wordsworth’s focus on emotion throughout his work as nature clearly affects emotion to a large extent. The emotion of the poem can be seen to highlight his own feelings as the mountain perhaps symbolises his own anxiety of the uprising movement of industrialisation which would ruin the aesthetic experience of nature. This highlights how writers used nature as an authentic source of aesthetic experience to communicate their feelings surrounding the more progressive movements such as The Enlightenment and Liberalism due to the unaesthetic process of industrialisation as their poems drew attention to a need for a close relationship with the natural

of

world. They instead turned to tradition and medieval aspects, as they didn’t seem to trust the human world and modernisation. Romanticism enabled the writer to express their feelings freely. For Wordsworth poetry, should begin as “the spontaneous overflow of powerful feelings”, which is clear throughout The Prelude. Romantics believed that a close connection with nature was mentally and morally healthy and were distrustful of the human world, which contrasted the social art of The Enlightenment. Alongside Wordsworth, Keats, Shelley and Byron were also seen to reject the rationalisation of The Enlightenment. Romantics rejected these structured approaches as they believed that imagination could convert the world into a reasoned vision to spiritually regenerate mankind. However, Romanticism didn’t supersede The Enlightenment; instead it offered alternative outlooks. In doing so, the Romantics promoted imagination over reason, and motivated individuals to experiment rather than blindly accepting things. Romanticism was characterised by its focus on emotion and individualism, clandestine literature, paganism, idealisation of nature, suspicion of science and industrialisation and a glorification of the past, strongly preferring the medieval rather than the classical. Therefore, although there are similarities between Liberalism and Romanticism, there are also some clear clashes as Romanticism was partly a rebellion to the social and political aspects of the Age of The Enlightenment, the scientific rationalism of nature and the industrial revolution, with a clear presence on aesthetic pleasures and imagination, whereas Liberalism was fuelled by these aspects.

Lastly, Romanticism and Liberalism are both seen to advocate ideas of freedom. Freedom is a core value of Liberalism, as the essence of Liberalism is the pursuit of individual freedom. Liberals advocated the need for freedom in society as long as it didn’t affect others’ freedom. For example, Liberals, encouraged free expression

as long as it doesn’t harm others (hate speech). Freedom can be seen as key to Liberalism due to their focus on extending the rights for all individuals, however there are limits to these rights as they believed full individual rights should only apply to fully rational beings, so children didn’t have full rights. Liberals are additionally seen to empower the disadvantaged regardless of their circumstances of birth, placing nurture above nature. This highlights how the idea of equality of opportunity is key to contemporary Liberalism, as liberals believe a society must provide all of its members an equal chance to succeed and get what they want out of life. Furthermore, liberals promote a variety of thought, challenging conventional and often outdated rules. This is underlined by liberal thought surrounding human nature which challenges the largely limiting original view. This was a key aspect of |The Enlightenment as there was a need to challenge the established, medieval notion of human nature. This conventional view was largely connected to the religious doctrine of original sin, a belief rooted in the teachings of Christianity, that mankind was deeply flawed and imperfect. Dark Romantics such as Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, and Emily Dickinson believed that humans gravitate to evil and self-destruction, showing how this section of romanticism is largely conventional drawing upon medieval views. These views can be seen as detrimental to freedom as they create negative stereotypes of human behaviour, predicting a way in which people should/ will behave disallowing room for positive change. Other waves of Romantics believed in the natural goodness of humans, however they thought this goodness was hindered by the urban life of civilization. Consequently they placed further importance on the idea that humans should value a strong connection with nature, as they saw nature as pure and a spiritual source of renewal. For this reason most Romantics believed it is not the human that is flawed, instead it is the modernised

Lord Bryron, Percy Shelley, John Keats and William Wordsworth pictured above were all seen to reject the rationalisation of the englightment.

