‍The Complete Maus by Art Spiegelman is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.

Contents

1. Introduction
2. Themes
3. Analysing Techniques in Visual Texts

1. Introduction

The Complete Maus is a graphic novel that depicts the story of Vladek Spiegelman, a Polish Jewish Holocaust survivor who experienced living in the ghettos and concentration camps during the Nazi regime. Vladek’s son, Art has transformed his story into a comic book through his interviews and encounters which interweaves with Art’s own struggles as the son of a Holocaust survivor, as well as the complex and difficult relationship with his father.

2. Themes 

Survival 

Survival is a key theme that is explored during Vladek’s experience in concentration camps and his post-Holocaust life. 

For example, Vladek reflects that “You have to struggle for life” and a means of survival was through learning to be resourceful at the concentration camps.

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Resourcefulness is depicted through the physical items Vladek keeps or acquires, as well as through Vladek’s skills. For example, Vladek explains to Art that he was able to exploit his work constantly through undertaking the roles of a translator and a shoemaker in order to access extra food and clothing by being specially treated by the Polish Kapo.

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He even wins over Anja’s Kapo to ensure that she would be treated well by not being forced to carry heavy objects. Vladek’s constant recounts and reflections symbolise survival, as Vladek was willing and able to use his skill set to navigate through the camp’s work system.

During the concentration camps, food and clothes also became a currency due to its scarcity and Vladek was insistent on being frugal and resourceful, which meant that he was able to buy Anja’s release from the Birkenau camp.

‍Guilt

Although survival is a key theme, the graphic novel explores how Holocaust survivors in The Complete Maus grapple with their deep psychological scars. 

Many of those who survived the war suffered from depression and was burdened with ‘survivor’s guilt’. This can be seen through the character of Art’s mother, Anja, as 20 years after surviving the death camps, she commits suicide. After having lost so many of her friends, and families, she struggled to find a reason as to why she survived but others didn’t. Throughout the graphic novel, her depression is apparent. In a close-up shot, Anja appears harrowed and says that “I just don’t want to live”, lying on a striped sofa to convey a feeling of hopelessness as if she was in prison. Her ears are additionally drawn as drooped, with her hands positioned as if she was in prison in the context is that she must go to a sanatorium for her depression.

It is not only Anja’s guilt that is depicted, but also Art himself who feels partly responsible. Art feels that people think it is his fault as he says that “They think it’s MY fault!” and in one panel, Art is depicted behind bars and that “[He] has committed the perfect crime“ to illustrate that he feels a sense of guilt in that he never really was the perfect son. He believes he is partly responsible for her death, due to him neglecting their relationship. Spiegelman also gives insight to readers of a memory of his mother where she asks if he still loves her, he responds with a dismissive ‘sure’ which is a painful reminder of this disregard. 

Intergenerational Gap

Art constantly ponders how he is supposed to “make any sense out of Auschwitz’ if he “can’t even make any sense out of [his] relationship with [his] father”. As a child of Jewish refugees, Art has not had the same first-hand horrific experiences as his parents and in many instances struggles to relate to Vladek’s stubborn and resourceful tendencies. Art reflects on this whilst talking to Mala about when he would not finish everything his mother served, he would “argue til I ran to my room crying”. This emphasises how he didn’t understand wastage or frugality even from a very young age, unlike Vladek.

Spiegelman also conveys to readers his sense of frustration with Vladek where he feels like he is being treated like a child, not as an adult. For example, Art is shocked that Vladek would throw out one of Art’s coats and instead buy a new coat, despite Vladek’s hoarding because he is reluctant and feels shameful to let his son wear his “old shabby coat”. This act could be conveyed to readers that Vladek is trying to give Art a life he never had and is reluctant to let his son wear clothes that are ‘inappropriate’ in his eyes. However, from Art’s perspective, he “just can’t believe it” and does not comprehend his behaviour.

Since we're talking about themes, we've broken down a theme-based essay prompt (one of five types of essay prompts) for you in this video:

3. Analysing Techniques in Visual Texts

The Complete Maus is a graphic novel that may seem daunting to analyse compared to a traditional novel. However, with countless panels throughout the book, you have the freedom to interpret certain visuals so long as you give reasoning and justification, guiding the teacher or examiner on what you think these visuals mean. Here are some suggested tips:

Focus on the Depiction of Characters

Spiegelman may have purposely drawn the eyes of the Jewish mice as visible in contrast to the unapparent eyes of the Nazis to humanise and dehumanise characters. By allowing readers to see the eyes of Jewish mice, readers can see the expressions and feelings of the character such as anger and determination. Effectively, we can see them as human characters through their eyes. The Nazis’ eyes, on the other hand, are shaded by their helmets to signify how their humanity has been corrupted by the role they fulfill in the Holocaust.

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When the readers see their eyes, they appear sinister, with little slits of light. By analysing the depictions and expressions of characters, readers can deduce how these characters are intended to be seen.

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Look at the Background in Each Panel

Throughout the graphic novel, symbols of the Holocaust appear consistently in the background. In one panel, Art’s parents, Anja and Vladek have nowhere to go, a large Swastika looms over them to represent that their lives were dominated by the Holocaust.

Even in Art’s life, a panel depicts him as working on his desk with dead bodies surrounding him and piling up to convey to the reader that the Holocaust still haunts him to this day, and feels a sense of guilt at achieving fame and success at their expense.

Thus, the constant representation of symbols from the Holocaust in Spiegelman’s life and his parents’ past in the panels’ background highlights how inescapable the Holocaust is emotionally and psychologically. 

Size of Panels

Some of the panels in the graphic novel are of different sizes which Spiegelman may have intended to emphasise the significance of certain turning points, crises or feelings. For example, on page 34, there is a disproportionate panel of Vladek and Anja passing a town, seeing the first signs of the Nazi regime compared to the following panels. All the mice seem curious and concerned, peering at the Nazi flag behind them. This panel is significant as it marks the beginning of a tragic regime that would dominate for the rest of their lives.

You should also pay close attention to how some panels have a tendency to overlap with each other which could suggest a link between events, words or feelings.

Although not specifically targeted at Text Response, 10 Things to Look for in Cartoons is definitely worth a read for any student studying a graphic novel!

The Erratics is usually studied in the Australian curriculum as a Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.

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Within the intimate Albertan landscape of her memoir, The Erratics, author Vicki Laveau-Harvie guides her readers through the inhospitable terrain that marked her family environment. Laveau-Harvie’s memoir is complex, showcasing the complicated dynamics that arise within her dysfunctional family. Understanding the ideas and values that underpin these family tensions is crucial to scoring well in The Erratics, which is why this blog will break down the key themes and quotes to help you analyse the memoir. 

