Scribble Issue 5

S C R I B B L E Shrewsbury High School Literary Magazine, Issue 5 (April, 2020)

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NOTE FROM THE

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EDITOR

elcome to the 5th edition of this fantastic literary magazine! We are delighted to be publishing another excellent array of topics, brought to you courtesy of our talented team of writers!

These include the popular theme of Comedy; the genre Year 13 have recently been studying; another journey back in time with our ‘From the Archives’ section, with ‘A Hockey Match’. This is a poem from 1923 with some amazing illustrations as always! Of course, another interview, a plethora of creative writing and some insightful articles about Shakespeare as well as a timely piece about GCSE English Language.

is well worth a read, especially her articles on the Civil Rights Movement, not to mention The Sylvia Plath Effect.

Settling into Scribble well, Holly Lovett, our coeditor for next year, is showing great promise with lots of potential! Holly’s article entitled, ‘Comedy within the Twelfth Night’, documents the character’s game playing and identifies the ‘good balance of merriment and seriousness’. This creates an enthralling storyline for Shakespeare’s audience at the time it was written and is just as relevant today. It’s so great to see that one of our Year 12s is creating such an insightful and mature article, given that this is a genre studied in Year 13! Dani Hale has written an article which is in contrast with many of the themes written in Scribble before! Her article is focused on outlining the key components to successfully studying English Language at GCSE, and its ‘winding uphill journey’. This is an amazing contribution, and is truly invaluable advice for those in Year 10 and 11 who are currently experiencing the challenge of the forthcoming exams.

Our loyal and avid contributor, Maddie Williams, whose previous articles include her focus on female poets of WW1 and the works of Thomas Hardy. As well as being a talented writer of essays and creative author for competitions, Maddie has had much of her work published in previous editions of Scribble.

In this edition, she has concentrated on the stock characters in French drama, as they are key elements studied in the genre of comedy currently undertaken as part of the Year 13 syllabus. The focus on the In this edition, I have conducted my third interview ‘commedia dell’arte’ is something A-Level readers for Scribble; this time interviewing Mrs Lingen, an English teacher who joined the school in September. will find especially useful!

This is a fascinating interview enabling readers to Continuing the theme of comedy, another popular experience the delights of Margaret Attwood, a and reliable Scribble writer, Divya Balain, has common motif throughout our conversation. More chosen to focus on Chaucer’s satire throughout details on page 20! Lily Harding has recently had the Canterbury Tales. Here she highlights the use success following her Creative Writing submission of mockery in the Nun’s Priest Tale, studied by to the GDST competition and is a must-read!

Year 13. There is also a recurring emphasis about Even more examples of excellent creative writing the reader’s perception of Chaucer’s work and are provided by Amy Watton with her politically the way the satire is criticising society at the time perceptual piece entitled ‘For the Greater Good’. the collection of tales were written. This is really This just goes to show that our talented team not captivating and highly recommended for all readers! only loves reading literature but loves writing it too!

Another article from Divya in this edition is her Willow Dowd also shares the details of her recent thought-provoking commentary on the Just War travels to a fellow GDST school, Howell’s School Theory, showcasing the reasons for war as well as in Cardiff. Willow proudly represented the school the dramatic consequences. Divya’s previous work in this public speaking competition following her

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successful nominated for the GDST Chrystall Prize, choosing to focus her debate on ‘The Butterfly Effect’. You also have the opportunity to read her powerful and eloquent speech for yourself as it is included on page 16!

Editor Kirsty Eades

Deputy Editor Robin Aldridge

Finally, even though I will be very sad to leave Scribble, I am confident that I’m handing over the reins to Holly Lovett, Grace Turner and Lily Harding, who have previously contributed amazing articles and succeeding as co-editors in time for the next edition. They have both written an excellent introduction featured towards the end, outlining their future plans for Scribble, which are really exciting! Being the Editor of Scribble; taking on the role from the inspirational Molly Huxley, has been a privilege, helping me to develop so many skills and has allowed me to witness first-hand the eclectic forms of literature that members of scribble choose to write about! I look forward to seeing Scribble evolve in the future!

Editorial Contributions Divya Balain Madeline Williams Kirsty Eades Robin Aldridge Alex Hale Lily Harding Holly Lovett Dani Hales Amy Watton Willow Dowd

Kirsty Eades

Contents

Editor 2019/20

Grace Turner

Editoral Design & Production Tiffany Pardoe

Front Page Artwork Memories Walter Beach Humphrey (1892-1966) Printed in the UK by Badger Print & Design

2 Welcome from the Editor 3 Contents 4 A Drink for the Revolution, Creative Writing 6 Comedy within Twelfth Night 8 Satire in The Canterbury Tales 11 The Tradition of Pierott 14 English Language 16 ‘The Butterfly Effect’ 20 Questions with Mrs Lingen, Interview 22 Just War Essay 24 For The Greater Good, Creative Writing 26 Poetry From the Archives, A Hockey Match 27 For The Greater Good, Creative Writing 30 Meet the New Scribble Editors

Published by Scribble, Shrewsbury High School

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A Drink for the Revolution Creative Writing by Lily Harding The GDST Creative Writing prize is an opportunity for GDST students to produce a piece of creative writing on a chosen theme, which for this year is ‘New Rules for the future world’.