structure of society that affects human nature negatively. Liberals denied the bleak Christian and dark Romantics’ view that humans are largely flawed and gravitate to self-destruction, suggesting a more positive view of human nature. Liberals believe that human nature has the ability to bring about progress and humans are guided by rationalism and due to this they are able to sort out their problems. Here Romantics slightly differ from liberals as they think humans are guided by imagination rather than rationalism. Liberals see individuals as naturally self-seeking and they are naturally drawn to a situation in which they are independent, however man’s rationalism stops this leading to destructive selfishness. Sir Isaiah Berlin, a British philosopher, was complimented especially for his writings on political philosophy and the concept of liberty. He claimed that positive liberty is based upon the desire “on the part of the individual to be his own master”, therefore creating the idea that gaining one’s liberty is as much the individual’s job as anyone else’s, highlighting the progressive nature of liberal thought as they understood how change would effectively come about rather than relying on other people. Many Romantics were seen to achieve their own liberty as they went against the common values of society at a time of social change, instead of neglecting cultural traditions and looking forward they were seen to focus on the freedom of nature, alongside medieval culture. Sir Byron, a key Romantic poet, was seen to encourage the need for liberty in his works. His focus on achieving freedom can be seen as key in his poem “Stanzas” written in 1820. It is a short poem addressing his thoughts on war, clearly advocating the idea that although you are at home, or your country may have gained independence and freedom, there is always more independence to fight for. In turn, this follows Berlin’s idea of taking the need for change into your own hands to captivate your own freedom, creating a key focus on the individual. Throughout this poem he focuses on the fact that every class is deserving of rights through radical Liberalism. To motivate people’s want for freedom Byron draws upon the glory of the warriors of Ancient Greece and Rome, showing that fighting for one’s country is largely admirable: “To do good for mankind is the chivalrous plan, And is always as nobly required; then battle for freedom whenever you can”. These

references to past ‘warriors’ who were seen to motivate change and achieve freedom, effectively inspire others to also fight for freedom, due to Byron’s allusion of there being a reward, whether it is whilst fighting or by being knighted. Therefore, Romantic poet Byron largely motivates a fight for freedom and liberty throughout his work and life, as later in his life he fought in the Greek War of Independence against the Ottoman Empire. He sadly died leading a campaign during that war, for which the Greeks called him a folk hero. His clear devotion to the want for freedom mirrors the core Liberal values of freedom and equality. Therefore Romanticism and Liberalism can be seen as largely similar due to their joint focus on freedom.

To conclude, Romanticism had a clear impact on both Nationalism and Liberalism in many aspects, as both Nationalism and Romanticism held a key focus on the traditional culture of a country, including mythology, art and literature. This is especially highlighted by Romantics from the UK, drawing upon medieval culture during the industrial revolution. Romanticism was seen to fuel the self determination of countries to hold onto national traditions. Nationalism, Liberalism and Romanticism all place a significant importance on freedom. Romanticism encouraged people’s want for national freedom as seen in Poland, whereas Liberalism placed a greater importance on individual liberty and rights, which mirrors Romantic views of individuals having the opportunity to follow their own path. However, Liberalism and Romanticism can be seen to differ due to the liberal focus on rationalism, whereas imagination was highly valued by Romantics. Romantic imagination is largely underlined by the predominant focus on nature, allowing Romantics to greatly draw upon their emotions. Emotion was less apparent in Liberal work due to the methodical structure of rationalism. Therefore, areas of Romanticism, Liberalism and Nationalism are seen to largely coincide, highlighting how, although Romanticism is generally thought of as a literary movement with a key focus on poems, in reality it is largely political, as like any movement it is influenced by preceding movements, in this case the Age of the Enlightenment and the Industrial Revolution.

Scribble Recommended Reads

The Snowdonia Killings By Simon McCleave

The Snowdonia Killings is a riveting and fast paced crime novel. Ruth Hunter takes the role of key detective, approaching fifty, the veteran police officer swaps the bustling crime riddled streets of London for a slower paced life in North Wales. However Ruth is greatly mistaken as she is immediately pulled into a murder case, as a female body is found. Ruth joins forces with Nick Evans, detective sergeant to help unravel the murder mystery. However as the case progresses more bodies are found, both victims of murder and suicide. The case seems impossible due to the continuous line of suspects. However the two greatly subverting detectives fight to obtain justice. I recommend this novel to anyone who enjoys a fast passed novel, filled with convoluted characters and permeated with plot twists.

Beautiful World, where are you?

By Sally Rooney

A sharp and insightful read in which Sally Rooney has a great ability to capture the thoughts and feelings of her characters. The novel follows the lives of four protagonists, each well developed with their own unique personalities and struggles. The book deals with themes of love, friendship, mental health, politics and the state of the world which are handled by Rooney with sensitivity and intelligence.

Anyone looking for a smart and insightful novel about the complexities of modern life, this one is for you!

Anyonewho knows Spanish literature would think in terms of Castilian literature, the most widely spoken language throughout mainland Spain and Latin America, forgetting about the smaller dialects that should be more widely celebrated throughout the world – these smaller dialects, like Cátalan or Valencian, although not as famous, should be celebrated, as they carry the stories of our ancestors, the stories that allow us to shape our futures, for us and the generations after us. Modern Spain has its roots from the Arabs and the Moors, who were expelled from the country in 1492 by the Catholic royal powerhouse. Many words used today in the Spanish language continue with their traditions. Why should we protect these words, and the stories that are made with them? Some argue that they are irrelevant, that the times have changed, and with that we should change our mindset, but I find it difficult to move on from cultures that have imprinted so definitely on our lives; we still should respect these languages, and these backgrounds, with the same appreciation that we show to their monuments, like ‘la mezquita de Córdoba’, which holds up to 1,950,000 visitors each year.