Contents

• Family & Trauma
• Truth & Perspective
• Ageing
• Choice & Agency

Family & Trauma

Family lies at the heart of The Erratics. Both sisters spent their childhoods navigating the hostile familial setting fostered by their mother’s turbulent behaviour, resulting in a profound trauma that manifests itself in their present lives. The ways in which they manage this trauma, whilst reestablishing a connection with their family, is a core aspect of Laveau-Harvie’s memoir. 

‍‘We’ve been disowned and disinherited…When something bad happens to them, we’ll know soon enough and we’ll deal with it together. I don’t realise at the time, but when I say that, I imply care. I imply there may be something to salvage. I misspeak. But I’m flying there anyhow. So is my sister. Blood calls to blood. What can I tell you?’ (p. 17) 

From the outset, Laveau-Harvie asserts the underlying tension of her memoir. Having established her mother to be as ‘mad as a meat-axe’ in the first chapter, the reader may find Laveau-Harvie’s decision to return to Canada bizarre, to say the least. However, for Vicki the choice makes sense, having promised her sister that she will return to support her when ‘something bad happens’. 

Laveau-Harvie suggests that people cannot completely separate themselves from their blood relations, and that most importantly, a moral obligation to one’s family and self-preservation are not mutually exclusive. Rather, she suggests that there exists a ‘precarious balance’ between these commitments and that one’s family cannot be ignored in times of need, because, ultimately, ‘blood calls to blood’. 

‍‘...everybody knows a family Christmas will always go badly, that even the most extremely lowered family expectations will not be met. Magazines publish the same articles…year after year, on why we harbour these wildly unrealistic expectations of family unity.’ (p. 54)

Laveau-Harvie challenges the ‘wildly unrealistic expectations’ of familial culture depicted in countless generations of Canadian magazines. She uses the imagery of a ‘family Christmas…go[ing] badly’ to dismantle the idea of a traditionally wholesome festive season, suggesting that such compassion is inaccessible in the presence of her mother’s ‘mercurial’ personality.

Additionally, Laveau-Harvie’s insistence that ‘everybody knows a family Christmas will always go badly’ is immediately juxtaposed by the gracious dinner she shares with her friends. Laveau-Harvie appreciates how they ‘light up their properties in such joyous fashion’ relative to the ‘Hotel California’ her parents reside in. Thus, Laveau-Harvie invites her readers to reflect upon the value she places on this fulfilment of familial duty; how all it takes is an act of selfless humanity to restore (to some extent) the vision that ‘family unity’ is not ‘unrealistic’, but rather, completely possible. 

‍'...the giant Douglas fir…It has prospered, cutting off the view of the Rockies…even though it should have never flourished…The tree is full of tiny birds, red-breasted nuthatches who live in it year-round…' (p. 42)

Laveau-Harvie uses the Douglas fir as a symbol of survival, emblematic of the extraordinary circumstances under which she was able to 'flourish'. Laveau-Harvie recounts her numerous travels throughout the memoir – Canada, Australia and Hong Kong – her decision to 'opt for geography' acting as a means of self-preservation, placing distance between herself and her family (in particular, her mother). It is made clear from the prologue that the Okotoks Erratic foothills, also called the Rockies, are a motif for the indomitable presence of the mother (see here for more on setting in The Erratics) from which Laveau-Harvie escapes.

Hence when the Douglas fir is described to have '[cut] off the view of the Rockies' it conveys Laveau-Harvie’s success in physically removing herself from the hostile family setting she was trapped in. However, note that Laveau-Harvie’s geographical location does not relieve her of her trauma – she openly explains how she 'walk[s] like an invalid through life'. Regardless of this, Laveau-Harvie 'prosper[s]…even though [she] should have never flourished', parenting kind and compassionate children ('tiny birds') of her own despite the immeasurable anguish she endured during her own childhood. Thus, Laveau-Harvie demonstrates the capacity to break a vicious cycle of trauma created by her mother, instead using her own 'principle of pre-emptive karma' to limit passing on her grief.

Truth & Perspective

A reflection of a specific six-year period of her life, Laveau-Harvie uses her memoir to explore the multifaceted nature of truth, how a shared experience can give rise to varying perspectives and responses. An intimate piece of storytelling in its own right, The Erratics is a platform from which Laveau-Harvie urges the reader to discover their own truth, whilst cherishing a balanced view of reality 

‍'This is not untrue. My sister feels differently. She has her truth and I have mine but she isn’t the one doing the talking right now.' (p. 12)

Consistently throughout The Erratics, Laveau-Harvie emphasises the differences between the sisters, and the varying extents to which their past trauma has affected and damaged them. She suggests that despite a shared upbringing, with the same malignant presence of their mother, one’s perspective is unique to the individual. It also raises discussion about the truth the reader is presented in the memoir. As the author, Laveau-Harvie guides her readership through events as they pertain to her memory - the subjectivity of her memoir is something Laveau-Harvie openly admits to her readers. 

Regardless, there are clear distinctions between how the sisters respond to their trauma. The sister struggles to 'negate a past that haunts her', feeling 'the blows of the past continuously in her present'. Conversely, Laveau-Harvie’s past 'is not merely faded…it’s not there', with many of her memories repressed to help her survive her anguish. Thus, Laveau-Harvie affirms how one’s response to trauma is dependent on the individual, how one’s truth is often adapted to their needs in order to survive. 

‍'The aurora borealis are fading. Well, he says, show’s over. Gotta see a man about a dog. You should move on too. You’ll have more scope now, for the good stuff. He waves his arm. Wider view, he says. Farther reach. But only for the good stuff.' (p. 217)

Bookending her memoir with the geological construction and spiritual origins of the Okotoks Erratic foothills, Laveau-Harvie ultimately uses her memoir as a reflective process that helps her find 'closure' towards her mother’s legacy. Initially conveying her mother’s menace through the 'danger' of the Rockies, Laveau-Harvie’s connection with the Albertan landscape helps her see hope within the 'landscape of uncommon beauty'. Her mother’s life 'tainted' by mental illness, Laveau-Harvie comes to an understanding that her behaviour, much like the harshness of the Canadian winter, was 'nothing personal'. Thus, upon her mother’s death, Laveau-Harvie crafts an intimate interaction between her mother and Napi the Trickster, closing her memoir with the hopeful wish that her mother now lives a life with 'wider view…farther reach…but only for the good stuff'. Hence, in a final act of forgiveness, Laveau-Harvie honours the life of her mother, whose potential was tarnished by mental illness. 

‍'My sister says her suburb is working-class; she also tells me that she considers herself working-class…I try to make her see that we have sprung desperately from a violently aspirational upper-middle-class background, and that I see that as part of the greater malaise we live with.' (p. 186)

Laveau-Harvie continues to emphasise the differences between her and her sister, with one focus being how their values have developed in response to their trauma. There is a clear difference between the sisters when they discuss their definitions of ‘working-class’; the sister argues that she and her suburb are working-class, defined by 'having a job'. Contrastingly, Laveau-Harvie 'tr[ies] to make her see that [they] have sprung…from a violently aspirational upper-middle-class background', and expresses some concern towards her societal status being 'part of the greater malaise [they] live with'. 

