Text-Type: Memoir

As you read a variety of texts you may be intrigued by memoirs. For the WT 1, memoirs work very well. You may decide to write the memoirs of a character from a literary work that you read for Part 3 or 4. You may also come across a memoir or autobiographical piece on the Paper 1 exam. For these reasons, it is good to familiarise yourself with the conventions of memoir writing.

Memoirs are easily confused with autobiographies. While all memoirs are autobiographical, not all autobiographies are memoirs. Memoirs are reflections upon one’s life, including the life lessons that can be gleaned from a section of one’s life. They are story-like and anecdotal, while autobiographies are the retelling of one’s own history.

William Zinsser in Inventing the Truth: The Art and Craft of a Memoir offers this definition:

"Unlike autobiography, which moves in a dutiful line from birth to fame, memoir narrows the lens, focusing on a time in the writer's life that was unusually vivid, such a childhood or adolescence, or that was framed by war or travel or public service or some other special circumstance."  

Here are several characteristics that you will want to consider when analysing or writing memoir.

• Writing that is focused on either a certain event, time or place

• Writing that consists mainly of feelings or revealing truths

• Written in first person perspective 

• Writing that makes the subject come alive

Try to identify these four elements of in the two passages below, both taken from memoirs. The first is from Lorna Sage's Bad Blood.

So the playground was hell: Chinese burns, pinches, slaps and kicks and horrible games. I can still hear the noise of a thick wet skipping rope slapping the ground. There's be a big girl at each end and you had to leap through without tripping. Joining in was only marginally less awful than being left out. It is said (truly) that most women forget the pain of childbirth; I think that we all forget the pain of being a child at school for the first time, the sheer ineptitude, as though you'll never learn to mark out your own space. It's doubly shaming -- shaming to remember as well, to feel so sorry for your scabby little self back there in small people's purgatory. 

Comment: We see all four defining elements of this text-type:

* narration in the first-person perspective;
* the revelation of feelings and personal truths (with hints of more to come)
* evocation of a specific time and place in the past which will be the main focus of the book (her childhood and school years which had a formative impact on her);
* use of literary-rhetorical techniques to make the subject "come alive" (e.g. sensory imagery, artful parallelisms, hyperbole, caesura, onomatopoeia - and plenty of drama and black humour!) similar to literary fiction.


This next excerpt is from Cider with Rosie, by Laurie Lee

That was the day we came to the village, in the summer of the last year of the First World War. To a cottage that stood in a half-acre of garden on a steep bank above a lake; a cottage with three floors and a cellar and a treasure in the walls, with a pump and apple trees, syringa and strawberries, rooks in the chimneys, frogs in the cellar, mushrooms on the ceiling, and all for three and sixpence a week.

I don’t know where I lived before then. My life began on the carrier’s cart which brought me up the long slow hills to the village, and dumped me in the high grass, and lost me. I had ridden wrapped up in a Union Jack to protect me from the sun, and when I rolled out of it, and stood piping loud among the buzzing jungle of that summer bank, then, I feel, was I born. And to all the rest of us, the whole family of eight, it was the beginning of a life.

But on that first day we were all lost. Chaos was come in cartloads of furniture, and I crawled the kitchen floor through forests of upturned chair-legs and crystal fields of glass. We were washed up in a new land, and began to spread out searching its springs and treasures. The sisters spent the light of that first day stripping the fruit bushes in the garden. The currants were at their prime, clusters of red, black, and yellow berries all tangled up with wild roses. Here was bounty the girls had never known before, and they darted squawking from bush to bush, clawing the fruit like sparrows.

Comment: Here again the perspective is that of a child. The narrating voice, though, is that of an adult. Note the retrospective stance (achieved through the narrative style, and the more obvious cues That was the day we came to the village; My life began...; first day). Feelings and impressions dominate. Lee is writing about his earliest encounter with his new home -- a house in a village in the Cotswolds at the turn of the century. We will understand the full significance of the village on his life after reading the whole book; but already, in these early pages, we sense that this place holds much in store for the young family, as the children excitedly explore their surroundings. An otherwise mundane move turns into high adventure and literary magic: we are transported along with the children into a wonderful whole new world of possibilities and promises. There are invocations of the exotic and marvellous (washed up in a new land; treasure; buzzing jungle), an abundance of sensory imagery (buzzing; high grass; clawing; clusters of red, black, blue), evocative comparisons (at one point the girls are transformed into hungry birds --metaphor). This is an important moment ("...it was the beginning of a life"; "then, I feel, was I born") and the rest of the book confirms this early impression. The village leaves an indelible mark on the author's life.