Akey moment for Spanish literature was during Franco’s dictatorship, from 1939 until 1975. Under his reign, he forbade any teaching or acknowledgement of any form of literature that wasn’t written in Castilian. This destroyed a huge number of sentimental stories and pieces of information written in the smaller dialects of Spanish. Throughout the whole of Spain, a large quantity of its cultural value was lost, as each region couldn’t celebrate its individual value. Franco’s aim was to increase the dominance of

The Evolution of Spanish Literature

by Flossy Parker-White

the main Spanish language, with Spanish nationalism as one of its foundations. He required that all films that were produced in any dialect were to be dubbed, as he didn’t consider them to be ‘real languages’ – he diminished their rich value that provided the country with the diversity that it needed to maintain fluidity. Whilst this obviously destroyed the natural diversity that was once prominent throughout Spain, the fact that the smaller dialects have managed to rebuild themselves shows the strength of their importance.

If we look at Valencia, we can see the unity amongst the community, which has ultimately led them to recreate what once was part of the worldknown Spanish diversity. During the early 1960’s the community started to regain its economic wealth, and through immigration, the city managed to grow its population and regain its independence. Additionally, we can see the advertisement of their specific culture shine through to help them broadcast their importance to others. Public works and the reconstruction of the Old City have helped to improve the liveability of Valencia, as it has opened the doors for tourists.

Whilst this only touches the surface of the wealth of Spanish literature, we can see how the Dictatorship in the 20th century was a pivotal moment for Spanish literature, cementing its importance by the way it has managed to re-embed itself in our modern life. The diversity within the literature is significant, as we can see the difference between the lives of our ancestors, deepening our understanding, allowing us to shape out future for the better.

Marxist Criticism in Literature

by Amelia Stafford

Marxist criticism is one important theory for the study of English Literature. Proposed by Theorist Karl Marx, the political perspective focuses on the struggles between varying social classes and how the power is divided between them. Karl Marx was an economist theorist who believed that Western Capitalist economic systems were designed to increase the wealth of the upper class and oppress the status of the poor. The importance of Marxist criticism is therefore heightened through the writers’ values and usually shown as personal experience in a piece of writing.

The radical intellectual and political movement of Marxism tells us something about the world and evaluates what side the author parts with. Marxist critics offer a total theory of history and society combined. The job of a Marxist critic is to analyse texts and depict material and the socioeconomic reality of the author and how the author's time shaped those texts in the first place. This offers an ideological reflection of the real world and Marxists argue that it’s a 'bourgeois' genre.

A Marxist interpretation may read the text as an expression of contemporary class struggle between varying social groups and suggest literature to not be a simple matter of personal expression. Texts produced by authors will relate to social and political conditions of the time and automatically offer a debate for the reader.

Karl Marx theorised that human beings are the product of their social and economic environment, which he referred to as the economic conditions of life: the base or the infrastructure. The base was known to include everything from technology and raw materials to the social organisation of the

workplace. This economics base has a powerful effect on the superstructure, Marx's term for society, culture, and the world of ideas. He often regarded the superstructure as consciousness, the way we think and look at reality. He famously said, "it is not the consciousness of men that determines their being but, on the contrary, their social being that determines their consciousness".

The belief in Karl Marx's theory suggests that our ability to think for ourselves is limited, our ideas are shaped by material conditions of life. Literature, for Marx, belongs to the superstructure and the challenge for readers is to see how it is influenced by the economic base.

As a result, Marxist literature reveals the spirit of the times, the issues of economic injustice, the social imbalance between groups within our capitalist society. Literature is about much more than enjoyment or escapism. It is a manifestation of class struggle.

Is Cathy Ames’ external

‘locus of control’ her hamartia in the novel East of Eden?

‘Locus of control’ is a psychological concept developed by Julian B. Rotter in 1954. This refers to the degree to which an individual feels a sense of agency with regards to their life.

There are two different types of ‘locus of control’; internal and external. Someone with an internal ‘locus of control’ will believe that what happens to them is greatly influenced by their own abilities, actions, or mistakes. On the other hand, an individual with an external ‘locus of control’ will tend to feel that other forces —such as random chance, environmental factors, or the actions of others—are more responsible for events that occur throughout their life.

This concept forms a primary base for the construction of Cathy Ames in John Steinbeck’s novel ‘East of Eden’.