The sister chooses to identify as 'working-class', thereby highlighting how her parent’s obsession with the accumulation of material wealth has influenced her perception of class and privilege. Amassing an 'impressive wall of properties', the sister parallels her father’s 'pride…at the sight of watching his wife spend big'. On the other hand, Laveau-Harvie openly acknowledges her family’s privilege but instead perceives it as a 'malaise' and chooses to separate herself from any degree of avarice. Thus, the reader is invited to reflect upon the differences between the sisters’ perspectives, how the sister may still be in thrall to her parent’s values, whereas Laveau-Harvie’s sense of self is inextricably linked to the natural landscape over material possessions. 

Ageing

Many characters that feature in Laveau-Harvie’s memoir are elderly, and experience a unique set of challenges that only comes with the ageing process. The mother and the father, for example, both endure deteriorating health conditions that compromise their independence and autonomy. As such, Laveau-Harvie offers an interesting insight into what it’s like to observe and deal with ageing parents who struggle to accept the limits of their age. 

‍'My father is looking far away, back in a moment when life was excitement and danger and possibilities…’ (p. 91)

Laveau-Harvie’s father often finds himself reminiscing over his past, reflecting on war-time memories or the wealth he accumulated from his work in the oil industry. Although, Laveau-Harvie does suggest to her readers that these stories become more exaggerated each time they are told, highlighting the difficulty the father has in coping with his ageing body. Laveau-Harvie illustrates how the ageing process inevitably incurs a loss of independence and autonomy, and uses the characterisation of her father to emphasise the challenge of reconciling with this isolating experience. 

By 'looking far away, back in a moment when life was excitement and danger and possibilities', Vicki’s father uses his memories to retain the feeling that 'he’s twenty and bullet-proof'. Reminiscing over his act of heroism during the war, the father commends himself for the 'precise calculations' that enabled him and his copilot to perform a 'remarkable manoeuvre'. Thus Laveau-Harvue uses this hyperbolic description of her father’s story to reveal how elderly people must often depend upon their past memories to maintain a sense of autonomy in the present. 

Laveau-Harvie suggests that elderly individuals such as her father must 'confront the real' in accepting that the ageing process will physically hinder their independence, leaving them to feel rejected by their own bodies. Hence, Laveau-Harvie exposes her readers to how the ageing process can be an inherently challenging experience for elderly individuals to accept. 

‍'It happens, they say. With older people They come to, and a whole married life of disappointment and bitterness slips out, like an organ escaping an incision, like a balloon filled with acid. It bursts on impact, burning holes in their spouses’ clothing and leaving little round scars on their flesh that never heal completely.' (p. 19)

There are many marriages and long-term relationships mentioned throughout the memoir: the mother and the father, the aunt and the uncle and the sister and her partner. Even Laveau-Harvie herself is divorced from 'the father of [her] children'. Laveau-Harvie acknowledges the difficulty in maintaining these types of relationships; how they are often marked by histories that invariably include events that are never resolved or forgiven. Laveau-Harvie explores this notion through her use of metaphor, likening the 'bitterness' of unresolved conflict to 'a balloon filled with acid…burst[ing] on impact'. Here, she asserts the importance of forgiveness in a long-term relationship, affirming its capacity to maintain and restore compassion, love and empathy. 

Moreover, Laveau-Harvie suggests that in the absence of forgiveness, marital conflicts are left to foster 'disappointment and bitterness' that is released when people enter elderly life. Laveau-Harvie conveys how the 'burning holes' in a long-term relationship can compromise its stability, leaving 'little round scars…that never heal completely' - thereby reinforcing the feelings of isolation and despondency endured by The Erratic’s elderly characters. Thus, Laveau-Harvie reinforces the value of forgiveness, how a willingness to empathise with a partner, especially early in a relationship, can minimise the 'bitterness' experienced when one ages. 

‍'We’re like the king and the queen, my uncle says, every time we see any of them, whenever they visit. Like the king and the queen. They smile at the fullness of their life: love and problems, success and loss, pride and a hefty measure of grief. A well-worn life fully lived, perspectives widening with each new baby, blossoming like one of those paper flower buds that unfold into unexpected beauty when you plunge them into water. ' (p. 86) 

With Laveau-Harvie’s parents at the forefront of the memoir, it seemingly appears that she depicts only a grim image of old age. Whilst she does offer these insights, Laveau-Harvie also portrays the emotionally rich and satisfying life lived by her ageing aunt and uncle. 'Smil[ing] at the fullness of their life', the aunt and the uncle 'peer endearingly' over their extended family. Their 'perspectives widening with each new baby', Laveau-Harvie also uses the virtuous imagery of her aunt and uncle to emphasise the value of an emotionally rich elderly life. 

Metaphorically referred to as 'the king and the queen', Laveau-Harvie uses the connotations of royalty imbued in this metaphor to emphasise the richness of a life spent in a nurturing family environment, where widening perspectives help ageing individuals find a 'fullness' in their life despite the 'hefty measure of grief' endured. Thus, Laveau-Harvie juxtaposes her aunt and uncle’s willingness to engage with family against her parent’s 'disown[ment] and disinherit[ment]' of their daughters. 

Choice & Agency

Throughout their lives, the sisters have suffered immeasurable trauma at the hands of their parent’s decisions. Yet, despite this, the two daughters demonstrate that they possess a strength of character capable of making the most difficult of decisions. Laveau-Harvie explores the significance of employing one’s agency in reconnecting with, and restoring, familial relationships. 

‍'It means always try to do the decent thing, the rational thing, the selfless thing, the boring thing, because then you won’t have to beat yourself up with guilt until your early stress-induced death…Do nothing you know you will live to regret.' (p. 80)

'Tattoo[ed]' 'on the corner of [her] soul', the philosophy to live without regret is permanently engrained as part of Laveau-Harvie’s character, a testament to the integrity she holds that allows her to make the difficult decision to return to Canada and reconcile with her trauma. Laveau-Harvie fully understands the challenges, and even dangers, she would be facing upon her return. Despite having been disinherited two decades prior, and entirely aware of her mother’s volatility, Laveau-Harvie ultimately chooses to use her agency and confront, reconcile and heal from her past.

Interestingly, Laveau-Harvie’s sister also exhibits similar behaviour. When her mother is hospitalised, the sister also returns to Alberta; she takes upon herself several responsibilities involving the cleaning and organising of her parent’s house (which ultimately risks her life as she triggers an angioedema attack). This therefore invites the reader to reflect upon the sister’s willingness to do 'the selfless thing[s]' necessary to help her family; and perhaps suggests that to live with no regrets is a philosophy shared by two sisters 'petrified by grief'. 