These are some of the elements that will important to your attempt at reproducing this this genre for your WT1.


Find more discussions and resources

Guardian
Masters Review
Powerpoint 
Memoir - a snapshot in time
slideshare
slideshare characteristics of memoir
characteristics of 1
pdf
writers write


If you need help with any aspect of your WT1, contact us.  First sessions are free!

Learning Outcomes for Part 1 (Eng A: LangLit)

Below are the three learning outcomes that one should aim to meet while studying Part 1 of the English Language and Literature course. For each outcome brief explanation is offered. The learning outcomes in bold are taken from the IB guide for Language A: Language and Literature.

Analyze how audience and purpose affect the structure and content of texts.

Here we focus on how a text is inseparable from its context is inseparable from text. By looking at an array of texts from children's stories to brochures, we learn not only about various types of texts, but also how they target different audiences and achieve different purposes. Besides asking questions like: "What makes a speech a typical speech?" we should ask: "What makes a speech unique to its context?" You may find yourself looking at several newspaper articles covering the same current event and discussing how and why they are different.


Analyze the impact of language changes.

Language does not stand still. Every day people are using old words in new ways. People are coining words and reshaping the language. They do this in order to express their identity, to fit in with a group or stand out from a crowd. Language is a social, regional and historical phenomenon. We cannot avoid the discussion on linguistic decay, especially when talking about things like 'netspeak' or texting. Typical lessons that meet this learning outcome will present old and new texts, such as Chaucer's Canterbury Tales and samples of text messages.


Demonstrate an awareness of how language and meaning are shaped by culture and context.

Imagine you are an archaeologist collecting artefacts. Each time you pick up an artefact you wonder what it says about its once-existing culture. We would like to foster the same attitude in English A: Language and Literature. Each time we pick up a text, we ask what it says about the English-speaking world. Therefore we should examine texts from the cultures of South Africa, North America, Australia, India, and the UK, just to mention a few. By analysing texts from these cultures, we gain some understanding of their traditions, histories and values.

Learning Outcomes for Part 2 (Eng A: LangLit)

Below are the three learning outcomes that one should aim to meet while studying Part 2 of the English A: Language and Literature course. The learning outcomes in bold are taken from the IB guide for Language A: Language and Literature.

Examine different forms of communication within the media. 

A constant question we should ask in Part 2 is: 'What is the relationship between form and content?' This relates to the famous Marshal McLuhan quote, "The medium is the message," which suggests that form influences content and is often more important that content. This learning outcome encourages us to explore even more types of texts. One common and successful way of exploring the differences between texts is to present a great variety of newspapers published on the same day, looking at how one story may be portrayed in multiple ways. Furthermore, we could be having discussion about how the Internet is changing the conventions of text types. In order to learn more about the conventions of various text types, we suggest you check out the pages on text types, found in the News archives of the site. 

Show an awareness of the potential for educational, political or ideological influence of the media 

In Part 2 we can examine journalism, satire and media institutions. The media are powerful in that they pose the means to shape public opinion. The question that should be asked here is: "How are the media trying to persuade and shape the public opinion or a culture?" 

Show the way mass media use language to inform, persuade or entertain. 

Part 2 requires that we look at the language of persuasion, including rhetorical devices, political campaigning and propaganda techniques. You will want to examine famous speeches, persuasive ads and political cartoons. Satire, spoofs, parody and pastiche also try to influence readers towards a particular ideological position. We should ask ourselves what constitutes fair and balanced reporting. As a result we will become good at identifying sensationalism, bias and vague language. Finally, popular culture and entertainment should not be ignored. "How do popular TV shows, violent movies or social networking sites reflect cultural values?" Such a question should be answered by referring to specific texts and examples from the media.


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Learning Outcomes for Part 3 (Eng A: LangLit)

Below are the three learning outcomes that should be met while studying Part 3 of the English A: Language and Literature course.

For each outcome a brief explanation is offered, together with links to supporting activities. The learning outcomes in bold are taken from the IB guide for Language A: Language and Literature.

Consider the changing historical, cultural and social contexts in which particular texts are written and received.

Students are asked to understand the context of the production of a given text, and compare that context to the way the text is understood today, or at another time. Choice of texts is extremely important. Contentious works, plays and roman a clef works are good for Part 3, as they demand a contextual understanding in order to appreciate the author's intentions. Students should learn to identify both differences and similarities. Surprise leads to questioning that may bear fruit.



Demonstrate how form, structure and style can not only be seen to influence meaning but can also be influenced by context.