For those of you who are not familiar with the novel, the parasitic, manipulative Cathy is the embodiment of evil throughout the narrative and the most static of the main characters constructed by Steinbeck. Her evil seems to be innate and all-consuming, as she displays murderous and sexually perverse tendencies from an early age.

Steinbeck illustrates Cathy as a monstrous figure of evil and destruction who kills her parents and makes an attempt to kill her unborn children.

Cathy is a debased version of the biblical Eve, whom the Christian tradition sees as the mother of all humankind. Like Eve, she is associated with sin, but where Eve is deceived into committing sin, Cathy embraces it wholeheartedly

by Harriet Underhill

and commits evil simply for its own sake, with no obvious motive. She has an overwhelmingly pessimistic view of humankind: she believes that there is only evil in the world and therefore surrenders herself to it fully.

Steinbeck devises Cathy’s character as completely submissive to the powers of evil and she persistently denies any possibility that she is in control of her actions and has the choice to change. This leads her down a dark journey, refuting any glimpse of good, happiness or joy even after creating a life with partner Adam and giving birth to twin boys.

Her non-acceptance of control within her own life and declination that it is her choice to act maliciously implies to me that she possesses what one might describe as a strong external ‘locus of control’ meaning she is utterly submissive to the powers of evil that run through her characterisation.

One key moment that consolidates this argument in my eyes occurs after Cathy gives birth to twin boys. She is surrounded by help, love and support from those around her; the perfect opportunity to take control of her life and navigate her own destiny not only for herself but for her children. However, Cathy maintains the belief that she is evil to the core and makes no attempt to bond with her babies, who are clearly neglected in their early stages of development.

To conclude, being an individual with an external ‘locus of control’ I would describe to be Cathy’s hamartia as it prevents her from asserting authority over her own actions and in turn leads her into an inescapable cycle of evil.

Whattruly defines ‘home’? Why is a ‘home’ so important to humanity? We create ambitions and life goals to leave the family nest, once called ‘home’, to create our own place, own meaning, our own skin. Yet does this shape our identity? Does spreading our wings from the comfort of ‘home’ to the outside world change us? Is it the journey we take? Or is it the destination? The subjectivity upon the topic can expand the basis of ‘home’ to be settled by a place, a house, a person or even a memory. Even if the notion of ‘home’ is set by materialistic value or emotional connection, the importance of this insight creates stability, sanctuary, trust- thus, helping to explore the freedom of identity and the discovery of our true selves. However, these deep psychological analogies of home deeply contrast to the geographic concept of place. The geographical term for a ‘sense of place’ is defined as “the emotive bonds and attachment that people develop and experience in a particular location or environment, ranging from the home to the nation.” These emotions linked to a place can be based upon experience, disregarding any sense of time or space, or from one’s perception. However, due to the development of technology, perceptions of place can now evolve from media representations such as the news and social media platforms without even encountering the area in person. Yet, I feel that the most forgotten form of media representation is literature. Literature presents the most distinguishable sense of place due to the insider perspectives created by authors that captures the true element and feel for an area, excluding any social media alteration or any controlled news event. No geographical terms, no quantitative data, just words creating authentic and genuine meaning to a place. The Spanish author, Carlos Ruiz Zafón untangles the true meaning of home and a sense of place within his novels, elevating an insider perspective of the depth and rich stature that a ‘home’ can hold, not only in meaning, but from the value that a place can provoke within ourselves. Nevertheless, in this article I want to explore with you the representation of Spain’s second city with the assistance of Carlos Ruiz Zafón and his final book ‘The City of Mist’

The Creation of Place by

‘The

City of Mist’

by Emma Owen

‘The City of Mist’ is a collection of short stories showing snippets of livelihoods, selecting an array of characters from hitmen to prostitutes, to the famous figures of Cervantes and Gaudi. Zafón is able to achieve a sense of place within Barcelona due to his judicious and rich descriptive skills that transgress from other authors. For instance, all of the short stories are transcribed throughout different time periods, starting as early as the 15th century to the present day. The instability of society is coherent within the novel as Zafón captures the Spanish civil war, thus linking the destruction as well as the influence that man has upon the sense of place. By incorporating a place’s history, by a ‘swarm of black angels… over the red sky of Barcelona, dropping columns of bombs that would never be seen as they hit the ground’, spreading awareness that the city is still reeling from the destruction and loss. Through the characters’ experiences and memories, Zafón creates a sense of the city’s past and how it has shaped the present. By subverting away from chronological order, all the stories are based within different time slots, forcing us to transcend throughout time and create the continuous journey of time-travel to assess the severity of the impact of culture and history upon Barcelona. However, the temporal distortion between the reflecting narratives is insignificant to the novel. By eliminating the meaning of time, the idea of place is exemplified throughout the book as it’s the only element that provokes solidity for the characters. This is expanded by Zafón shifting away from conventional writing styles of linking characters together by narrative momentum and by fortifying a single theme throughout the piece. And this is the importance of place. The importance of Barcelona.