‍'I reminded her that Dad went along with my mother in disinheriting us, removing any right we had to help him in his old age; that, most hurtfully of all, he believed everything she told him about us, even though he now holds other views. It is as a result of his own inability to act that he now barely has a connection with us and has none whatsoever with his grandchildren.' (p. 187)

When the reader is first introduced to the father, they are met with the imagery of a frail old man suffering from a starvation diet enforced by his cruel and narcissistic wife. However, as the memoir progresses, Laveau-Harvie limits the reader’s sympathy towards her father, who she instead affirms is a victim of his own design. Laveau-Harvie holds her father accountable for the passiveness that perpetuated the mother’s unpredictable behaviour. Illustrating how her father 'went along with [the] mother in disinheriting' herself and her sister, Laveau-Harvie challenges the extent to which her father’s intervention could have mitigated the devastating 'swathe of misery' cast by the mother. Therefore, Laveau-Harvie asserts the power of one’s voice, suggesting that had her father employed his agency then perhaps the extent of his daughters’ trauma could have been minimised. 

‍'There are the dangers and difficulties you summon up the courage to deal with physically, every day, in the lab or the forest, and then there are the blows that fall from the air, unseen, unpredictable, but nonetheless brutal and crippling. Confronting the real makes you a person of substance; fending off the invisible light that always blindsides you makes you Chicken Little, hoping to absorb a little warmth from the lights on the tree.' (p. 65)

'Confronting the real', Laveau-Harvie demonstrates that to begin the healing process and reconcile with the past, one must make the difficult choice to 'summon up the courage to deal with…the blow that fall from the air'. Upon her return to Canada, Laveau-Harvie faces the 'unseen' and 'unpredictable' challenges her mother has imposed. She deals with the web of lies spun by her mother, the bureaucracy of the hospital workers and her starved father’s declining health. However, despite the overwhelming trauma of her past and the challenge of being reunited with her parents, Laveau-Harvie ultimately chooses to use her agency and 'confront the real', enduring the 'brutal and crippling' blows along the way. 

Want to dive deeper into this text? Check out our blog post on Understanding the Symbolic Nature of Setting in The Erratics. 

Last updated 20/10/19

Planning is an essential part of any successful text response essay. It helps you ensure that you’re answering the prompt, utilising enough quotes and writing the most unique and perceptive analysis possible! The hard part of this is that you only have about FIVE MINUTES to plan each essay in the Year 12 English exam… (more info on the best way to tackle that challenge in this video!)

So, I developed the FIVE TYPES of essay prompts to help students streamline their planning process and maximise every minute of their SACs and exams.

By identifying the type of prompt you’re being challenged with immediately, a number of parameters or guidelines are already set in place. For a specific type of prompt, you have specific criteria to meet – for example, in a metalanguage-based prompt, you immediately know that any evidence you brainstorm in your planning stage should be based around the literary techniques used in your given text.

If you’d like the full picture on our best FREE advice on Text Response, check out our Ultimate Guide to VCE Text Response here.

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1. Theme-based prompt

‘Ambition in the play Macbeth leads to success.’ Discuss. (Macbeth)

When you’re presented with a theme-based prompt, you can automatically shift your brainstorming and planning towards the themes mentioned in the prompt along with any others that you can link to the core theme in some way.

In regard to this Macbeth prompt, for example, you could explore the different ways the theme of ambition is presented in the text. Additionally, the themes of guilt and power are intimately related to ambition in the text, so you can use those other ideas to aid your brainstorming and get you a step ahead of the rest of the state come exam day.

2. Character-based prompt

‘Frankenstein’s hubris is what punishes him.’ Discuss. (Frankenstein)

These prompts are pretty easy to spot – if you see a character’s name in the prompt, there you have it; you have a character-based prompt on your hands.

Once you know this, you can assume that each example you brainstorm has to be relevant to the specific character named in the prompt in some way. Also, you can explore how the actions of characters don’t occur in isolation – they’re almost always interrelated. Remember, however, that the actions of characters are always connected to the themes and ideas the author is trying to convey.

This type of prompt also grants you some freedoms that other types don’t give. For example, unlike a Theme-based prompt, a character-based prompt means that it’s perfectly fine to write about characters in the topic sentences of your body paragraphs.

3. How-based prompt

‘How does Grenville showcase Rooke’s inner conflict in The Lieutenant?’ (The Lieutenant)

Unlike other prompts, the ‘How’ positions you to focus more on the author’s writing intentions. This can be achieved by discussing metalanguage – language that describes language (read my blog post about it here). These prompts tell you immediately that you need to be thinking about the literary techniques explored in the text and explain how they affect the narrative.

Rather than using specific techniques to frame your specific arguments, it’s best to use them as evidence to support arguments that attack the main themes/ideas mentioned in the prompt.

4. Metalanguage or film-technique-based prompt

‘Hitchcock’s use of film techniques offers an unnerving viewing experience’. Discuss. (Rear Window)

This type of prompt is very similar to How-based prompts, specifically in the fact that the discussion of literary techniques is essential.

For this type of prompt specifically, however, the actual techniques used can form more of a basis for your arguments, unlike in How-based prompts.

5. Quote-based prompt

“Out, damned spot!” How does Shakespeare explore the burden of a guilty conscience in Macbeth? (Macbeth)

Countless students ask me every year, “What do I do when there’s a quote in the prompt?!” My reply to these questions is actually fairly straightforward!

There are two main things that you should do when presented with this type of prompt. Firstly, contextualise the quote in your essay and try to use it in your analysis in some way. Secondly, interpret the themes and issues addressed in the quote and implement these into your discussion. The best place to do both of these is in a body paragraph – it weaves in seamlessly and allows for a good amount of analysis, among other reasons!

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into? To learn more about brainstorming, planning, essay structures for Text Response, read our Ultimate Guide to VCE Text Response.

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Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

There are a plethora of controversial issues in the current Australian media that may be perfect for your 2017 oral presentation! Below are just a few ideas to get you started on your way towards acing that SAC. Remember, pick a topic that you’re passionate and enthusiastic about. Don’t forget that there is no ‘right’ opinion, however, make sure you offer a distinctive argument, even if it means adopting an alternative point of view. Good luck!

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1. Should the Australian Government ban the wearing of the burka in public?
2. Should the homeless be banned from Melbourne’s CBD? (Robert Doyle proposal)
3. Should the Australia Government continue to fund the Safe Schools Coalition?
4. Should gay marriage be legalised in Australia?
5. Should the date of Australia Day be replaced/changed?
6. Treatment of asylum seekers in detention centres (especially women and children)
7. Is enough action being taken to diminish the sugar industry propaganda to minimise obesity?
8. Should on – site pill testing be mandatory at all public events?
9. Cultural insensitivity in Australia
10. Is the development of technology and social media encouraging narcissism in young adults?
11. Victoria’s legal system
12. Stem cell research
13. Is the development of technology and social media encouraging the sexualisation of boys and girls?
14. Drug testing and drug control in Australia (Bourke Street attack)
15. Fake news being published by researchers to the media
16. Should Victoria’s juvenile justice system be improved by the Government?
17. Do students learn as effectively with ebooks compared with traditional, hardcopy books?
18. Should security footage of detention centres be released?
19. Is Australia becoming an alcohol and sugar driven society?
20. Has the notion of privacy been compromised in the 21st century? (internet, technology, terrorism)

Before you start writing your oral presentation, you can't miss our A+ tips that have helped hundreds of students get perfect marks in their SAC. Stand out from others with confidence now.

