Read this extract from My Greatest Ambition (by Morris Lurie), and then answer the question that follows it: Now let me properly introduce my father, a great scoffer. In those pre- television days, he had absolutely nothing to do in the evening but to walk past my room and look in and say, 'Nu? They sent you the money yet?' Fifty times a night, at least. And when the letter came from Boy Magazine, did he change his tune? Not one bit. 'I don't see a cheque,' he said. 'Of course there's no cheque, I said. ‘How can there be? We haven't even discussed it yet. Maybe I'll decide not to sell it to them. Which I will, if their price isn't right.' 'Show me again the letter,' my father said, ‘Ha, listen, listen. "We are very interested in your comic and would like you to phone Miss Gordon to make an appointment to see the editor.” An appointment? That means they don't want it. If they wanted it, believe me, there'd be a cheque.' It serves no purpose to put down the rest of this pointless conversation, which included such lines as 'How many comics have you sold in your life?' and, 'Who paid for the paper? The ink?' other than to say that I made the phone call to Miss Gordon from a public phone and not from home. I wasn't going to have my father listening to every word. My voice, when I was thirteen, and standing on tiptoe and talking into a public phone, was, I must admit, unnecessarily loud, but Miss Gordon didn't say anything about it. ‘And what day will be most convenient for you, Mr Lurie?' she asked. 'Oh, any day at all!' I shouted. 'Any day will suit me fine!' 'A week from Thursday then?' she asked. 'Perfect!' I yelled, trying to get a piece of paper and a pencil out of my trouser pocket to write it down, and at the same time listening like mad in case Miss Gordon said something else. And she did. 'Ten o'clock?' 'I'll be there!' I shouted, and hung up with a crash. It hadn't occurred to me to mention to Miss Gordon that I was thirteen and at school and would have to take a day off to come and see the editor. I didn't think these things were relevant to our business. But my mother did. A day missed from school could never be caught up, that was her attitude. My father's attitude you know. A cheque or not a cheque. Was I rich or was I a fool? (No, that's wrong. Was I a poor fool or a rich fool? Yes, that's better.) But my problem was something else. What to wear? My school suit was out of the question because I wore it every day and I was sick of it and it just wasn't right for a business appointment. Anyway, it had ink stains round the pocket where my fountain pen leaked (a real fountain, ha ha), and the seat of the trousers shone like a piece of tin. And my Good Suit was a year old and too short in the leg. I tried it on in front of the mirror, just to make sure, and I was right. It was ludicrous. My father offered to lend me one of his suits. He hadn't bought a new suit since 1934. There was enough material in the lapels alone to make three suits and have enough left over for a couple of caps. Not only that, but my father was shorter than me and twice the weight. So I thanked him and said that I had decided to wear my Good Suit after all. I would wear dark socks and the shortness of trousers would hardly be noticed. Also, I would wear my eye-dazzling pure silk corn yellow tie, which, with the proper Windsor knot, would so ruthlessly rivet attention that no one would even look to see if I was wearing shoes. 'A prince,' my father said. 5 10 15 20 25 30 35 40 45 50 Now, as the day of my appointment drew nearer and nearer, a great question had to be answered, a momentous decision made. For my father had been right. If all they wanted to do was to buy my comic, they would have sent a cheque. So there was something else. A full-time career as a comic-strip artist on the permanent staff of Boy Magazine! It had to be that. But that would mean giving up school and was I prepared to do that? 'Yes,' I said with great calmness and great authority to my face in the bathroom mirror. 'Yes.' There were three days to go. Then there occurred one of those things that must happen every day in the world of big business, but when you're thirteen it knocks you for a loop. Boy Magazine sent me a telegram. It was the first telegram I had ever received in my life, and about the third that had ever come to our house. My mother opened it straight away. She told everyone in our street about it. She phoned uncles, aunts, sisters, brothers, and finally, when I came home from school, she told me. I was furious. I shouted, 'I told you never under any circumstances to open my mail!' 'But a telegram,' my mother said. 'A telegram is mail,' I said. ‘And mail is a personal, private thing. Where is it?' My mother had folded it four times and put it in her purse and her purse in her bag and her bag in her wardrobe which she had locked. She stood by my side and watched me while I read it. 'Nu?' she said. 'It's nothing,' I said. And it wasn't. Miss Gordon had suddenly discovered that the editor was going to be out of town on my appointment day, and would I kindly phone and make another appointment? I did, standing on tiptoe and shouting as before. 55 60 65 70 75 80
- Explore the ways in which Lurie makes this extract so amusing.[25]
Mark scheme
Marking points from the official mark scheme (May/June 2014). The mark or mark type is shown in brackets.
- Assessment Objectives:
- AO1 show detailed knowledge of the content of literary texts
- AO2 understand the meanings of literary texts and their context, and explore texts beyond surface meaning to show deeper awareness of ideas and attitudes
- AO3 recognise and appreciate ways in which writers use language, structure, and form to create and shape meanings and effects
- AO4 communicate a sensitive and informed personal response
- General Descriptors:
- [23-25] Answers in this band have all the qualities of Band 2 work, with further insight, sensitivity, individuality and flair. They show sustained engagement with both text and task.
- [20-22] Sustains a perceptive, convincing and relevant personal response. Shows a clear critical understanding of the text. Responds sensitively and in detail to the way the writer achieves her/his effects (sustaining a convincing voice in an empathic task). Integrates much well-selected reference to the text.
- [17-19] Makes a well-developed, detailed and relevant personal response. Shows a clear understanding of the text and some of its deeper implications. Makes a developed response to the way the writer achieves her/his effects (sustaining an appropriate voice in an empathic task). Supports with careful and relevant reference to the text.
- [14-16] Makes a reasonably developed relevant personal response. Shows understanding of the text and some of its deeper implications. Makes some response to the way the writer uses language (using suitable features of expression in an empathic task). Shows some thoroughness in the use of supporting evidence from the text.
- [11-13] Begins to develop a relevant personal response. Shows some understanding of meaning. Makes a little reference to the language of the text (beginning to assume a voice in an empathic task). Uses some supporting textual detail.
- [8-10] Attempts to communicate a basic personal response to the task. Makes some relevant comments. Shows a basic understanding of surface meaning of the text (of character in an empathic task). Makes a little supporting reference to the text.
- [5-7] Some evidence of simple personal response. Makes a few straightforward comments. Shows a few signs of understanding the surface meaning of the text (of character in an empathic task). Makes a little reference to the text.
- [2-4] Limited attempt to respond. Shows some limited understanding of simple/literal meaning.
- [0-1] No answer / Insufficient to meet the criteria for Band 8.
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