A novel written in the second half of the twentieth century does not often resemble a novel written in the mid-nineteenth century. Developments in psychology, for example, changed the way writers depicted the human mind. Considerations such as this can provide useful inroads into reaching this learning outcome. Students need to put themselves in the writer's position and ask how context determines the range of options open to the author. Comparing texts from the same genre makes it easier to explore issues related to this learning outcome.



Understand the attitudes and values expressed by literary texts and their impact on readers.

Recognizing difference is often a good starting point for defining our own attitudes and values in relation to those presented in a text. In addition to the pages listed above, you may want to look at The Crucible pages as an illustration of how to explore changing attitudes and impact. Related pages with brief definitions and suggested readings related to a few movements in critical theory may also be helpful while thinking about how to teach Part 3 texts. These are postcolonial criticism, stylistics, and new historicism. These pages are intended to provide different lenses through which teachers of the course may want to approach their texts to help students achieve the above aims. They are also implicit in some of the lessons in this section.



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Learning Outcomes for Part 4 (Eng A: LangLit)

Below are the three learning outcomes that one should aim to meet while studying Part 4 of the English Language and Literature course. For each outcome, a brief explanation is offered. The learning outcomes in bold are taken from the IB guide for Language A: Language and Literature.

Explore literary works in detail.

In Part 4, students engage in the close reading of literary texts. In order to meet this outcome, you will need to focus on extracts from a larger literary texts. Not only is this useful when preparing for the individual oral activity, but this enables one to focus on a specific literary devices, the placement of a smaller text in a greater context and the effects of a passage on the reader. Furthermore, at such a level of analysis, you may notice a difference between a text's overt and covert messages.



Analyze elements such as theme and the ethical stance or moral values of literary texts.

Analyzing literary texts is like deciphering codes. Although writers are not always aware of the implications and meanings of their own texts, we want to try to make interpretations. "What does the author stand for?" is one question that you will inadvertently address while analyzing literary texts. Furthermore you may find yourself asking: "What is the author's intention?" "How does he or she view the world?" Often, you can find answers when studying texts in depth.



Understand and make appropriate use of literary terms.

When analyzing literary texts, one needs to understand the mechanics of fiction and poetry. One question we should ask is: "What kinds of devices do writers make use of to convey a message or express a sentiment?" Identifying literary devices however, is only the beginning. One needs to go further and ask "What are the effects of these devices on the reader?"


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In the Spotlight: Persepolis

Our Spotlight series features a well-known work or author and offers you a wealth of ideas for your next assignment or research topic.

Below are ideas for the EE, IOP, FOA or WT1 or WT2. If you need more help with developing your own topic, contact us.

Wise, funny, and heartbreaking, Persepolis is Marjane Satrapi’s memoir of growing up in Iran during the Islamic Revolution. The intelligent and outspoken only child of committed Marxists and the great-granddaughter of one of Iran’s last emperors, Marjane bears witness to a childhood uniquely entwined with the history of her country.

WT1

• Radio transcript – Write a transcript for a radio Book-Club interview/brodcast, with Satrapi or literary critic as guest. What explains the overwhelming success of this work? Be sure to use an appropriate model for this genre.

• Manifesto – an excellent way to expose the values, beliefs and attitudes of the young Marjane and/or her family members which are implied in the novel. See the defining characteristics of manifestos here.

• Diary – A mother or father writes an entry revealing concern for his/her daughter’s safety as she increasingly defies the regime through her outspoken manner. The diary can show knowledge and understanding of Marjane’s character, her upbringing, the political/social/cultural context which Satrapi brings out through her work.

• Pastiche -- Mimic Satrapi’s simple drawing style to address similar themes and issues (injustice, freedom and confinement, religion) from another context. Or insert a missing chapter or section.

WT2

• Q. 3 ”Which social groups are marginalized, excluded or silenced within the text?”You could demonstrate how the Marjane Satrapi uses various conventions of the graphic novel to show how children, secularists, nationalists and even Muslims were silenced in Iran during the 1980 Islamic revolution.

IOP / FOA

• Interview/roundtable/seminar/lecture: Focus: ”What accounts for the success and immense popularity of this memoir?” Respond as cultural or literary critic in a seminar/roundtable or book-show. Similarly, this question could be the focus for an Oprah Winfrey interview with the author. Either way, the question invites an exploration of context (or reception and production).

• Presentation / Discussion: Persepolis is, essentially, a comic book. But what (if it at all — there is still some debate) makes it literature? Are all comic books potentially literature? This is an excellent way to explore questions of genre and cultural context. You can easily turn this into a live debate.

