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Year 11 Mock Revision 2022 (5160)

The document outlines revision tasks and exam information for an anthology of texts, including specific activities for each text to enhance understanding and writing skills. It includes details on two exam papers, their structure, and various texts with corresponding questions and annotation tasks. The aim is to prepare students for their final exams by encouraging early revision and comprehensive engagement with the materials.

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15 views69 pages

Year 11 Mock Revision 2022 (5160)

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Epic Anthology

Revision
Booklet
Mocks are coming! These tasks as they will help you revise the anthology texts and develop your writing
skills for your final exam.

Remember start your revision early so you don’t have to PANIC!

EXAM INFORMATION RECAP:

PAPER 1: 2 hours 15 minutes (Unseen text, Section A of the anthology and comparative essay,
transactional writing task)
Paper 2: 1 hour 30 minutes (Section B of the anthology and imaginative writing task)

Paper 1: The Danger of a Single Story

1) Record everything you remember about this text without looking in your anthology.
2) Watch the speech: https://www.youtube.com/watch?v=D9Ihs241zeg and note your thoughts and feelings.
3) Read the speech and check you have annotated the following devices: repetition, personal pronoun, emotive
language, tripartite, long and short sentences, contrast, anecdote and metaphor.
4) Anthology exam questions: How does Chimamanda Ngozi Adichie succeed in conveying her message in the
extract from ‘The Danger of a Single Story’?
How does Chimamanda Ngozi Adichie succeed in maintaining the interest of her audience whilst
communicating the seriousness of her message in the extract from ‘The Danger of a Single Story’?

Paper 2: Disabled
1) Re-read the poem and then summarise this is no more than fifty words.
2) Watch the following YouTube clips and add extra annotations to your anthology text:
https://www.youtube.com/watch?v=mOzF5gHze34
https://www.youtube.com/watch?v=zUW3P01YOcg
3) Anthology exam question: How does the writer make the reader try to sympathise with the refugees in the
poem? You could write about the following:

• the challenges they face

• the reaction of the narrator to their situation
• the contrasts in the poem and the use of language.
Paper 1: A Passage to Africa
1) Do some research on the history of Somalia: http://www.bbc.com/news/world-africa-14094632
2) Make sure you have annotated the following devices: rhetorical questions, powerful adjectives, repetition,
personification, metaphor, contrast, short sentences, sensory imagery (smell), emotive language, direct
address.
3) Anthology exam questions: How does the writer use language and structure to share his experience of
being a television reporter?
How does George Alagiah create a sense of pity/horror in this extract?
4) Read Carol Ann Duffy’s poem ‘War Photographer’. How do the ideas presented in the poem link to this
anthology text? Useful link: https://www.bbc.co.uk/education/guides/zsp82hv/revision

Paper 2: Out, Out

1) Reread the poem and find quotations that support the following themes: Men & Masculinity, Death,
Technology & Modernisation, Consequences.
2) Make sure you have annotated the following devices: violent verbs and adjectives, personification, sibilance,
repetition. Consider structure: number and length of stanzas, enjambment, end-stopped lines, caesura, and
punctuation.
3) Watch the following YouTube video and add to your analysis of the poem:
https://www.youtube.com/watch?v=hnrmP1bkDeU
4) How does the poem link to Shakespeare‘s famous lines from Macbeth:

Out, out, brief candle!

Life’s but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more; it is a tale

Told by an idiot, full of sound and fury

Signifying nothing.

(Act 5, Scene 5, Lines 23-28)

5) Anthology exam question: How does the writer create a sense of horror in the poem ‘Out, Out’? You should
write about:
• The way the chainsaw is presented.
• The way the seriousness of the situation is gradually revealed.
• The writer’s use of words, phrases and techniques.

Paper 1: The Explorer’s Daughter

1) On a blank piece of paper, before looking at the extract, write down everything you can remember about the
text. Re-read the extract.
2) Make sure you have annotated the following devices: emotive language, facts, statistics, simile, metaphor,
rhetorical question, jargon.
3) Anthology exam question: How does the writer show the conflict in her thoughts and feelings about
hunting? You should refer closely to the passage to support your answer. You may include brief
quotations.
4) Writing skills activity: Your local newspaper wants to have all forms of hunting banned. Write a letter to the
newspaper giving your views.
Paper 2: An Unknown Girl
1) Reread the poem and consider your thoughts and feelings about its content and message.
2) Make sure you have annotated the following devices: imagery, contrasts between East and West, emotive
language, powerful adjectives, personification, simile, metaphor, repetition. Consider structure too: number
of stanzas, length of stanzas, enjambment, end-stopped lines, caesura, and punctuation.
3) Use the following websites to complete some extra research on the poem:
http://graducation.weebly.com/gcse-english-an-unknown-girl-analysis.html
https://litxpert.wordpress.com/2012/05/28/poetry-analysis-an-unknown-girl-moniza-alvi/
4) Anthology exam question: How does the poet present the themes of cultural identity and loss in ‘An
Unknown Girl’?

Paper 1: Explorers or Boys Messing About?

1) On a blank piece of paper, before looking at the extract, write down everything you can remember about the
text. Re-read the extract.
2) PAF this extract: purpose, audience, form.
3) Make sure you have annotated the following devices: facts, statistics, interesting word choices, colloquial
language.
4) Anthology exam question: How does the writer bring out his thoughts and feelings about the actions of the
two explorers?