Contents

1. What Is The Creative Response?
2. What Are You Expected To Cover? (Creative Writing Criteria)
3. Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)
4. LSG's unique REPLICATE and IMAGINE strategy
5. Sample A+ Creative Response
6. Writing The Written Explanation
7. Resources To Help You Prepare For Your Creative Response
   

1. What Is The Creative Response?

The Creative Response, which forms part of the ‘Reading and creating texts’ component of the study design, is part of the 1st Area of Study (AoS 1) - meaning that the majority of students will tackle the Creative Response in Term 1. Unlike the analytical text response, in the Creative Response you will be asked to write your own imaginative piece in response to a selected text. 

You are expected to read and understand the selected text, analyse its key features, and write a creative piece which demonstrates your comprehension of the text.

2. What Are You Expected To Cover? (Creative Writing Criteria)

The creative writing task assesses your ability to combine features of an existing text with your own original ideas. The key intention here is to demonstrate your understanding of the world of the text. You can achieve this by exploring and applying selected elements from the text, such as context, themes, literary devices like symbols, and/or characters. You should also consider the values embedded within the text - this includes explicit values (which can be seen on the surface of the text) and implied values (values we uncover through analysis of the text’s deeper meaning). Try to reflect these values within your writing. 

Your piece will be a creative response, after all, so you should apply the conventions of this style of writing. Firstly, your creative should follow the structure of a beginning, middle, and end. We can also think of this as rising tension, climax, and resolution. Secondly, you should develop an authentic use of language, voice and style to make your writing more engaging and sophisticated. Thirdly, you can use literary devices to build meaning and depth within your piece. As always, your writing should be consistent with the rules of spelling, punctuation, and syntax (that is, written expression) in Standard Australian English.

Part of this assessment is the Written Explanation, which is a chance for you to explain and justify your creative writing choices. Within the Written Explanation, you should reflect on your writing process and analyse your own work. The primary goal here is to explain the links you’ve made to the original text, by considering features like purpose, context, and language. 

Ultimately, to put it simply, you are expected to understand the selected text and demonstrate this in your creative piece. If you're looking to quickly increase your creative skills, watch our incredibly popular video below:

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3. Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)

Literary elements are different parts of the creative writing equation that ensure your piece is consistent with the expected features of this type of writing. When selecting which literary elements to include in your piece, remember to consider the original text and ensure that your work, while creative, also demonstrates your ability to replicate some of its elements.

Characterisation

As we know, characters are fictionalised people within the world of a creative text. Almost an entire century ago, the English writer E. M. Forster famously introduced the concept of flat and round characters in his 1927 book, ‘Aspects of the Novel’. According to Forster, flat characters can be defined by a single characteristic; in other words, they are two-dimensional. For example, the characters of The Simpsons could arguably all be defined as flat characters; Homer is characterised as a slob, Flanders is defined by his Christian faith, Lisa is stereotyped as the ‘teacher’s pet’, and Bart is portrayed as rebellious. We can define all of these characters as flat because they are labelled to the audience in these two-dimensional ways.

In contrast to this, round characters have multiple characteristics, which brings them closer to seeming like real, human figures. The personality of these characters extends beyond a single attribute. In Harry Potter, Harry himself is a round character because of how much we learn about him over the course of the series. For example, we find out about Harry’s difficult childhood, his personal challenges, his love interests, and we see his personality grow from book to book. 

Whether the characters of your creative are flat or round will depend on their involvement within, and importance to, the storyline of your piece. Generally speaking, however, you should aim for the central character(s) to be round, while any minor characters are likely to be flat. Developing round major characters will ensure that they are realistic and believable. In turn, you’ll be able to better demonstrate your imaginative skills and understanding of the text through these characters. 

Themes

Themes are the key ideas and issues that are relevant to the storyline of a fictional text. We can identify themes by labelling the main areas of meaning within a text and thinking about the messages that emerge throughout the text. To build your understanding of themes within a particular text and to evaluate the themes of your own creative, consider the following questions:

• What is the text really about, beyond superficial elements like plot and character?
• What is the text saying to its reader?
• What are the core idea(s) or issue(s) within the text?
• What idea(s) or issue(s) do the message(s) of the text correspond with?

To return to our example of The Simpsons, we could say that the themes within this sitcom include love and family, neighbourliness, and social class. From episode to episode, The Simpsons comments on these different issues. For example, Marge and Homer’s relationship, with its domestic setting and marital ups and downs, is a core aspect of the Simpsons household. Likewise, family is a major component of not only the Simpsons themselves, but also the broader Springfield community. The interactions between parents and children is evident on Evergreen Terrace with the Simpsons and the Flanders families, as well as in other settings such as Springfield Elementary School (where even an adult Principal Skinner is seen through his relationship with his elderly mother). These broad areas can be identified as the key thematic concerns of the series because each episode centres around these ideas.

Language

Language refers to the way in which a piece of writing is expressed. We can define this as the ‘style’, or ‘tone’, of a text. The words and phrasing chosen by a writer determine how ideas are communicated. Effective language will be appropriate for the world of the text and contribute to the narrative in a meaningful way. There are a number of ways in which a piece of writing can be articulated and you should consider the nature of your piece and the language of the original text when deciding what type of language is most appropriate for your creative.

Dialogue, on the other hand, is an exchange of conversation between characters. Dialogue is often used to provide context to a text, develop its storyline, or offer direct insight into a character’s thoughts, feelings and personality.‍

Symbolism

A symbol can be defined as a thing that represents something else. Symbols are typically material objects that hold abstract meaning. For example, in Harry Potter, Harry’s scar is a symbol of his difficult childhood. Because Harry’s scar causes him pain in Voldemort’s presence, it can also be said that the scar is symbolic of the connection forged between Harry and Voldemort when his attempt to kill Harry failed. As this example suggests, symbols are often associated with the text’s themes - in this case, Harry’s scar relates to the themes of childhood and death. 

The key with symbolism is to connect a particular theme or idea to a physical object. For example, the theme of grief could be portrayed through a photo of someone who has died. Likewise, the theme of change might be represented by a ticking clock, while a character’s clothing could be a symbol of their wealth or status.

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For more literary elements, also known as metalanguage, check out our lists:

Part 1 – Metalanguage Word Bank For Books

Part 2 – Metalanguage Word Bank For Films With Examples

And if that's not enough, you'll also want to check out our How To Write A Killer Creative Study Guide where we unpack these elements in more detail AND analyse imagery, foreshadowing, flash-backs and flash-forwards! 