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,300 people. That was the figure I gave to my editors. It was only an estimate, a lie really, nobody present on that day would’ve bothered to count.

I still remember it now, down to the second; it was summer, verano, the height of a sweltering August.

The month that brought tourists and trash and dead crops. The natives were tired, you could see it in their faces, and afraid - they had a right to be. I’d met my landlady during the installation of heavy duty locks on the apartment doors. I was a rookie journalist looking to cut my teeth on some big revolutionary story; have my voice heard across the Land of the Free. So I arrived in Cuba, 1955.

By that point public faith in the Batista regime had already faltered. The idea of revolution was rife in the streets, humming like electricity in the air before a thunderstorm. Students were demonstrating, making connections with unions and workers councils, passing around Marx and Engels and Bakunin. Law enforcement had started to come down hard on them, and that was what instigated the worst of it; the kids I talked to in bars and clubs had told me horror stories. I spoke to a girl whose cousins were in hospital after being thrown out of their third storey window. She said she saw the stain where they hit the ground everyday on her walk to work.

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As for me, I was excited. The type of excitement a child feels when their classmate gets in trouble. I felt disconnected from the Cuban youth struggle; I was from the States, I didn’t realise that the ads for Chevrolet and Lucky Strike were unnatural, pasted on favela walls with facetious eyes and smiles white as the block font that implored you to pay attention and pick me, pick me, pick me! I’d never seen the police break down my door and raid my rooms, take my siblings and children. I was ever the American; I was going to use the Cubans as a springboard into fame. Until that day.

I remember it was humid, Havana sun baking pale skin pink, heat radiating off the alleyway cobblestones. It was the kind of day where girls would bask topless in the sand, pimps and mob bosses would sit idly smoking cigars in cafes, and foreigners would harass shopkeepers whilst sweating through their cheap t-shirts. I’d been tipped off by one of the students at Havana University that there was going to be a rally at midday, and I was ready for a show. I sat next to a fountain in the centre of a square, dipping my toes in the water to give myself some small reprieve from the sun, when a group of five made their way up to me. I barely noticed them until the tallest of them, a teenager who didn’t look much older than 18, splashed past me and clambered up the marble statue in the middle of the fountain. I

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was pissed, ready to give this kid a piece of my mind for getting me wet, and then he started speaking:

well of his collarbone - he was scared. And with a jag of my stomach I realised so was I.

“Gente de Cuba!”

“Debemos luchar por nuestra libertad! El pueblo unido jamás será vencido!”

People of Cuba!

We must fight for our freedom! The people united can never be defeated!

I looked around; the square still seemed relatively empty, but people in the surrounding cafes were looking up.

Cheers erupted; fists were raised to the sky for revolution. In that moment I knew what it meant, and the proud blazing ball of the afternoon sun crested over his shoulder.

“Durante demasiado tiempo hemos dejado que la injusticia quede sin respuesta!”

For too long we have let injustice go unanswered!

A shot rang out, almost eclipsed by the sounds of the crowd, but clear to me as a virgin strike of lightning. The bullet caught him in the neck, just under the chin, and I watched the nervous hopefulness on his face ripped away. As his strength left him, he slipped from the statue and into the shallow water below. I caught him where he fell, uncomprehendingly cradling his head in my lap, the blood soaking us cruel and vile against the ebbing warmth of his skin tone. The sounds of the rally ceased around me, replaced by gasps and cries. I felt as if my soul had been wrenched from my grip, unfairly taken, and I understood loss. I understood horror and sorrow at systemic injustice that this boy could be cut down in front of me and that would be called peacekeeping. And I joined the people of Cuba as they faced the guns.

Suddenly it started, as if the call of injustice was all it took to summon the masses. Students were coming down the side streets like a wave, carrying cheers and banners with them. They filled up the square within seconds. I stared at them, dumbly in amazement until the voice behind me continued.

“El gobierno de Batista viola nuestro país! El y sus perros no respetan a los trabajadores de La Habana! Han ignorado nuestros deseos, han abusado de nuestro trabajo, han enviado a nuestros camaradas al exilio!”

Batista’s government rapes our country! They have ignored our wishes, abused our labour, sent our comrades into exile!

Involuntarily, I felt my pulse begin to pick up speed. It was stirring; the kid’s youthful voice that still bore some recognisable marks of puberty, and yet never wavered, never hesitated. The unkempt stubble on his chin that was mismatched with the determination in his eyes. I was so close to him that I could see all of it. I watched him glance briefly beyond the crowd and turned to follow his gaze, someone had called the police.