From initial ideologies of Barcelona, the place is a hub to any aspect of tourist attraction due to the food, architecture, location and leisure. Marketed as ‘the perfect city break’, Barcelona is visited by over 8 million international tourists annually. However, I am not a tour guide! No where near… In fact, I want to spread the true meaning of Barcelona, the message that Zafón dedicated his life to.

Zafón incites a sense of place through his descriptions of the city’s landmarks, such as the Gothic Quarter, Las Ramblas, and the Barri Gòtic. He describes the narrow alleys and winding streets of the Gothic Quarter, the hustle and bustle of Las Ramblas, and the grandeur of the La Sagrada Familia. Through these descriptions, we can picture the city through a geographical lens to identify the significance of maps and locations to a place, but to also share the history associated with landmarksthe significance of identities made and destroyed throughout the ever-reigning stature of architecture.

I want to share the mystery and tension of Barcelona created by Zafón. The labyrinth of secrets and foils symbolic to the rolling alleys and dark corners and the unforgettable thrill that this city implores. The fusion of gothic-noir with elements of history and secrets create the enigmatic sense of the blanketed world of Barcelona. Zafón sublimely creates the dusting of the city, the over-cover of leaves that create the cinematic approach of gargoyles, basilicas and palaces, cathedrals and amphitheatres. Yet, I want to explore the undergrowth, the ideas within the mist. The sense that the characters are parallel with the place, from shunned and violent backgrounds that forever shape their meaning and history to obtaining a resilient spirit of being fulfilled with sights of beauty, architecture, culture and reaching the most ultimate sense of purity- by being ‘happy at last’- Zafón’s last literary words. A journey complete by shaping the ideals of ‘home’. Even from the thrill-seeking and dangerous adventures, the utter beauty captured within the novel provides a safety net, a level of trust and friendship associated with the city. Suggesting that Barcelona takes on much more humane roles to evoke a liminal space upon place and character; thus, defining the importance of ‘home.’

To sum up the true element of my article, the Financial Times states that “Zafón is a master of the atmospheric” helping tie the one true connection that mankind can accept, and that’s the power of ‘home’.

There’s no AI in me

by Lucy Gardner

Algorithms to live by, written by Brian Christian and Tom Griffiths, was released in 2016. Brian Christian and Tom Griffiths explore the insights of how algorithms we know that computers run apply to our everyday lives, to help with problem solving but more specifically decision making. While it may seem this book has no relation to English Literature, there are actually many connections between the concepts discussed in the book and the world of English literature. This unique view interests me because of the multitude of different perspectives of human nature.

Throughout the book many algorithms that computer scientists study are put into the perspective of the real world. For example, finding ‘the one’, when to sell your house or finding the right candidate for a job in a series of interviews.

Throughout the book, the authors argue that many of the decisions we make in our lives can be thought of as computational problems, where we try and find the best possible solution. Such as, buying or selling your house (when is the right time?), finding a partner (are they the one?), where to park your car at work (will there be a space closer that’s more convenient?). You could try and see if there is but that might lead to disappointment, you turning round and finding your original space, gone. So, the “secretary problem” judges scenarios without knowing the answer and having to gamble slightly. The idea of decision making is central to literature, for example when characters are faced with difficult choices and, we as readers, feel the suspense as we gather information to whether it was the correct decision, or not, even in poetry when the author has many critical lenses through which you could interpret their writing. However, this algorithm could help make overwhelming decisions and with the use of more algorithms in our lives we could become much simpler, whether that’s a good thing or not.

The authors also explore ‘randomness’ and argue that it can be powerful to help solve problems. They propose that we should embrace randomness rather than eliminating it from our lives or being caught off guard by it. Many great works of literature have unexpected plot twists and turns, and characters are constantly trying to adapt to their changing lives. The authors express that we should use the same techniques that computer scientists use to solve these problems.

– John Keats

I think that Christian and Griffiths explore the ideas that we program me computers in a way that we would like to think and process information, but we as the human race are far too complex to do this. The concepts of optimization, randomness and decision making are central to many great works of literature. By exploring these we create a deeper understanding of the world of literature linked within the world of computer science.

So when you say there’s no AI in me… there is!