Resources

• Podcast - Book Talk - reactions (23 min)
• Podcast - Interview with author npr (20 min)

• Article -

• Site - Discussion of genre & stylistics + offers links. The Graphic Novel. 

• Video - Satrapi interviewed
• Video - "How to read a graphic novel" TEDx
• Video - overview of stylistic choices in Persepolis

Spotlight: Kazuo Ishiguro's Remains of the Day

Our Spotlight series regularly features an author or work studied in English and gives you prompts and ideas for your EE, IOP/FOA, WT1&2 or WA.

Ishiguro's novel offers excellent opportunities for exploring narrator (un)reliability, point of view, and dramatic irony in your next assignment. 

"... a subtle masterpiece of quiet desperation" 

FOA/IOP

Presentation: Stevens is adamant that ‘a butler of any quality must be seen to inhabit his role, utterly and fully’ as, to him it is much more than a ‘pantomime costume’ (p. 178). Discuss Stevens’ belief and how it is satirised by Ishiguro through the course of the novel.

Passage analysis: During his conversation with Stevens over the matter of ‘dignity’ (pp. 193-199), Mr Harry Smith observes trenchantly that ‘there is no dignity to be had in being a slave’ (p. 196). Discuss the irony of this statement in light of the novel as a whole.

Debate: Is Stevens a foolish dupe or a tragic hero?

Class Discussion: How far, and how effectively does the ending of the novel beginning on p. 252 ‘The pier lights…’ seem to bring the novel to a close? Separate the class into small groups of 3-5 students, with each answering a different prompt (8-10 min) . Each prompt serves to help answer the final question. Bring together for a final discussion (8-10 min).

Passage analysis: Look at the episode on pages 67-70 beginning ‘I rarely had reason to enter my father’s room…’ and ending ‘…some precious jewel he had dropped there.’ What does this passage reveal about Ishiguro’s narrative technique and how important the episode is to our understanding of Stevens?

Presentation /class discussion: Why is the novel entitled “The Remains of the Day”? If you opt for class discussion, break up the class into small groups. 3-4 minutes group discussion; 4-5 minutes whole group discussion; 2-4 minutes summing up of key ideas by you.

Debate: Does the narrative ultimately condemn Stevens for the choices he has made?

Radio interview / Oprah Winfrey: “Is the ending hopeful?” If you opt for radio interview, include 2-3 classmates. Each will serve to challenge the others in their interpretations. If you alone are being assessed for the IOP/FOA, then give your 2 classmates written prompts which challenge your position.

Presentation: How do the historical events, which underpin the novel, give a shaping power to the meaning of Stevens’ reflections? (One historical event: the story takes place in July 1956, the same month and year as the Suez Crisis).

Presentation: How effective and reliable is Stevens as a narrator? Discuss this question, paying particular attention to Ishiguro’s role in crafting his character.

WT1

Pastiche: Mimic the style and perspective that Ishiguro uses to create dramatic irony.

Editorial: Was Lord Darlington’s fall from grace aided and abetted by the blind sense of propriety and duty found in pre-war England — a country of stark class differences?

Diary: Miss Kenton records her love but also frustration with Stevens.

Tabloid: ”Butler Claims 'No Regrets' after Serving Nazi Master”-

WT2

Q. 1 "How could the text be read and interpreted differently by two different readers?"

Consider how the novel might be interpreted differently by a Marxist critic and a Post-Colonial critic? Review the different schools of interpretation in another article.


Q. 3 "How and why is a social group represented in a particular way?" 

Consider Ishiguro’s choice of main character — a Butler. To what purpose does Ishiguro reproduce and complicate some of the stereotypes of the English butler?

EE

Exploration of motif: Ishiguro’s characterisation of Stevens’ through the use of the ‘laugh’.

Discuss and analyse the use of English landscape as a symbol in the novel.

Explore notions of “Englishness” as defined and conveyed by Ishiguro. What is the overall message?

Exploration of theme: A dominant, yet subtle theme that is played out in the novel is the concept of ‘seeing and blindness’, both literally and metaphorically.

Discuss how the contrast of light and darkness in the novel contributes to theme.

Applying (post-colonial) literary theory: In what ways is Stevens the ideal colonial subject?

“Ideals, Ishiguro shows us, can corrupt as thoroughly as cynicism. ” Salman Rushdie. Show how this is true in the novel.

Resources

- Article:  Salman Rushdie discusses major themes (The Guardian)
- Podcast: The author himself. (Guardian Book Club Podcast)
- Podcast: Ishiguro speaks with Harriet Gilbert on BBC World Book Club

If you need help with any aspect of your assignment, contact us for a free session.