Paper 2: The Bright Lights of Sarajevo

1) Complete some research on the history of Sarajevo. Use the links below to witness the destruction of the
city during the siege:
http://www.bbc.com/news/world-europe
http://www.theguardian.com>world>cities>Bosnia-Herzegovina
http://www.telegraph.co.uk>news>pictureGalleries
2) Make sure you have annotated the following devices: alliteration, lexis relating to light and dark, direct
address, sibilance, contrasting ideas/images, sensory details, irony, paradox. Consider structure too: number
of stanzas, length of stanzas, enjambment, rhythm and rhyme, punctuation.
3) Anthology exam questions: In what way does Harrison effectively convey the trauma and
devastation of war? In your answer you should comment on:
• the poet‘s use of language and poetic techniques to explore everyday difficulties
• the use of violent imagery
• the structure of the poem

How does the poet offer a sense of hope to a reader, despite the violent tragedy unfolding in the poem? In your
answer you should comment on:

• the poet‘s presentation of the unknown boy and girl who meet
• the use of weather /natural elements and their significance
• the poet‘s use of language
• the structure of the poem

4) Writing skills activity: Write a magazine article informing others about the daily struggle and plight of people
in a warzone, encouraging them to support aid efforts to supply medicine and food provisions to the area
affected by the conflict.
Paper 1: A Game of Polo with a Headless Goat
1) On a blank piece of paper, before looking at the extract, write down everything you can remember about the
text. Re-read the extract.
2) Make sure you have annotated the following devices: short sentences, emotive language, punctuation,
metaphor, hyperbole, informal language, sensory language, tripartite, 1st person narrative, rhetorical
questions, humour, irony.
3) Anthology exam question: In ‘A Game of Polo with a Headless Goat’ how does Emma Levine interest the
reader, not only in this unusual sport but also in the lives and culture of the people who play it? You should
refer closely to the passage to support your answer. You may include brief quotations.
4) Writing skills activity: Write an article for a website of your choice telling your readers about an interesting
or unusual journey or travel experience you have had. Explain why it was memorable.

Paper 2: Still I Rise

1) Create a fact file about the life and work and Maya Angelou for someone with no prior knowledge. Make
sure that you include information about:
➢ Her early life and upbringing
➢ Her career
➢ Work as an author and poet
➢ Different work (e.g. civil rights, music and acting)
➢ Some of her main achievements
➢ The legacy of Angelou‘s work
➢ Three to four memorable quotes

The following websites will be a useful starting point: http://mayaangelou.com/

http://www.poetryfoundation.org/poems-and-poets/poets/detail/maya-angelou

2) Summarise each stanza in one sentence.

3) Make sure you have annotated the following devices: repetition, direct address, rhetorical question, simile,
metaphor, contrast, personification. Consider structure too: number of stanzas, length of stanzas,
enjambment, end-stopped lines, caesura, and punctuation.
4) Anthology exam question: How does Maya Angelou explore the strength and suffering of
black women in the poem? In your answer you could write about
• the description of the treatment and attitude towards black women
• the narrator‘s reflection and response on her discrimination
• the structure and language used

Paper 1: Between a Rock and a Hard Place

1) Reread the extract and then answer the following questions:
➢ Who is featured in the extract?
➢ What is happening in the extract?
➢ How did the main incident happen?
➢ What three words would you use to summarise the extract and why?
2) Make sure you have annotated the following devices: short sentence, tripartite, personification, statistics,
metaphor, simile, facts, jargon. Also, consider the punctuation used in the extract.
3) Anthology exam question: How does the writer use language and structure to create suspense and tension?
You should support your answer with close reference to the text, including brief quotations.
Paper 2: The Necklace
1) From memory, summarise the short story in no more than five bullet points- ensure to include the key
information.
2) Reread the story and create a list of all of the difficult words. Use a dictionary and learn the definitions.
3) Make sure you have annotated the following devices: simile, metaphor, ellipsis, tripartite, repetition, violent
verbs, short sentences, personification, long sentences, rhetorical questions.
4) Find quotations to support the following themes: class, pride & happiness, honesty.
5) Anthology exam question: How does Maupassant make the ending of the story so dramatically effective?
Think about:
• the characters and the differences between their actions leading up to the end
• the structure of the beginning and the ending of the story
• the contrast in the use of language

How does the writer hold the reader‘s interest in ‘The Necklace’? In your answer you should comment on:
• the relationships between characters within the story
• the use of setting
• the moral and ethical issues raised by the narrative

Paper 1: Young & Dyslexic

1) Follow the link and read up on dyslexia: https://www.nessy.com/uk/e-book/
2) Learn more about Zephaniah’s experience with dyslexia: http://dyslexiahelp.umich.edu/success-
stories/benjamin-zephaniah
3) Reread the extract and PAF it: purpose, audience, form.
4) Make sure you have annotated the following devices: direct address, repetition, humour, rhetorical
question, personal pronoun, anecdote, contrast, metaphor, colloquial language, allusion, emotive language.
5) Anthology exam questions: How does the writer succeed in conveying the seriousness of the information
being presented whilst maintaining the interest of the reader?
How does the writer effectively convey his feelings throughout the article?
6) Use this website to quiz yourself on the poem: https://quizlet.com/178526832/young-and-dyslexic-youve-
got-it-going-on-benjamin-zephaniah-flash-cards/
7) Writing skills task: Write a letter to your local newspaper campaigning for people with learning difficulties to
have more opportunities to excel and with access to support.

Paper 2: Story of an Hour

1) Use the internet to research women‘s rights in 19th century America. What was the social status of women?
In what ways was their independence limited?
2) Reread the story and identify the following plot points:
EXPOSITION
RISING ACTION
CLIMAX/CONFLICT
FALLING ACTION
RESOLUTION
3) Create a list of all of the difficult words in the text and then use a dictionary to define them.
4) Make sure you have identified and annotated the following devices on your text: repetition, pathetic fallacy,
oxymoron, metaphor, onomatopoeia, personification, simile, contrast, tripartite, alliteration, foreshadowing,
irony. Also, consider the sentence lengths used and punctuation.
5) Consider the following symbols presented in the story: heart trouble, comfortable armchair, locked room,
window. What might these represent and how is each effective?
6) Anthology exam question: How does the writer create feelings of freedom and liberation in the story? In
your answer you could write about:
• The narrator’s reaction to the news
• The effect of setting
• The use of language

Paper 1: Beyond the Sky & the Earth

1) Create a fact file about Bhutanese history, culture, etc. You should include information on the following:
• Location and geography
• Historical timeline of key dates
• Bhutanese people, e.g. religion, culture and cuisine
• Important places and landmarks
• Explanation of ‘Gross National Happiness‘
2) Reread the extract and answer the comprehension questions below:
➢ What does the writer compare the formation of Bhutan‘s mountains to?
➢ How are the characters of Lorna and Sasha compared in paragraph 3?
➢ What two things does the author find surprising about Thimphu?
➢ What was the name given by Ngawang Namgyel to Bhutan and what does it mean?
➢ What impressed the author about Bhutan in the final paragraph?
3) Make sure you have annotated the following devices: metaphor, personification, alliteration, repetition, use
of the present tense.
4) Anthology exam questions: What impression does the writer create of Bhutan and how is this achieved?
How does the writer help the reader to appreciate the mysteriousness of Bhutan?