‘At once it struck me what quality went to form a man of achievement, especially in literature and which Shakespeare possessed so enormously- I mean negative capability that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after that and reason’

Interview

with Ms Mackie

by Uma O’Hara & Emma Owen

Uma and Emma took the opportunity to interview Ms Mackie who joined the SHS community in January as Deputy Head.

E - Firstly, how are you finding your time at SHS so far and have there been any key moments or school traditions that you have experienced that have been particularly memorable?

MM - Yes, the school is very fast paced, there’s a lot going on but in a very productive way. For me, the Winter Dance was stunning! That was a very key moment for me as I remember sitting in the theatre and just thinking-‘ WOW! This could never happen in a mixed school and I was very proud to be a part of the school.’ I also love the little things that happen within the school, such as the ‘Know your lemons’ campaign and walking past and seeing activities such as that going on, especially during Period X.

U - Are there any particular aspects that you feel passionate about, that you have perhaps experienced in other schools that you want to encourage here?

MM - Working with students in focus groups: for example we have just done the Undivided Survey and, after getting those results I think we need to do a lot of unpacking with the students about what they want to see change and what they see as the great things about this school. In the past, I’ve worked with students post survey, doing a lot of what I’d call ‘drilling down’ to get to really know what the student feeling is and then making changes wherever possible…. and I say wherever possible, as its not realistic to promise change over night, as some change takes a long time and you have to track it over a period of years.

U - What has influenced your passion behind these aspects – has it been from past experiences or any particular role models?

MM - No just different experiences. For example, in my last school we had a Rainbow club… we had a ‘Rule the School Day’ where students could offer whatever they wanted as workshops and people signed up to it. A Rainbow Club grew which was the first time it had ever happened in our school- so it was something that was grassroots and grew from the ground up. It was brilliant and led to a whole series of cross school LGBTQ+ awareness raising sessions with parents, staff and students- it was fabulous! It is responding to things that the student body has bought to my attention. We also had a really lovely initiative called ‘Mental Health Warriors’, where throughout the pandemic, mental health rose right to the top of our agenda. We trained a group of students and they were our mental health ambassadors – so anything to do with mental health, they were the group we would call on – whether it was informing parents, needing a workshop, talking to the students lower down the school or educating staff. Those were the two groups I really worked with most passionately over the past 4 years. They were great initiatives and they tapped into what was going on at the time - it’s needs driven, it’s not something that we think you should be doing, it’s something that students come to us saying this is what needs to happen, how can you help us make it happen?

E - From your experience of living in China, did you have to adapt your teaching styles to fit in within the lessons, or were lesson techniques rather similar?

MM- In my last school, we had a very specific way of teaching. From teaching all years from nursery to year 13, we had the same approach which consisted of ‘I do, we do, you do’. For example, ‘I do’ was directed teaching instruction where there was

no expectation for the students to know the topic. The ‘we do’ is the practice of topic, completed together in class and lastly the ‘you do’ is the independent work for the student. Because we were a second language school, it was important that the students have a grasp of the language. This specific style of teaching allowed them to understand which parts of the lesson were for listening, taking part and practising, as well as working independently. This school teaching model was new for me, however, and it gave a lot of clarity and made you really think through every phase of the lessons which followed this style as ‘what am I expecting my students to be doing and what are they expecting me to be doing?’ So over a course of lessons, there had to be practice work, teacher instruction and independent study and research. I really liked that approach as it was very specific and I have taken that with me back to England as I think it helps balance the teacher- speak and the studentspeak every lesson.

E - How did you overcome and adapt to these challenges and do you have any advice for students taking on new challenges?

MM - Never be afraid of change! Some people are frightened of change because things are cosy and secure, but I think change can be really exciting. I remember a quote “Change is scary at the start, messy in the middle, glorious at the end”. I don’t think people necessarily need to be afraid of change, but if you’ve been at a school for 14 years, you settle into a rhythm, and if someone brings a notion of change, you may feel unsure and concerned about it. But I think that being open to change allows you to be open to new experiences. There are always different phases of change, such as going off to university, so we have to allow our students to practise changing and adapting within school. So don’t be afraid of change. Change is good!

NOW MOVING ONTO LITERARY BASED QUESTIONS:

E - Starting with the basics, what is your favourite novel and why?