4. LSG's unique REPLICATE and IMAGINE Strategy

Overview

If we think about the criteria of creative writing, we’ll see that much of this task involves demonstrating your understanding of the text. For this reason, being able to replicate the world of the text will enable you to showcase your understanding and, in turn, to meet the criteria your teacher will be looking for. Let’s consider how you can strengthen your creative by taking the time to understand the text on a meaningful level and reflect this within your writing.

Step 1: Read

Writing a strong creative piece begins with reading. Reading the text (or watching, in the case of a film) is essential to developing an informed creative response. The more closely you read, the more confidently you’ll be able to engage with the important ideas and textual elements necessary to take your creative from good to great. 

While reading the text for the first time, focus on developing your understanding and clarifying any uncertainty. I would recommend taking the time to read a plot summary before beginning on the text - this will allow you to go in with a reasonable idea of what to expect, and also provide a security net to minimise your likelihood of misunderstanding the plot. 

While reading the text once is sufficient, you will benefit from reading it twice. A second reading enables you to take the time to annotate key sections of the text and to further your initial understanding. If you choose to read the text a second time, pay extra attention to the themes and inner-workings of the text. This means reading between the lines and starting to form an analytical understanding of what the text is about, beyond surface ideas like plot and character. 

Annotating the text (or note-taking, in the case of a film) is an important aspect of any academic reading. The key intention is to ensure your annotation approach is as convenient and accessible as possible. To achieve this, I suggest listing the key themes, allocating a different coloured highlighter to each, and colour-coding sections of the text which you think relate to each specific theme. This will give your annotating process more direction compared to the common approach of simply leaving notes in the margin, which may be time-consuming to read over later. 

I would also recommend making the most of coloured tabs - these enable you to immediately see the key sections of the text, rather than flicking through aimlessly. If you can colour-code these tabs according to the same key as your highlighters, you’ll be able to instantly spot which sections correspond with which theme (and trust me, this will come in handy if you decide to replicate these themes in your own creative).

Aside from annotating the text itself, try to ensure that the notes you write are concise - not only will this save you time, but it’ll mean you focus on condensing the key information. In turn, you’ll have less material to sift through later on, giving you the ability to jump straight into planning and drafting your own piece. This video, How to effectively annotate your books for school! and this blog post, How to effectively annotate your texts in VCE will provide you with more helpful strategies to get the most out of annotating.‍

Step 2: Understand the World of the Text

‍Regardless of how many times you read the text, your understanding will be strengthened by seeking out resources to help you think about the text on a deeper level. A good starting point for this is to have a look for LSG blog posts and videos that are about your specific text.

Watching or reading interviews with the author of the text is a fantastic way to hear directly about their intention in writing the text - after all, they are the single most authoritative source on the text. The goal here is to understand the author’s intent (something we’ll expand on in Chapter 8: Strengthening Your Creative) so that you can reflect this within your own writing. Focus on how the author explains certain aspects of their text, as well as any points they make about its context and background. 

Additionally, peer discussions and asking questions in class will help you to further develop your understanding of the text and clarify any uncertainty. Seeing the text from another’s perspective will develop your knowledge beyond a superficial understanding of the text and introduce ideas you may not have otherwise considered.

Remember to take notes as you go - these will be useful to reflect on later.‍

Step 3: Implement Your Understanding‍

Okay, so you’ve taken the time to read and annotate the text, and you’ve sought out external resources to further develop your comprehension. Now we want to apply this understanding within a creative context. Reflect on what you know about the text. Think closely: What have you learnt about its context, characters, and themes? What elements of the text stand out? The goal here is to draw inspiration from the text and begin to think about which aspects of the text you might like to replicate within your creative piece. Begin to put together a shortlist to keep track of your ideas. The aim here is to develop a picture of the parts of the text you might decide to replicate in your own writing. 

Although understanding and replicating the text is important, if we were to only do this, your piece wouldn’t have much creative flair or originality. Here, we’ve taught you the ‘Replicate’ component of this strategy . If you’d like additional information about how to elevate this to an A+ standard AND a comprehensive explanation of the ‘Imagine’ component, check out our How to Write A Killer Creative study guide! ‍

5. Sample A+ Creative Response

Here's a sample excerpt from a creative piece written by Taylah Russell, LSG tutor and 47 study scorer, in response to the short story 'Waiting' in Cate Kennedy's anthology, Like a House on Fire:

"The clinician presses forcefully into my lower abdomen, refusing to stop and accept my reality. The poor thing, deprived of such hopelessness as I, seems to honestly believe that the longer he agonises over finding something, the more likely it is that some form of life will appear. That those horoscopes in those grimy magazines, written by journalists who’ve probably been fired from their former reputable jobs, may actually hold some validity. I place my hands over my eyes, tentatively pressing against my eyelids, turning my surroundings a dark black and blocking the stream of water that has readied itself to spill when the time comes, when that young boy finally gives up and realises that his degree holds no value in providing me with happiness."

As we can see in this paragraph, the writer is replicating certain themes from the original text, such as grief. Additionally, this piece is written from the perspective of the original protagonist, which means that its characters and context are also directly inspired by Kennedy. Ultimately, by carrying across these text elements of theme, character, and context, the writer is able to clearly demonstrate an extensive knowledge of the text, while also showcasing their creativity. To see more of this creative piece as well as another A+ example, check out the How to Write A Killer Creative study guide!

6. Writing The Written Explanation‍

For a detailed overview of the Written Explanation, check out our Written Explanation Explained blog post.‍

7. Resources To Help You Prepare For Your Creative Response

YouTube videos‍

We create general creative writing videos where I explain the method behind this task:‍

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We also create videos that outline ways you can set yourself apart in this assessment:

‍‍Check out our entire YouTube channel (and don't forget to subscribe for regular new videos!).‍

Blog Posts‍

Our awesome team of English high-achievers have written a number of blog posts about creative writing to help you elevate the standard of your work!‍

5-Step Recipe for Creative Writing ‍

How to achieve A+ in creative writing (Reading and Creating)‍

"Creative Response to Text" Ideas‍

Written Explanation - Explained‍

Reading My 10/10 Marked CREATIVE GAT essay‍

VCE Creative Response to Runaway by Alice Munro

VCE English Unit 3, Areas of Study 2: Creating Texts - What Is It?

VCE Creative Writing: How To Structure Your Story

Study Guide‍

And if that isn't enough, I'd highly recommend our How To Write A Killer Creative study guide.

In this study guide, we teach you the unique REPLICATE and IMAGINE strategy, a straightforward and methodical approach to creative writing. The study guide also covers our step-by-step method to guide you through every phase of creative writing (no more not knowing where to start!) AND includes excerpts from multiple A+ creative pieces. Find out more and download a free preview here. 