Paper 2: ‘Significant Cigarettes’ (from The Road Home)

1) Use the internet to complete some research on the following:
• The history of the Cold War (1947 – 1991) - why it happened and the impact it had over Europe.
• The difference between Socialism and Communism
• The significance WW2 had on The Cold War
2) Re-read the story and make sure you have annotated the following devices: long and short sentences,
repetition, rhetorical questions, contrast.
3) Anthology exam question: How does Rose Tremain succeed in creating a vivid account of the thoughts and
feelings of the characters? In your answer you should comment on:
• the presentation of Lev and Lydia
• the journey: both physical and psychological
• the use of language

Paper 1: H is for Hawk

1) Helen has been interviewed about her father passing away and training the bird in a number of YouTube
clips. Here she is being interviewed by a news channel about her experiences:
https://www.youtube.com/watch?v=CV5ZK68OkEY
2) On a blank piece of paper, before looking at the extract, write down everything you can remember about the
text. Re-read the extract.
3) Make sure you have annotated the following devices: metaphor, simile, repetition, humour, onomatopoeia,
hyperbole, rhetorical question.
4) Anthology exam questions: How does the writer succeed in creating a vivid picture of incident being
described? You should use brief quotes.
How does the writer convey the importance of the smaller bird and what it means to her? You should use
brief quotes to support your answer.
Paper 2: Whistle and I’ll Come to You
1) Research the features of horror writing: http://www.britannica.com/art/horror-story
2) On a blank piece of paper, before looking at the extract, write down everything you can remember about the
text. Re-read the extract.
3) Make sure you have annotated the following devices: onomatopoeia, repetition, short sentences, rhetorical
questions, violent emotions, contrast.
4) Anthology exam questions: How does Susan Hill succeed in creating a vivid image of the haunting
experience? In your answer you should comment on:
• the presentation the setting
• the presentation of atmosphere
• the focus on Kipps’ thoughts
• the use of language.
How does the writer effectively convey the fear and uncertainty in the passage? In your answer you should
comment on:

• the focus on Kipps’ thoughts

• the details regarding setting
• the sights and sounds
• the use of language.
5) Writing skills task: Write a story titled ‘Fear’.

Paper 1: Chinese Cinderella

1) On a blank piece of paper, before looking at the extract, write down everything you can remember about the
text. Re-read the extract.
2) Make sure you have annotated the following devices: repetition, alliteration, short sentences, emotive
language, verbs, adjectives, adverbs, punctuation, metaphor, rhetorical questions, 1st person narrative,
tripartite.
3) Watch the following video analysis of the text and add to your annotations:
https://www.youtube.com/watch?v=AVBtYxXx4xo
4) Anthology exam questions: How does the writer portray family relationships? You should refer closely to
the passage to support your answer. You may include brief quotations.
How does the writer succeed in conveying the various emotions she experiences throughout this incident?

Paper 2: Night
1) Watch the following interview with Alice Munroe: https://www.youtube.com/watch?v=pNDXxF_GQMk
2) Reread the extract and make sure you have annotated the following devices: tripartite, personification,
pathetic fallacy, contrast, metaphor, simile, sibilance, alliteration, rhetorical question, repetition, words with
negative connotations, direct speech. Consider structure too: short sentences/paragraphs, ellipsis, hyphens.
3) The essay is written entirely in the first person and seems to be autobiographical in nature. It is confessional
in tone, discussing a disturbing time in the author‘s life. Why is the essay title significant?
4) Anthology exam question: How does the writer make the story interesting for the reader? You
should look at:
• The problem the speaker faces
• What night means to her
• How the speaker shows her thoughts and feelings
• Any other language techniques
Useful Websites
http://mrhoyesgcsewebsite.com/Lang%20Exam/Langexam_main.htm
http://www.bbc.co.uk/education/subjects/zr9d7ty
https://jwpblog.com/
https://english-igcse.wikispaces.com