MM - There was a book I read called ‘Bone People’ by Keri Hulme which was recommended to me by a friend years ago. It was one of those books that when you pick it up, you can never put it back down. I think I read it within 24 hours whilst on holiday. One of the reasons why I loved it was that it was tied to the mysticism of the Maori culture in New Zealand - it was fascinating to me. The story is about a wild, bohemian Maori woman who goes to the beach one day and finds a shipwreck. She discovers a little boy who had survived, completely isolated on the beach and realises that he is mute. The book explores their growing relationship and the discovery of why and how the boy came to be on her island. I then visited the place where it was set, this beautiful and wild beach, and felt connected to the history and culture that this book explored. Other books that I like are ‘The Book Thief’ and ‘The God of small things’ by Arundhati Roy. Her use of language is phenomenal. It is set in the backwaters of Kerala, India, where I travelled years ago so can imagine the context. Her invention of language is just simply dreamy and sublime. Literature has definitely had an influence on my travels. Travelling is part of my blood, it’s my biggest passion in life and I’ve been travelling prior to when I was 18. Some of my favourite places are Tibet, Ladakh, Yemen, Syria. In particular, sacred places. I remember visiting temples in Palmyra in the Syrian desert which were over 4000 years old and then seeing them later destroyed by Isis. When you’ve been to a place like that where people have deliberately tried to annihilate a culture, it just sticks with you. I’ve travelled lots in the Middle East and made many memories, such as in Oman, putting turtles into the sea after they had just hatched, camping on the beach for my son’s birthday and opening oyster shells and finding pearls inside.

U - So is there a particular genre you are interested in and what interests you about it?

MM - Literature wise, I like stuff that is linked and rooted in a culture, particularly if it is places that I have visited as I see literature as the window into the culture and soul of the nation.

E - Do you find that some of the literature/ books that you read are different to your experience of the place?

MM - The Arundhati Roy was just so perfectly representational of the place. I don’t know how I would have felt about it had it not been. I think I would have felt slightly cheated, but then I would have thought, I am the visitor so perhaps my perspective is wrong or unauthentic, as she is the person who lives there. I would assume that her presentation is authentic and maybe I had only got a very superficial representation of it, however I’ve never read literature and thought that’s not right. This highlights the question of whether you should read literature in translation, for example when fantastic Japanese literature that is so rooted in the Japanese culture is translated. Can literature be properly translated from one language to another because the words chosen are so specific and deliberate? I don’t know where I stand on that, I think there’s value (in translated literature); I don’t think you can perhaps get the same intent, I guess it depends on how good the translation is.

E - How has literature influenced your life as a whole, including plays, art, music, novels and poems?

MM - I’m a French and German specialist and whilst studying the languages at university, we read literature from the Medieval to modern for both languages. The insight (through text media) has changed me. In literature, it’s the voice of an author, there is an emotional connection, a human connection to what you’re reading. There is a book by Franz Kafka which is about a man waking up one morning as a beetle. This just prompts you to think why would this author have the idea of that storyline? And why is it a German author? Would an English author ever come up with that idea? It creates the idea of an author being a product of her nation and culture and I think that’s how it’s shaped me. The idea and notion of the insight within culture which is different from your own. There is something about German literature which is particularly German and there’s something about French literature which is typically French. The importance of literature is the insight it brings you within these different cultures.

U - Do any of these works connect with a monumental time in your life and how so?

MM - As I generally select works relating to the countries I am travelling to, they are always associated with holidays, in particular summer holidays. So, not momentous periods in my life but I always associate literature with being on holiday

Winter Dance Performed at Shrewsbury Theatre Severn, February 2023 Kate Kimber Photography

“

For me, the Winter Dance was stunning! That was a very key moment for me as I remember sitting in the theatre and just thinkingWOW!

and therefore that notion of having lots of time on your hands, so for me literature is almost a luxury and I know it shouldn’t be but it is not an everyday part of my life. If I am reading a book and I can devote myself to it its because I have the luxury of time so it is always a very positive association. When I was doing A Levels, the methodical autopsy of a text almost put me off literature. For A level English, I did John Donne and whilst I appreciated what I got out of the autopsy, it would never inspire me to pick up John Donne’s work for pleasure because it was almost clinical. Whereas when you are reading for pleasure, you interpret it as you wish.

E - How important is literature in your teaching?

MM- I teach Year 7 German at the moment. And we’re learning the topic of brother and sisters, however, and we link this to The Grimm’s fairy tales. Such as saying two stepsisters in German, and being able to link it to Cinderella. In my past teaching with older year groups, we have always used literature as a vehicle to understand the topic that we’re studying. For example, whilst studying WW2, it’s natural to bring in an extract from Anne Frank’s diary to spotlight her lived experience.

U - Other than your subject’s literature are there any particular topics you enjoy reading about?

MM - My main interests are the art and literature that goes with a culture. I am an avid collector of the textiles and jewellery of the places I have travelled to. Wherever I travel I always buy textiles and jewellery as they are so unique to that culture. I am also interested in the intangible heritage of different places, such as festivals, dances or rituals. I noticed Mr Bunn has just taken a delivery of Gamelan - when I lived in Indonesia and often travelled to Bali, I learnt much of their culture- Bali somehow doesn’t exist in my mind without Gamelan, it is part of the fabric - it accompanies every ritual in every temple. So when I hear Gamelan it transports me back to Bali.

