Skip to main content
O-LevelLiterature in EnglishProse2010/11 · May/June 2011 · Q2525 Marks

ANITA DESAI: Games at Twilight and Other Stories 25 Read the following extract from Games at Twilight, and then answer the question that follows it: Then, perhaps roused by the shrieks of the children, a band of parrots suddenly fell out of the eucalyptus tree, tumbled frantically in the still, sizzling air, then sorted themselves out into battle formation and streaked away across the white sky. The children, too, felt released. They too began tumbling, shoving, pushing against each other, frantic to start. Start what? Start their business. The business of the children's day which is – play. 'Let's play hide-and-seek.’ 'Who'll be It?' 'You be It.' 'Why should I? You be – ' 'You're the eldest - ' 'That doesn't mean – ' The shoves became harder. Some kicked out. The motherly Mira intervened. She pulled the boys roughly apart. There was a tearing sound of cloth but it was lost in the heavy panting and angry grumbling and no one paid attention to the small sleeve hanging loosely off a shoulder. 'Make a circle, make a circle!' she shouted, firmly pulling and pushing till a kind of vague circle was formed. 'Now clap!' she roared and, clapping, they all chanted in melancholy unison: 'Dip, dip, dip – my blue ship – 'and every now and then one or the other saw he was safe by the way his hands fell at the crucial moment – palm on palm, or back of hand on palm – and dropped out of the circle with a yell and a jump of relief and jubilation. Raghu was It. He started to protest, to cry 'You cheated – Mira cheated Anu cheated 'but it was too late, the others had all already streaked away. There was no one to hear when he called out, ‘Only in the veranda the porch - Ma said – Ma said to stay in the porch!' No one had stopped to listen, all he saw were their brown legs flashing through the dusty shrubs, scrambling up brick walls, leaping over compost heaps and hedges, and then the porch stood empty in the purple shade of the bougainvillea and the garden was as empty as before; even the limp squirrels had whisked away, leaving everything gleaming, brassy and bare. Only small Manu suddenly reappeared, as if he had dropped out of an invisible cloud or from a bird's claws, and stood for a moment in the centre of the yellow lawn, chewing his finger and near to tears as he heard Raghu shouting, with his head pressed against the veranda wall, ‘Eighty-three, eighty-five, eighty-nine, ninety ...' and then made off in a panic, half of him wanting to fly north, the other half counselling south. Raghu turned just in time to see the flash of his white shorts and the uncertain skittering of his red sandals, and charged after him with such a blood-curdling yell that Manu stumbled over the hosepipe, fell into its rubber coils and lay there weeping, 'I won't be It – you have to find them all – all – All!' I know I have to, idiot, Raghu said, superciliously kicking him with his toe. 'You're dead,' he said with satisfaction, licking the beads of perspiration off his upper lip, and then stalked off in search of worthier prey, whistling spiritedly so that the hiders should hear and tremble. 5 10 15 20 25 30 35 40 45 Explore how Desai memorably portrays the actions and feelings of children at play in this passage.

  1. Explore how Desai memorably portrays the actions and feelings of children at play in this passage.[25]

Mark scheme

Marking points from the official mark scheme (May/June 2011). The mark or mark type is shown in brackets.

  1. Candidates should explore how Desai memorably portrays the actions and feelings of children at play in this passage.
  2. Focus on the initial restless energy and eagerness ('frantic to start'), leading to squabbles and chaotic selection of 'It'.
  3. The contrast between the initial joy of play and Raghu’s frustration and sense of being cheated.
  4. The vivid descriptions of the children’s movement and sounds ('tumbling, shoving, pushing', 'heavy panting and angry grumbling', 'yell and a jump of relief and jubilation').
  5. The portrayal of Raghu as the dominant, almost predatory figure ('superciliously kicking him', 'blood-curdling yell'), and Manu as vulnerable.
  6. The sensory details of the hot, still setting, and how it reflects the children’s intensity.
  7. Desai’s use of evocative verbs, imagery, and dialogue to capture the raw emotions and dynamics of childhood play.

Write your answer and get it marked

On Oracle Prep you can write or photograph your own answer and have it marked by AI against this mark scheme, with feedback on what you missed.

Sign up free →

About this question

Topic
Prose, O-Level Literature in English (syllabus 2010). Structured question, 25 marks.
Source
O-Level Literature in English, May/June 2011 Paper 1 Variant 1, question 25.

Questions and mark schemes are from past examination papers and remain the copyright of the exam board. How Oracle Prep builds its content

Related Literature in English questions

© 2026 Oracle Prep