Useful Glossary
Technique Definition Example
Alliteration The occurrence of the same letter or Brilliant birds
sound at the beginning of words close Slithering snake
to each other. Sweet birds sang
Antithesis A person or thing that is the direct Love is the antithesis of
opposite of someone or something selfishness
else
Assonance When two or more words close to one We light fire on the
another repeat the same vowel sound mountain.
but start with different consonant I feel depressed and restless.
sounds.
Atmosphere Atmosphere refers to emotions or
feelings an author conveys to his
readers through description of objects
and settings
Cliché A phrase or opinion that is overused Time heals all wounds
and betrays a lack of original thought. Frightened to death
Colloquialism The use of informal words, phrases or Wanna
even slang in a piece of writing. Gonna
Go nuts
Connotation The feelings or associations with The word ‘discipline’ has
words/phrases which helps to find the unhappy connotations of
hidden meaning. punishment and repression
Ellipsis A situation in which words are left out "What percentage was left?"
of a sentence but the sentence can still "20." (= 20 percent)
be understood – symbol = …
Foregrounding To make something the most
prominent or important feature.
Figurative Figurative language is using figures of Metaphors, similes
language speech to be more effective,
persuasive or impactful
Idiom A group of words established by usage Over the moon
as having a meaning not explicit in See the light
those of the individual words
Imagery Visually descriptive or figurative
language, especially in a literary work.
Imperative Imperative verbs are verbs which Stop
create a sentence that gives an order – Bring
bossy verbs Stand (as in ‘stand up.’)
Irony 1. The expression of one's “Don’t go overboard with
meaning by using language that gratitude” – to someone
normally signifies the opposite, who hasn’t said thank you.
typically for humorous or You laugh at a person who
emphatic effect. slipped stepping on a banana
2. A state of affairs or an event peel and the next thing you
that seems deliberately know, you’ve slipped too.
contrary to what one expects
and is often wryly amusing as a
result.
Juxtaposition The fact of two things being seen or It was the best of times, it
placed close together with contrasting was the worst of times.
effect.
Simile A figure of speech involving the As bright as a button
comparison of one thing with another As fierce as a lion
thing of a different kind, using ‘like’ or Like the wild sea
‘as.’
Metaphor A figure of speech in which a word or He is winter.
phrase is applied to an object or action The house was a pocket of
to which it is not literally applicable – tension.
where you say something is something
else.
Monosyllabic Where a word consists of one syllable Yes
words No
Onomatopoeia The formation of a word from a sound Bang
associated with what is named Crash
Sizzle
Parallelism The use of components in a sentence Like father, like son.
that are grammatically the same; or Easy come, easy go.
similar in their construction, sound,
meaning
Parenthetical A parenthetical remark is one that “I’m hungry, but I only want
remark explains or qualifies something. to eat chips.”
Personification The attribution of human “The clock face stared at me
characteristics to something non- menacingly.”
human.
Sarcasm “The use of irony to mock or convey “That’s okay, you have the
contempt.” last cake. I’m sure you
needed it more than me.”
Syntax The arrangement of words and phrases to
create well-formed sentences in a
language.
Proper noun Names people or places Fay, Tim, London, Australia
Common noun Names things Table, chair, boy, girl
Adjective Describes a noun, gives more Beautiful, stunning,
information about it disgraceful, angry
Verb Describes an action Walks, sashays, bounces
Adverb Describes a verb, gives more Angrily, happily, joyfully.
information about it.
Useful Exemplars
Paper 1 Section A – 12 out of 12
Paper 2 Section A – 30 out of 30
Please check the examination details below before entering your candidate information
Candidate surname Other names

Centre Number Candidate Number

Pearson Edexcel
International GCSE

Tuesday 2 June 2020

Morning (Time: 2 hours 15 minutes) Paper Reference 4EA1/01

English Language A
Paper 1: Non-fiction Texts and Transactional Writing

You must have: Total Marks

Extracts Booklet (enclosed)

Instructions
• Use black ink or ball-point pen.
• candidate
Fill in the boxes at the top of this page with your name, centre number and
number.
• Answer ALL questions in Section A and ONE question from Section B.
• Answer the questions in the spaces provided
– there may be more space than you need.

Information
• The total mark for this paper is 90.
• The marks for each question are shown in brackets
– use this as a guide as to how much time to spend on each question.
• Quality of written communication, including vocabulary, spelling, punctuation
and grammar, will be taken into account in your response to Section B.
• brought
Copies of the Pearson Edexcel International GCSE English Anthology may not be
into the examination.
• Dictionaries may not be used in this examination.

Advice
• Read each question carefully before you start to answer it.
• Check your answers if you have time at the end.
• You are reminded of the importance of clear English and careful presentation in
your answers.
Turn over

*P62596A0120*
P62596A
©2020 Pearson Education Ltd.

1/1/1
SECTION A: Reading
Answer ALL questions in this section.

DO NOT WRITE IN THIS AREA

You should spend about 1 hour and 30 minutes on this section.
The following questions are based on Text One and Text Two in the Extracts Booklet.
Text One: If a story moves you, act on it
1 From lines 1–2, select two words or phrases that describe the writer’s feelings.

1 ............................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 ............................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(Total for Question 1 = 2 marks)

DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

2
*P62596A0220*
2 Look again at lines 13–21.
In your own words, explain what the writer thinks about storytelling.
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(Total for Question 2 = 4 marks)

3
*P62596A0320* Turn over
3 From lines 37–51, describe how the writer reacts to the theft of her bike.
You may support your points with brief quotations.

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(Total for Question 3 = 5 marks)

4
*P62596A0420*
Text Two: The Danger of a Single Story
Remind yourself of the extract from The Danger of a Single Story (Text Two in the
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

Extracts Booklet).
4 How does the writer, Chimamanda Ngozi Adichie, use language and structure
in Text Two to convey her thoughts and opinions?
You should support your answer with close reference to the extract, including brief
quotations.
(12)

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5
*P62596A0520* Turn over
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

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6
*P62596A0620*
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(Total for Question 4 = 12 marks)

7
*P62596A0720* Turn over
Question 5 is based on both Text One and Text Two from the Extracts Booklet.
5 Compare how the writers present their ideas and perspectives about storytelling.

DO NOT WRITE IN THIS AREA

Support your answer with detailed examples from both texts, including brief
quotations.
(22)

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8
*P62596A0820*
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

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9
*P62596A0920* Turn over
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DO NOT WRITE IN THIS AREA

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DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10
*P62596A01020*
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

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11
*P62596A01120* Turn over
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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12
*P62596A01220*
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DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

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DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(Total for Question 5 = 22 marks)

TOTAL FOR SECTION A = 45 MARKS

13
*P62596A01320* Turn over
SECTION B: Transactional Writing
Answer ONE question in this section.

DO NOT WRITE IN THIS AREA

You should spend about 45 minutes on your chosen question.
Begin your answer on page 15.
EITHER
6 ‘Important lessons I have learned in my life.’
You have been asked to deliver a speech to your peers on this topic.
Your speech may include:
• what lessons you have learned
• how the things that you learned have affected or influenced you
• any other points you wish to make.
Your response will be marked for the accurate and appropriate use of vocabulary, spelling,
punctuation and grammar.

DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA
(Total for Question 6 = 45 marks)

OR
7 Your local/school library wants to encourage young people to read more. Write the
text of a leaflet explaining the benefits of reading.
Your leaflet may include:
• the different ways in which reading can help people
• the reasons why young people may not spend much time on reading
• any other points you wish to make.
Your response will be marked for the accurate and appropriate use of vocabulary, spelling,
punctuation and grammar.