I am interested in art and at half term I went to the Alice Neil retrospective at the Barbicanjust incredible! I visit anything - so I am pretty open when it comes to art. My daughter is an art teacher and for her degree show she did an installation so that wasn’t perhaps a conventional piece of art. I am always intrigued to speak to the artists about their explanation and justification to understand what motivated the artist to produce that, especially if it is something difficult to access. I additionally enjoy observing people responding to art and the intellectual discussions surrounding a piece rather than solely the visceral response.

E- Going back to literature that has influenced your life, where there any key works that you loved when you were a child?

MM - I used to read to Roald Dahl to my youngest brother. We had the entire collection and I’ll always have happy memories of me reading to him. With my own children, my daughter especially, grew up with Harry Potter. As a child myself, I am of the Edith Blyton generation and I remember distinctively reading the Faraway Tree. The Narnia series also resonated with me. Gerald Durrell’s ‘My Family and Other Animals’ really connected with me, that notion of dropping your life in one country and picking it back up again in another one seemed very exciting, like an adventure.

U - Do you think there is an impact on children being both read to and taught to read from a young age?

MM - Absolutely, I think it is critical. It is a critical language bond as you are not only developing their language but also an emotional bond, that intimacy of being read to. I think it is very special and you generally get it when you are a child and perhaps on the other extreme when older people can no longer read, so are read to. So I think reading to someone allows a lovely

bond. I think reading to your children is super critical, the best thing you can probably do as a parent is to read to your child every night, until they get to the stage where they are old enough to read to themselves every night. Again that notion of a ritual, that special half an hour every night with your children, I used to read to my children together. My daughter would often read to my younger son as there is three years between them but that was a ritual every night in our household.

U - What were the differences in the teaching of styles surrounding literature in Chinese schools and English schools? Are they taught about English and Chinese literature? Do they do an exam in English?

MM - We were an IB school so you had to study mother tongue and a foreign language. We had many Korean, Chinese and English students. Everybody studied mother tongue, so all of our Chinese children studied Chinese literature and took an exam in it and the same happened with both the English and Korean students. You also had to do a foreign language and an exam in that. The philosophy of the IB is that it is critical for a child to remain in contact with their culture through literature because it is how you maintain your identity, but also connect and remain connected with your host country. The best three ways to keep a person connected to the culture of their own country: literature, food and ritual. I observed English, Chinese and Korean literature being delivered in the exact same methodology- even though I couldn’t understand Korean I could still see that it was a good lesson as I could see what the students were doing.

E - Can you speak Chinese?

MM - A little bit but I can’t speak much Korean; when I lived in Saudi Arabia for 6 years I spoke pretty good Arabic!

E - Do you think social media has had a harmful impact on the way children connect with literature?

MM - Absolutely, I think it’s had a harmful effect on the way that children connect with everything! The attention span of the social media generation is reduced, we know that, it’s been proven. I think there’s an expectation that everything is packaged up neatly in a few minutes which is opposite to literature. We want children to be lost in books, their imagination to run riot, however, social media doesn’t encourage that at all. It’s boxed off, short, clicky. If we are looking at children being encouraged to express things of significance, we need to model it. Therefore, stepping away from Twitter which only allows you to type 120 characters. Social media is the ‘go to’ for children nowadays, it’s what they see, how they act, whereas, when I was growing up, you went to the library and selected a book. That was the norm. Additionally, social media encourages an instant reaction, a judgement, whereas literature is more nuanced than that.

E - Expanding to a wider audience do you think the media has effected modern literature, such as its focus and the quality of the work?

MM - Technology has opened up accessibility, not just for literature but for arts in general, as you can post your own work and achieve an audience very easily. Social media has opened up access to recommendations of literature, as have podcasts. There are some books that I feel have been influenced by technology: the format, the style, the way you are able to digest it. Pre-social media, there was a lack of acceptance perhaps. More writers can achieve success now, without being defined by the conventional writers which are a part of the canon.

U - Do you prefer modern literature or the classics?

MM - I think I would have to go modern.

U - If you could recommend one modern author/ novel to the girls of Shrewsbury High School what would it be?

MM - Every girl should read an inspirational, current, credible, authentic work of a female author with a really good message. At the moment I am reading ‘Citizen’ by Claudia Rankine which I would recommend to all Sixth Formers, as it is a product of its time and a very important read.

BOTH - Thank you for your time today, it was lovely to properly meet you.