Introduction

Not gonna lie, this novel is a bit of a tricky one to introduce. World War II, arguably one of the darkest events of human history, has been the basis of so much writing across so many genres; authors, academics, novelists have all devoted themselves to understanding the tragedies, and make sense of how we managed to do this to one another. Many reflect on the experiences of children and families whose lives were torn apart by the war.

In some ways, Doerr is another author who has attempted this. His novel alludes to the merciless anonymity of death in war, juxtaposes individualism with collective national mindlessness, and seeks out innocence amidst the brutality of war.

What makes this novel difficult to introduce is the way in which Doerr has done this; through the eyes of two children on opposite sides of the war, he explores how both of them struggle with identity, morality and hope, each in their own way. Their storylines converge in the bombing of Saint-Malo, demonstrating that war can be indiscriminate in its victims—that is, it does not care if its victims are children or adults, innocent or guilty, French or German. However, their interaction also speaks to the humanity that lies in all of us, no matter how deeply buried.

A very quick history lesson

Fast Five Facts about World War II:

1. Lasting 1939-1945, the war was fought between the Axis powers (Germany, Japan and Italy) and the Allies (basically everyone else, but mainly England, France, and later the US). Whilst it was Germany who started the war, the intervention of the US at the end of five long years of fighting ultimately helped the Allies win.
2. Various forms of technology were first used, or found new uses, during the war. Aircraft carriers and various planes (fighters, bombers etc.) became more important than ever, while Hitler’s use of tanks allowed him to take over much of Europe very quickly.
3. Other forms of new technology included one of the world’s first electronic computers that was used to codebreak (stop reading now and watch The Imitation Game if you haven’t already! Totally counts as studying, right?), as well as radio and radar, used to communicate and also to detect enemies in the field.
4. World War II is also referred to as the Holocaust, the name given to Hitler’s attempted genocide of the Jewish people. 6 million Jews died in the war, and as many as 15 million others died in total.
5. Germany’s initial conquest of Europe was swift and brutal. Within a month, Poland had already surrendered and within a year, so had France. However, there were also resistance groups all over these countries which sought to undermine the Nazi regime in a number of ways, both big and small.

My best attempt to give a general plot overview of this very long book

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Disclaimer: this is a very, very broad overview of the novel and it is absolutely not a substitute for actually reading it (please actually read it).

Chronologically, we start in 1934, five years before the war. Marie-Laure is a French girl who lives with her father Daniel Leblanc, working at the Museum of Natural History in Paris. As she starts to go blind, Daniel teaches her Braille, and makes her wooden models of their neighbourhood to help her navigate. Six years later, the Nazis invade France, and they flee the capital to find Daniel’s uncle Etienne, who lives in the seaside town of Saint-Malo; Daniel was also tasked with safeguarding a precious gem, the Sea of Flames, from the Nazis.

In Saint-Malo, Daniel also builds Marie-Laure a model of the town, hiding the gem inside. Meanwhile, she befriends Etienne, who suffers from agoraphobia as a result of the trauma from the First World War. He is charming and very knowledgeable about science, having made a series of scientific radio broadcasts with his brother Henri (who died in WWI). She also befriends his cook, Madame Manec, who participates in the resistance movement right up until she falls ill and dies.

Her father is also arrested (and would ultimately die in prison), and the loss of their loved ones prompts both Etienne and Marie-Laure to begin fighting back. Marie-Laure is also given a key to a grotto by the seaside which is full of molluscs, her favourite kind of animal.

On the other side of the war, Werner is, in 1934, an 8 year-old German boy growing up in an orphanage with his sister Jutta in the small mining town of Zollverein. They discover a radio, which allows them to listen to a broadcast from miles away (it was Henri and Etienne’s), and Werner learns French to try and understand it. One day, he repairs the radio of a Nazi official, who recruits him to the Hitler Youth on account of his ingenuity (and his very blonde hair and very blue eyes, considered to be desirable traits by the regime). Jutta grows increasingly distant from Werner during this time, as she questions the morality of the Nazis.

Werner is trained to be a soldier along with a cohort of other boys, and additionally learns to use radio to locate enemy soldiers. He befriends Frederick, an innocent kid who was only there because his parents were rich—Frederick would eventually fall victim to the brutality of the instructors, and Werner tries to quit out of solidarity. Unfortunately, he is sent into the army to apply his training to actual warfare. He fights with Frank Volkheimer, a slightly ambiguous character who a tough and cruel soldier, but also displays a capacity to be kind and gentle (including a fondness for classical music). The war eventually takes them to Saint-Malo.

Also around 1943 or so, a Nazi sergeant, Reinhold von Rumpel, begins to track down the Sea of Flames. He would have been successful ultimately had it not been for Werner, who stops him in order to save Marie Laure.

As America begins to turn the war around, Werner is arrested and dies after stepping on a German landmine; Marie-Laure and Etienne move back to Paris. Marie-Laure eventually becomes a scientist specialising in the study of molluscs and has an extensive family of her own by 2014. Phew.

Theme/s

What kind of questions does Doerr raise through this plot? To some degree, the single central question of the novel is one of humanity, and this manifests in a few different ways.

Firstly, to what extent are we in control of our own choices? Do we truly have free will to behave morally? The Nazi regime throws a spanner in the works here, as it makes incredibly inhumane demands on its people. Perhaps they fear punishment and have no choice—Werner, for instance, does go along with everything. At the same time, his own sister manages to demonstrate critical thinking and moral reasoning well beyond her years, and it makes you wonder if there was potential for Werner to be better in this regard. There’s also the question of whether or not he redeemed himself in the end.

That being said, Werner is far from the only character who struggles with this—consider the perfumer, Claude Levitte, who becomes a Nazi informer, or even ordinary French citizens who simply accept the German takeover. Do they actually have free will to resist, or is it even moral for them to do so?

Hannah Arendt famously coined the phrase “the banality of evil,” referring to how broader movements of inhumanity (such as the Holocaust) can be compartmentalised until individual actions feel perfectly banal, commonplace and ordinary. This is what allowed people to do evil things without actually feeling or even being inherently evil—they were just taking orders, after all. Consider the role of free will in this context.

This brings us to the broader ‘theme’ of war in general: in particular, what kinds of acts are  suddenly justifiable in war? Etienne and Madame Manec, for instance, even disagree on the morality of resistance, which can frequently involve murder. Etienne’s pacifist stance is a result of the scale of deaths in the previous world war. At the same time, the climactic event of the novel is an allied bombing of Saint-Malo, a French town, just because it had become a German outpost. Risking lives both French and German, this also highlights the ‘necessity’ of some inhumane actions in times of war.

On a more optimistic note, a human quality that Doerr explores is our natural curiosity towards science. This is abundant in the childhoods of both protagonists, as Werner demonstrates dexterity with the radio at a very young age, and Marie-Laure a keen interest in marine biology. In particular, her blindness pushes her into avenues of science which she can experience without literal sight, such as the tactile sensations of mollusc shells. The title may hint at this—for all the light she cannot see, she seeks enlightenment through knowledge, which in turn gives her hope, optimism and purpose.