(Total for Question 7 = 45 marks)

DO NOT WRITE IN THIS AREA

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Indicate which question you are answering by marking a cross in the box . If you change your
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Chosen question number: Question 6 Question 7

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TOTAL FOR SECTION B = 45 MARKS

TOTAL FOR PAPER = 90 MARKS

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Pearson Edexcel International GCSE
Tuesday 2 June 2020
Morning (Time: 2 hours 15 minutes) Paper Reference 4EA1/01

English Language A
Paper 1: Non-fiction Texts and Transactional Writing

Extracts Booklet
Do not return this Extracts Booklet with the Question Paper.

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©2020 Pearson Education Ltd.

1/1/1
SECTION A: READING
Read the following extracts carefully and then answer Section A in the Question Paper.
Text One: If a story moves you, act on it
In this speech, the writer, Sisonke Msimang, presents her thoughts and opinions about
storytelling.
Earlier this year I was informed that I would be doing a TED Talk1. So I was excited, then I
panicked, then I was thrilled, then I was terrified. In between all of this, I started to do my
research and I was Googling Chimamanda Ngozi Adichie. How many of you know who
that is?
I was Googling her because she always has important and interesting things to say. 5
And the searches kept leading me to her talk on the dangers of a single story, on what
happens when we have a solitary lens through which to understand certain groups of
people, and it is the perfect talk. It’s the talk that I would have given if I had been famous
first.
You know, like, she’s African and I’m African, and she’s a storyteller and I’m a storyteller, so 10
I really felt like it’s my talk …. But I decided that I should probably write my own TED Talk,
and I’m here to talk about my own observations about storytelling.
Since Adichie gave that talk, there has been a boom in storytelling. Stories are
everywhere, and if there was a danger in the telling of one tired old tale, then I think
there has got to be lots to celebrate about the flourishing of so many stories and so many 15
voices.
You can download stories at the touch of a button or the swipe of a screen. You can listen
to a podcast about what it’s like to grow up in Kolkata. You can hear an indigenous man
in Australia talk about the trials and triumphs of raising his children in dignity and in
pride. Stories make us fall in love. They heal rifts and they bridge divides but stories don’t 20
necessarily make the world a better place.
Stories can create an illusion of solidarity. There is nothing like that feel-good factor you
get from listening to a fantastic story where you feel like you climbed that mountain,
right, or that you befriended that death row inmate. But you didn’t. You haven’t done
anything. Listening is an important but insufficient step towards social action. 25

I think often we are drawn towards characters and protagonists who are likable and
human. And this makes sense, of course, right? Because if you like someone, then you
care about them. But the opposite is also true. If you don’t like someone, then you don’t
care about them. And if you don’t care about them, you don’t have to see yourself as
having a moral obligation to think about the circumstances that shaped their lives. 30

I learned this lesson when I was 14 years old. I learned that actually, you don’t have to
like someone to recognize their wisdom, and you certainly don’t have to like someone to
take a stand by their side. So my bike was stolen while I was riding it – which is possible if
you’re riding slowly enough, which I was.
One minute I’m cutting across this field in the Nairobi neighborhood where I grew up, 35
and it’s like a very bumpy path.

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And so I’m slowly pedaling, and all of a sudden, I’m on the floor. I look up, and there’s this
kid pedaling away and he’s about 11 or 12 years old, and I’m on the floor, and I’m crying
because I saved a lot of money for that bike. Instinct steps in, and I start screaming,
“Mwizi, mwizi!” which means “thief” in Swahili. And all of these people come out and they 40
start to give chase. This is Africa, so mob justice in action. Right? And I round the corner,
and they’ve caught him. The suspect has been apprehended, and they make him give me
my bike back, and they also make him apologize. And we stand there facing each other,
and he says sorry, but he looks at me with this unbridled fury. He is very, very angry. And
it is the first time that I have been confronted with someone who doesn’t like me simply 45
because of what I represent. He looks at me with this look as if to say, “You, with your
shiny skin and your bike, you’re angry at me?”
So it was a hard lesson that he didn’t like me, but you know what, he was right. I was a
middle-class kid living in a poor country. I had a bike, and he barely had food. There are
a million angry-boy-on-a-bike stories and we can’t afford to ignore them simply because 50
we don’t like their protagonists.
So a few concluding thoughts on what audiences can do. The world would be a better
place, I think, if audiences were more curious and asked more questions about the social
context that created those stories that they love so much. And I think audiences should
demand more buttons on their favorite websites, buttons for example that say, “If you 55
liked this story, click here to support a cause your storyteller believes in.” And then lastly, I
think that audiences can make the world a better place by switching off their phones, by
stepping away from their screens and stepping out into the real world.
Thank you.
1
TED Talk: speeches that have been recorded on a range of topics.

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Text Two: From The Danger of a Single Story
In this speech, the writer, Chimamanda Ngozi Adichie, speaks about the power of storytelling.
I’m a storyteller. And I would like to tell you a few personal stories about what I like to
call “the danger of the single story.” I grew up on a university campus in eastern Nigeria.
My mother says that I started reading at the age of two, although I think four is probably
close to the truth. So I was an early reader, and what I read were British and American
children’s books. 5

I was also an early writer, and when I began to write, at about the age of seven, stories
in pencil with crayon illustrations that my poor mother was obligated to read, I wrote
exactly the kinds of stories I was reading: all my characters were white and blue-eyed,
they played in the snow, they ate apples, and they talked a lot about the weather, how
lovely it was that the sun had come out. 10

