OCR GCSE English Literature Delivery Guide - Activity 6 - DNA

Activity 6

Theme: Relationships

See Generic guidance for using the scaffold (based on sample extract pairing: Animal Farm by George Orwell and The Buried Giant by Kazuo Ishiguro)

DNA by Dennis Kelly and Chiaroscuro by Jackie Kay

Compare how being in a romantic relationship with someone is presented in the two extracts. You should consider:

· the situations and experiences faced by the characters

· the reactions of the characters

· how the writers’ use of language and techniques creates effects.

Extract 1 from: from: DNA by Dennis Kelly

In this scene, Leah is speaking. She has been trying to make conversation with Phil.

Phil pulls out a bag of crisps.

You don’t care, do you. I could be talking Chinese for all you care. How do you do it? You’re amazing. You’re unreal. I sometimes think you’re not human. I sometimes think I wonder what you would do if I killed myself, right here in front of you. What would you do? What you do, Phil?

No answer.

Phil, what would you do? Phil?

Still no answer.

Suddenly she grabs her throat.

I’m gonna do it!

She squeezes.

I mean it! I’m gonna do it…

No answer. She strangles herself, her face turning red.

She falls to her knees with the exertion.

Phil looks on.

She is in considerable pain. Grits her teeth and squeezes.

She strangles until she is lying prone on the floor.

(Gasping...) Phil! This is it...

She stops.

Lies there, panting.

Phil opens his crisps and begins to eat them.

Leah gets up, sits next to Phil.

Phil eats on.

Extract 2 Chiaroscuro by Jackie Kay

The play is about the issues faced by four black and mixed race women in 1980s Britain. Opal and Beth, two of the women, have recently started a relationship.

Opal: How long do you think we’ll last?

Beth: How do I know? I don’t like speculating.

Opal: I’m scared of losing you. I can’t imagine my life without you now.

Beth: Opal, you’re a real drama queen sometimes. You were living before you met me and you’ll keep living if we split.

Opal: (hurt.) You must know what I mean. I want to imagine growing old with you.

Beth: (incredulous.) Old?

Opal: Well if you’re not there, who will be? You’re the only family I have, Beth, the only one I can call home. That’s what freaks me out – what happens when you go?

Beth: Why are we having this conversation? I’m not going anywhere. Do you see me heading for the door? But I can’t promise any forevers either. I don’t believe in always. Always is a lie like till death do us part. Look at the divorce rates amongst the straights.

Opal: I’m not talking of marriage.

Beth: You are, Opal. (Pause.) Look should we ever split up, and we might, we’ll leave each other stronger than we were when we first met. Strong enough to continue, Opal. Our love is filling me up today. Tomorrow is something I can’t plan. Anyhow, I’m not the only woman in the world, you know.

Opal: Yes you are. Oh Beth. I love you so much it’s frightening. I don’t trust happiness. Why can’t I say always?

Beth: (impatiently.) Because there is nothing worse than shattered promises.

Using Unsee Modern Texts

Scaffold

Use the scaffold below to help construct an answer to the comparison question on DNA and Chiaroscuro

Assessment objectives / DNA / Quotation / What is Kelly saying about being in a romantic relationship? / Chiaroscuro / Quotation / What is Kay saying about being in a romantic relationship? / Contrasts and Comparisons /
The situations /experiences faced by the characters (AO3) /
The reactions of the characters (AO1) /
How the writers’ use of language and techniques creates effects (AO2) /

Using Unseen Modern Texts

Theme: Betrayal/actions and their consequences/trauma

See Generic Guidance for pairing stand-alone unseen extract with set text extract (based on: The Empire of the Sun by JG Ballard)

Stand-alone extract from: Equus by Peter Shaffer

Dystart, a child psychiatrist, comforts Alan, one of his patients, who has had a nightmare about a horse, called Equus.

Dystart: Here… Here… Ssssh… Ssssh… Calm now… Lie back. Just lie back! Now breathe in deep. Very deep. In… Out… In… Out… That’s it… In. Out… In… Out…

Alan’s breath is drawn into his body with a harsh rasping sound, which slowly grows less. Dystart puts the blanket over him.

Keep it going… That’s a good boy… Very good boy… It’s all over now, Alan. It’s all over. He’ll go away now. You’ll never see him again, I promise. You’ll have no more bad dreams. No more awful nights. Think of that!... You are going to be well. I’m going to make you well, I promise you… You’ll be here for a while, but I’ll be here too, so it won’t be so bad. Just trust me…

Dystart stands upright. Alan lies still.

Sleep now. Have a good long sleep. You’ve earned it… Sleep. Just sleep. … I’m going to make you well.

He steps backwards into the centre of the square. The light brightens some more. A pause.

Dystart: I’m lying to you, Alan. He won’t really go that easily. Just clop away from you like a nice old nag. Oh, no! When Equus leaves – If he leaves at all – it will be with your intestines in his teeth. And I don’t stock replacements… If you knew anything, you’d get up this minute and run from me fast as you could.

Using Unseen Modern Texts