At the same time, the human desire to better understand the world can also be used inhumanely—Werner used radio to learn through Etienne and Henri’s broadcasts, but he would later in life also use it to help his compatriots murder enemy soldiers. This alludes to the banality of evil again; by focusing on his very technical role and his unique understanding of the science behind radios, he is able to blind himself to the bigger picture of the evils he is abetting. Science is something that is so innately human, yet can also be used inhumanely as well.

For these reasons, I’d suggest humanity is at the heart of the novel. There is a certain cruel randomness to death in war, but just because so many did perish doesn’t mean that there aren’t human stories worth searching for in the destruction. This is the lens that Doerr brings to the WWII narrative.

Some symbols

To some degree, a lot of these symbols relate to humanity, which I’ve argued is the crux of the novel. I’ll keep this brief so as to not be too repetitive.

One major symbol is the radio, with its potential for good as well as for evil. On one hand, it is undoubtedly used for evil purposes, but it also acts as a source of hope, purpose, conviction and connection in the worst of times. It is what ultimately drives Werner to save Marie-Laure.

Along the same vein, whelks are also a major symbol, particularly for Marie-Laure. While an object of her fascination, they also represent strength for her, as they remain fixed onto rocks and withstand the beaks of birds who try to attack them. In fact, she takes “the Whelk” as a code-name for herself while aiding the resistance movement. It’s also noteworthy that, given the atrocities of war, maybe animals are the only innocent beings left. As Saint-Malo is destroyed and the Sea of Flames discarded, it is the seaside ecosystem that manages to live on, undisturbed. In this sense, the diamond can be seen as a manifestation of human greed, harmless once removed from human society.

Finally, it’s also worth considering the wooden models that Daniel builds for Marie-Laure. They represent his immense love for her, and more broadly the importance of family, but the models also attempt to shrink entire cities into a predictable, easily navigable system. As we’ve seen, this is what causes people to lose sight of the forest for the trees—to hone in on details and lose track of the bigger picture around them. The models are an oversimplification of life, and an illusion of certainty, in a time when life was complicated and not at all certain for anyone.

Conclusion

Identity, morality and hope—these things pretty much shape what it means to be human. Throughout All the Light We Cannot See though, characters sometimes struggle with all three of them at the same time.

And yet they always manage to find something within themselves, some source of strength, some sense of right and wrong, some humanity in trying times. Doerr explores this capacity amply in this novel, and in this sense his novel is not just another story about WWII—it’s a story about the things that connect us, always.

Essay prompt breakdown

Transcription

Through the prompt that we’ll be looking at today, the main message I wanted to highlight was to always try and look for layers of meaning. This could mean really being across all of the symbols, motifs and poetic elements of a text, and it’s especially important for a novel as literary as this one.

You might not have been particularly happy to find out you’re going to have to study All The Light We Cannot See—it is probably the longest text on the entire text list—but it’s also a really beautiful, well-written book that deservedly took out the Pulitzer Prize for fiction in 2015.

In this novel, Anthony Doerr tells the World War 2 story through a unique lens, or rather a unique combination of lenses, as he sets a 16-year-old French girl and a 17-year-old German boy on an unlikely path of convergence. Through the dangers and difficulties that they face, Doerr’s novel is one of growth and self-assuredness in a time when this seemed virtually impossible.

The essay topic we’ll be looking at today is:

All The Light We Cannot See is a literal title for the novel, in that it exposes the darkness, evil and cruelty of which humans are demonstrably capable. Is this an accurate interpretation?

As usual, let’s define some keywords.

I want to leave ‘darkness’ for a little later, but let’s start with ‘evil and cruelty.’ By themselves, they generally just mean immorality or inhumanity, but also keep in mind how they come across in characters’ actions, since those will be the focus of our analysis. The word ‘demonstrably’ highlights this, since it means that any ‘evil’ you discuss needs to be demonstrated or proven.

With ‘darkness’, that’s a bit more of a tricky term because it can mean any number of things. Here, it might be taken to mean bad intentions, corruption or anything like that, because it fits with ‘evil and cruelty’. However, this is where the ‘interpretation’ aspect of the prompt comes in—an interpretation being a way of explaining meaning, how do you explain the meaning of ‘darkness’ in relation to the title? Darkness in this sense could be any number of things.

Now, how should we plan for this topic? Let’s first consider if there’s any room to challenge, since the prompt seems to only focus on the more negative, pessimistic side of the book. I’d argue that with darkness, there is also some light in the form of kindness, charity and hope.  

This all sounds pretty profound, but I’m just trying to link it back to the book’s title! I mean, that’s what the topic is asking about, right?

Let’s break this down into paragraphs.

For our first paragraph, a good starting point might be analysing the literal forms of darkness in the novel, and seeing what other interpretations we can get from those. A character that comes to mind is Marie-Laure, the French girl who cannot see any ‘light’ due to her blindness. The title could be seen as an allusion to her character and by extension, the hopelessness that blindness might cause in the midst of a war. We could compare Marie-Laure’s situation with that of Werner, who faces the industrialization of his childhood town, watching it become more and more enveloped in ‘darkness’ and as such, hopelessness.

For our next paragraph, we might drill down to deeper levels of interpreting darkness, because it’s often used as a metaphor for inhumanity. It isn’t difficult to find inhumanity in the novel. There’s plenty of it peppered throughout Werner’s storyline, particularly at Schulpforta, where the Hitler Youth were ‘trained’, (to put it lightly). He and his peers are routinely drilled to “drive the weakness from the corps” in humiliating exercises led by cruel instructors. They are also sometimes driven to cruelty towards one another, and Frederick, Werner’s bunkmate, is relentlessly bullied for his perceived weakness.

So by now, it’s clear that the novel demonstrates the human capacity for experiencing ‘darkness’ as well as inflicting it upon others. But, across these two layers of meaning, could there perhaps be some room to challenge these interpretations? This is something we should look at for our final paragraph.

Here, I would probably argue that just as Doerr explores various forms of darkness, there is also enough ‘light’ which allows some characters to overcome or escape from the darkness. These manifestations of light also require you to think about the different symbolic layers of the novel. On one level for example, looking at light literally, there’s the message on Werner’s radio that teaches us that, even though the brain is sealed in darkness, “the world it constructs…is full of light.” A deeper level of meaning to this may refer to the sense of scientific wonder and discovery which sometimes brings light to Werner, and also Frederick, his bunkmate at Schulpforta, when their lives there are at their most dark.

Consider how, just as darkness has levels of interpretation and symbolism in this book, so does light and hope and joy, rather than just evil and cruelty.

And that’s it! Always delving deeper for meaning helps you to really make use of the symbols, imagery and motifs in a text, and I hope this novel in particular illustrates that idea.

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