Now, this despite the fact that I lived in Nigeria. I had never been outside Nigeria. We
didn’t have snow, we ate mangoes, and we never talked about the weather, because
there was no need to. …
What this demonstrates, I think, is how impressionable and vulnerable we are in the face
of a story, particularly as children. Because all I had read were books in which characters 15
were foreign, I had become convinced that books by their very nature had to have
foreigners in them and had to be about things with which I could not personally identify.
Now, things changed when I discovered African books. There weren’t many of them
available, and they weren’t quite as easy to find as the foreign books.
But because of writers like Chinua Achebe and Camara Laye, I went through a mental 20
shift in my perception of literature. I realized that people like me, girls with skin the
colour of chocolate, whose kinky hair could not form ponytails, could also exist in
literature. I started to write about things I recognized.
Now, I loved those American and British books I read. They stirred my imagination. They
opened up new worlds for me. But the unintended consequence was that I did not know 25
that people like me could exist in literature. So what the discovery of African writers did
for me was this: it saved me from having a single story of what books are.
I come from a conventional, middle-class Nigerian family. My father was a professor. My
mother was an administrator. And so we had, as was the norm, live-in domestic help,
who would often come from nearby rural villages. So, the year I turned eight, we got a 30
new house boy. His name was Fide. The only thing my mother told us about him was that
his family was very poor. My mother sent yams and rice, and our old clothes, to his family.
And when I didn’t finish my dinner, my mother would say, “Finish your food! Don’t you
know? People like Fide’s family have nothing.” So I felt enormous pity for Fide’s family.
Then one Saturday, we went to his village to visit, and his mother showed us a beautifully 35
patterned basket made of dyed raffia that his brother had made. I was startled. It had not
occurred to me that anybody in his family could actually make something. All I had heard
about them was how poor they were, so that it had become impossible for me to see
them as anything else but poor. Their poverty was my single story of them.
Years later, I thought about this when I left Nigeria to go to university in the United 40
States. I was 19. My American roommate was shocked by me. She asked where I had
learned to speak English so well, and was confused when I said that Nigeria happened
to have English as its official language. She asked if she could listen to what she called

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my “tribal music”, and was consequently very disappointed when I produced my tape of
Mariah Carey. 45

She assumed that I did not know how to use a stove.

What struck me was this: she had felt sorry for me even before she saw me. Her default
position toward me, as an African, was a kind of patronizing, well-meaning pity. My
roommate had a single story of Africa: a single story of catastrophe. In this single story,
there was no possibility of Africans being similar to her in any way, no possibility of 50
feelings more complex than pity, no possibility of a connection as human equals. …
So, after I had spent some years in the U.S. as an African, I began to understand my
roommate’s response to me. If I had not grown up in Nigeria, and if all I knew about
Africa were from popular images, I too would think that Africa was a place of beautiful
landscapes, beautiful animals, and incomprehensible people, fighting senseless wars, 55
dying of poverty and AIDS, unable to speak for themselves and waiting to be saved by
a kind, white foreigner. I would see Africans in the same way that I, as a child, had seen
Fide’s family. …
But I must quickly add that I too am just as guilty in the question of the single story. A
few years ago, I visited Mexico from the U.S. The political climate in the U.S. at the time 60
was tense, and there were debates going on about immigration. And, as often happens
in America, immigration became synonymous with Mexicans. There were endless stories
of Mexicans as people who were fleecing the healthcare system, sneaking across the
border, being arrested at the border, that sort of thing.
I remember walking around on my first day in Guadalajara, watching the people going to 65
work, rolling up tortillas in the marketplace, smoking, laughing. I remember first feeling
slight surprise. And then, I was overwhelmed with shame. I realized that I had been so
immersed in the media coverage of Mexicans that they had become one thing in my
mind, the abject immigrant. I had bought into the single story of Mexicans and I could
not have been more ashamed of myself. 70

So that is how to create a single story, show a people as one thing, as only one thing,
over and over again, and that is what they become. …
Stories matter. Many stories matter. Stories have been used to dispossess and to malign,
but stories can also be used to empower and to humanize. Stories can break the dignity
of a people, but stories can also repair that broken dignity. 75

The American writer Alice Walker wrote this about her Southern relatives who had moved
to the North. She introduced them to a book about the Southern life that they had left
behind. “They sat around, reading the book themselves, listening to me read the book,
and a kind of paradise was regained.”
I would like to end with this thought: that when we reject the single story, when we 80
realize that there is never a single story about any place, we regain a kind of paradise.

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Source information:

Text One: https://www.ted.com/talks/sisonke_msimang_if_a_story_moves_you_act_on_it/

transcript?language=en

Image 1: © AFP/Stringe/Getty Images

Text Two: adapted from The Danger of a Single Story, Chimamanda Ngozi Adichie

Every effort has been made to contact copyright holders to obtain their permission for the use of copyright
material. Pearson Education Ltd. will, if notified, be happy to rectify any errors or omissions and include any
such rectifications in future editions.

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Pearson Edexcel
International GCSE

Friday 5 June 2020

Morning (Time: 1 hour 30 minutes) Paper Reference 4EA1/02

English Language A
Paper 2: Poetry and Prose Texts and Imaginative
Writing

You must have: Total Marks

Extract Booklet (enclosed)

Instructions
• Use black ink or ball-point pen.
• candidate
Fill in the boxes at the top of this page with your name, centre number and
number.
• Answer ONE question from each section.
• Answer the questions in the spaces provided
– there may be more space than you need.

Information
• The total mark for this paper is 60.
• The marks for each question are shown in brackets
– use this as a guide as to how much time to spend on each question.
• Quality of written communication, including vocabulary, spelling, punctuation
and grammar, will be taken into account in your response to Section B.
• brought
Copies of the Pearson Edexcel International GCSE English Anthology may not be
into the examination.
• Dictionaries may not be used in this examination.

*P62599A0116*
P62599A
©2020 Pearson Education Ltd.

1/1/1
SECTION A: Reading
Answer the question in this section.

DO NOT WRITE IN THIS AREA

You should spend about 45 minutes on this section.
Remind yourself of Significant Cigarettes (from The Road Home), taken from the
Pearson Edexcel International GCSE English Anthology, which is provided in the
Extract Booklet.
1 How does the writer present the character of Lev in Significant Cigarettes?
In your answer, you should write about:
• Lev’s thoughts and feelings about home
• Lev’s thoughts and feelings about the future
• the use of language and structure.
You should support your answer with close reference to the extract, including
brief quotations.
(30)

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2
*P62599A0216*
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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3
*P62599A0316* Turn over
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4
*P62599A0416*
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5
*P62599A0516* Turn over
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6
*P62599A0616*
................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(Total for Question 1 = 30 marks)

TOTAL FOR SECTION A = 30 MARKS

7
*P62599A0716* Turn over
SECTION B: Imaginative Writing
Answer ONE question from this section.

DO NOT WRITE IN THIS AREA

You should spend about 45 minutes on your chosen question.
Begin your answer on page 10.
EITHER
2 Write about a time when you, or someone you know, went on a long journey.
Your response could be real or imagined.
Your response will be marked for the accurate and appropriate use of vocabulary, spelling,
punctuation and grammar.

(Total for Question 2 = 30 marks)

OR
3 Write a story with the title ‘A New Start’.

DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA
Your response could be real or imagined.
Your response will be marked for the accurate and appropriate use of vocabulary, spelling,
punctuation and grammar.

(Total for Question 3 = 30 marks)

OR
4 Look at the images provided.
Write a story that begins ‘I tried to see what he was reading.’
Your response could be real or imagined. You may wish to base your response on one
of the images.
Your response will be marked for the accurate and appropriate use of vocabulary, spelling,
punctuation and grammar.
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

(Total for Question 4 = 30 marks)

8
*P62599A0816*
You may choose ONE image to prompt your response to Question 4.
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

Image 1
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

Image 2

9
*P62599A0916* Turn over
Indicate which question you are answering by marking a cross in the box . If you change your
mind, put a line through the box and then indicate your new question with a cross .

DO NOT WRITE IN THIS AREA

Chosen question number: Question 2 Question 3 Question 4

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10
*P62599A01016*
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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11
*P62599A01116* Turn over
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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12
*P62599A01216*
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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

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DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TOTAL FOR SECTION B = 30 MARKS

TOTAL FOR PAPER = 60 MARKS

15
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DO NOT WRITE IN THIS AREA
DO NOT WRITE IN THIS AREA

DO NOT WRITE IN THIS AREA

Source Information:

16
*P62599A01616*
Pearson Edexcel International GCSE
Friday 5 June 2020
Morning (Time: 1 hour 30 minutes) Paper Reference 4EA1/02

English Language A
Paper 2: Poetry and Prose Texts and Imaginative
Writing

Extract Booklet
Do not return this Extract Booklet with the Question Paper.

Turn over

1/1/1
SECTION A: READING
Read the following extract carefully and then answer Section A in the Question Paper.
Significant Cigarettes (from The Road Home)
On the coach, Lev chose a seat near the back and he sat huddled against the window,
staring out at the land he was leaving: at the fields of sunflowers scorched by the dry
wind, at the pig farms, at the quarries and rivers and at the wild garlic growing green at
the edge of the road.
Lev wore a leather jacket and jeans and a leather cap pulled low over his eyes and his 5
handsome face was grey-toned from his smoking and in his hands he clutched an old red
cotton handkerchief and a dented pack of Russian cigarettes. He would soon be forty-
three.
After some miles, as the sun came up, Lev took out a cigarette and stuck it between
his lips, and the woman sitting next to him, a plump, contained person with moles like 10
splashes of mud on her face, said quickly: ‘I’m sorry, but there is no smoking allowed on
this bus.’
Lev knew this, had known it in advance, had tried to prepare himself mentally for the
long agony of it. But even an unlit cigarette was a companion – something to hold on
to, something that had promise in it – and all he could be bothered to do now was to 15
nod, just to show the woman that he’d heard what she’d said, reassure her that he wasn’t
going to cause trouble; because there they would have to sit for fifty hours or more,
side by side with their separate aches and dreams, like a married couple. They would
hear each other’s snores and sighs, smell the food and drink each had brought with
them, note the degree to which each was fearful or unafraid, make short forays into 20
conversation. And then later, when they finally arrived in London, they would probably
separate with barely a word or a look, walk out into a rainy morning, each alone and
beginning a new life. And Lev thought how all of this was odd but necessary and already
told him things about the world he was travelling to, a world in which he would break his
back working – if only that work could be found. He would hold himself apart from other 25
people, find corners and shadows in which to sit and smoke, demonstrate that he didn’t
need to belong, that his heart remained in his own country.
There were two coach-drivers. These men would take turns to drive and to sleep. There
was an on-board lavatory, so the only stops the bus would make would be for gas. At gas
stations, the passengers would be able to clamber off, walk a few paces, see wild flowers 30
on a verge, soiled paper among bushes, sun or rain on the road. They might stretch up
their arms, put on dark glasses against the onrush of nature’s light, look for a clover leaf,
smoke and stare at the cars rushing by. Then they would be herded back onto the coach,
resume their old attitudes, arm themselves for the next hundred miles, for the stink
of another industrial zone, or the sudden gleam of a lake, for rain and sunset and the 35
approach of darkness on silent marshes. There would be times when the journey would
seem to have no end.
Sleeping upright was not something Lev was practised in. The old seemed to be able to
do it, but forty-two was not yet old. Lev’s father, Stefan, sometimes used to sleep upright,
in summer, on a hard wooden chair in his lunch break at the Baryn sawmill, with the hot 40
sun falling onto the slices of sausage wrapped in paper on his knee and onto his flask
of tea. Both Stefan and Lev could sleep lying down on a mound of hay or on the mossy
carpet of a forest. Often, Lev had slept on a rag rug beside his daughter’s bed, when she
was ill or afraid. And when his wife, Marina, was dying, he’d lain for five nights on an area

2
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of linoleum flooring no wider than his outstretched arm, between Marina’s hospital bed 45
and a curtain patterned with pink and purple daisies, and sleep had come and gone in a
mystifying kind of way, painting strange pictures in Lev’s brain that had never completely
vanished.
Towards evening, after two stops for gas, the mole-flecked woman unwrapped a hard-
boiled egg. She peeled it silently. The smell of the egg reminded Lev of the sulphur 50
springs at Jor, where he’d taken Marina, just in case nature could cure what man had
given up for lost. Marina had immersed her body obediently in the scummy water, lain
there looking at a female stork returning to its high nest, and said to Lev: ‘If only we were
storks.’
‘Why d’you say that?’ Lev had asked. 55

‘Because you never see a stork dying. It’s as though they didn’t die.’
If only we were storks.
On the woman’s knee a clean cotton napkin was spread and her white hands smoothed it
and she unwrapped rye bread and a twist of salt.
‘My name is Lev,’ said Lev. 60

‘My name is Lydia,’ said the woman. And they shook hands, Lev’s hand holding the
scrunched-up kerchief, and Lydia’s hand rough with salt and smelling of egg, and
then Lev asked: ‘What are you planning to do in England?’ and Lydia said: ‘I have some
interviews in London for jobs as a translator.’
‘That sounds promising.’ 65

‘I hope so. I was a teacher of English at School 237 in Yarbl, so my language is very
colloquial.’
Lev looked at Lydia. It wasn’t difficult to imagine her standing in front of a class and
writing words on a blackboard. He said: ‘I wonder why you’re leaving our country when
you had a good job at School 237 in Yarbl?’ 70

‘Well,’ said Lydia. ‘I became very tired of the view from my window. Every day, summer
and winter, I looked out at the school yard and the high fence and the apartment block
beyond, and I began to imagine I would die seeing these things, and I didn’t want this.
I expect you understand what I mean?’
75
Lev took off his leather cap and ran his fingers through his thick grey hair. He saw Lydia
turn to him for a moment and look very seriously into his eyes. He said: ‘Yes, I understand.’
Then there was a silence, while Lydia ate her hard-boiled egg. She chewed very quietly.
When she’d finished the egg, Lev said: ‘My English isn’t too bad. I took some classes in
Baryn, but my teacher told me my pronunciation wasn’t very good. May I say some words
and you can tell me if I’m pronouncing them correctly?’ 80

‘Yes, of course,’ said Lydia.

Lev said: ‘Lovely. Sorry. I am legal. How much please. Thank you. May you help me.’
‘May I help you,’ corrected Lydia.
‘May I help you,’ repeated Lev.

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Turn over
‘Go on,’ said Lydia. 85

‘Stork,’ said Lev. ‘Stork’s nest. Rain. I am lost. I wish for an interpreter. Bee-and-bee.’
‘Be-and-be?’ said Lydia. ‘No, no. You mean “to be, or not to be” ’.
‘No,’ said Lev. ‘Bee-and-bee. Family hotel, quite cheap.’
‘Oh, yes, I know. B & B.’
Lev could now see that darkness was falling outside the window and he thought how, 90
in his village, darkness had always arrived in precisely the same way, from the same
direction, above the same trees, whether early or late, whether in summer, winter or
spring, for the whole of his life. This darkness – particular to that place, Auror – was how,
in Lev’s heart, darkness would always fall.
And so he told Lydia that he came from Auror, had worked in the Baryn sawmill until 95
it closed two years ago, and since then he’d found no work at all and his family – his
mother, his five-year-old daughter and he – had lived off the money his mother made
selling jewellery manufactured from tin.
‘Oh,’ said Lydia. ‘I think that’s very resourceful, to make jewellery from tin.’
‘Sure,’ said Lev. ‘But it isn’t enough.’ 100

Tucked into his boot was a small flask of vodka. He extracted the flask and took a long
swig. Lydia kept eating her rye bread. Lev wiped his mouth with the red handkerchief
and saw his face reflected in the coach window. He looked away. Since the death of
Marina, he didn’t like to catch sight of his own reflection, because what he always saw in
it was his own guilt at still being alive. 105

‘Why did the sawmill at Baryn close?’ asked Lydia.

‘They ran out of trees,’ said Lev.
‘Very bad,’ said Lydia. ‘What other work can you do?’
Lev drank again. Someone had told him that in England vodka was too expensive to
drink. Immigrants made their own alcohol from potatoes and tap water, and when Lev 110
thought about these industrious immigrants, he imagined them sitting by a coal fire in
a tall house, talking and laughing, with rain falling outside the window and red buses
going past and a television flickering in a corner of the room. He sighed and said: ‘I will
do any work at all. My daughter Maya needs clothes, shoes, books, toys, everything.
England is my hope.’ 115

Towards ten o’clock, red blankets were given out to the coach passengers, some of whom
were already sleeping. Lydia put away the remnants of her meal, covered her body with
the blanket and switched on a fierce little light above her under the baggage rack and
began reading a faded old paperback, printed in English. Lev saw that the title of her
book was The Power and the Glory. His longing for a cigarette had grown steadily since 120
he’d drunk the vodka and now it was acute. He could feel the yearning in his lungs and
in his blood, and his hands grew fidgety and he felt a tremor in his legs. How long before
the next gas stop? It could be four or five hours. Everyone on the bus would be asleep by
then, except him and one of the two drivers. Only they would keep a lonely, exhausting
vigil, the driver’s body tensed to the moods and alarms of the dark, unravelling road; his 125
own aching for the comfort of nicotine or oblivion – and getting neither.

4
P62599A
He envied Lydia, immersed in her English book. Lev knew he had to distract himself
with something…. In desperation, he took from his wallet a brand new British twenty-
pound note and reached up and switched on his own little reading light and began to
examine the note. On one side, the frumpy Queen, E II R, with her diadem, her face grey 130
on a purple ground, and on the other, a man, some personage from the past, with a dark
drooping moustache and an angel blowing a trumpet above him and all the angel’s
radiance falling on him in vertical lines. ‘The British venerate their history,’ Lev had been
told in his English class, ‘chiefly because they have never been subjected to Occupation.
Only intermittently do they see that some of their past deeds were not good.’ 135

The indicated lifespan of the man on the note was 1857–1934. He looked like a banker,
but what had he done to be on a twenty-pound note in the twenty-first century? Lev
stared at his determined jaw, squinted at his name written out in a scrawl beneath the
wing collar, but couldn’t read it. He thought that this was a person who would never have
known any other system of being alive but Capitalism. He would have heard the names 140
Hitler and Stalin, but not been afraid – would have had no need to be afraid of anything
except a little loss of capital in what Americans called the Crash, when men in New York
had jumped out of windows and off roofs. He would have died safely in his bed before
London was bombed to ruins, before Europe was torn apart. Right to the end of his days,
the angel’s radiance had probably shone on this man’s brow and on his fusty clothes, 145
because it was known across the world: the English were lucky. Well, thought Lev, I’m
going to their country now and I’m going to make them share it with me: their infernal
luck. I’ve left Auror and that leaving of my home was hard and bitter, but my time is
coming.
Rose Tremain

5
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