A bead of sweat rolled down the kid’s face and into the

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Comedy Within Twelfth Night

by Holly Lovett

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hakespeare’s play, Twelfth Night, is a romantic comedy that is centred around the way that the characters play games with gender, which results in hilarity. It is worth mentioning that in Shakespeare’s day, women were not permitted to play on the stage and consequently this made male gender-bending subterfuge, with every production. Traditionally, ‘Twelfth Night’ was a day of celebration that people celebrated towards the end of the Christmas season. It was common for people to spend the night dancing, dressing up and drinking. They would get dressed up and frequently switch social and gender roles within their outfits for fun. The play explores some of these traditions whilst also delving into other serious ideas such as the real importance of gender roles in the Elizabethan era, shown through the cross-dressing of Viola. Also, themes of family love, ambition and romance are investigated.

After being shipwrecked on the coast of Illyria, Viola believes her twin brother Sebastian is drowned.

With the help of the captain from the ship, she disguises herself as a man, going by the name Cesario, where she enters the service of Duke Orsino. Duke Orsino claims to be madly in love with the Countess Olivia, who does not return his affections. Viola begins to fall madly in love with Orsino however, since the Duke is under the impression that she is male, Viola cannot profess her love to him. Duke Orsino sends Cesario off to try and make Olivia view him in an attractive light, this results in Olivia developing 6

an allurement to Cesario (Viola in disguise). As the storyline develops, we see some homoeroticism at play when Orsino compliments Cesario’s appearance hinting an attraction towards Cesario before he finds out that it is actually Viola, a woman in disguise. So overall, Viola loves the Duke, Duke Orsino loves Olivia and Olivia loves Viola (disguised as Cesario). Shakespeare uses this love triangle to explore the complexity of love. It could be argued that the relationships created here are built up with underlying factors that other characters are unaware of, to deliberately have a comical result as the audience know the full details of Cesario’s true identity. Because the audience have the upper hand, they get more entertainment from seeing the different actions of those characters. The use of disguise creates misunderstandings which leads to love in places where it is not meant to be. The outcome is that social boundaries of gender are pushed in order to create hilarity. All of this, with the added dramatic irony, allows Shakespeare to achieve amusement on stage.

true seeing a character as disagreeable as Malvolio, strutting around in a humorous outfit brings joy to the audience and laughter. Again, there is use of dramatic irony to achieve this comical result.

From all of this, it is clear that Twelfth Night employs many common features of the comedy genre. From weddings to mixed communication, the play provides an abundance of opportunities for the audience to have a laugh. Although Shakespeare does cover many controversial issues such as social ambition, gender and sex, it is lightened with dashes of more simple humour through the characters Feste, Sir Andrew and Sir Toby. Within this play, they can be seen as a comic relief in addition to the ludicrous plot, and lighten the atmosphere, usually in the form of silly songs and rhymes. Their witty approach to situations not only serves to entertain and delight the audience, but also allows them chance to breathe and relax from all the confusing cross-dressing and misunderstandings within the storyline. Feste is humorous, but also very worldly and wise and we can see this when he points out certain aspects of characters that the audience may already be thinking themselves. For example, when he comments that Olivia’s mourning is excessive and overindulgent and we again see it when he points out Duke Orsino’s intensely negative manner. This seems to place Feste in a position between the stage and the audience, as although he is very much involved with the rowdy activity within the play, it helps the audience to clarify their personal judgement of the characters.

As well as all of this, there is a humorous subplot that adds to the comedy of this play. Initially, Malvolio is a serious and sober character who has a fun-despising personality, however underneath all of this, he has the ambition to become a nobleman. It is the people who he unleashes his rudeness upon that engineer his eventual downfall. After he offends Sir Toby, Sir Andrew, Maria and Feste, they begin to plot revenge, they decide to forge a letter from the Countess Olivia, that will give Malvolio the impression that she has an attraction towards him, and wishes to marry him.

Within the letter ‘Olivia’ suggests that she will love him even more if he wore yellow stockings along with cross garters. The result of all this is the real Olivia believing that the man has gone mad. After being locked in a dark room by Sir Toby and Maria and tormented by Feste, Malvolio joins the wedding celebrations where he realises, he has been tricked. He promises revenge before leaving. On stage, after humorously watching Malvolio reading a forged letter and believing it to be

After all this it is clear that within Twelfth Night, Shakespeare crafts the characters and their actions to create a comical story for the audience alongside some more serious themes that are explored throughout the play. There is a good balance of merriment and seriousness and this is what makes the storyline so interesting.

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Satire

in the Canterbury Tales

by Divya Balain

Geoffrey Chaucer was born around 1343 AD and was from a successful merchant family - this wealth and connection allowed him the education to read and write.

Chaucer did not write as a profession, instead writing for pleasure/amusement. The Canterbury Tales is viewed as his most influential piece of work and is a collection of stories told by a series of pilgrims, the pilgrimage itself (to Canterbury cathedral) acts as a framing device to allow the stories to be told, as they participate in a storytelling competition. The ‘General Prologue’ introduces some of the pilgrims, while the interweaved ‘links’ act to fluidly join the pilgrim’s stories together. The frame of the pilgrimage allows Chaucer to successfully satirise society as a whole, as the pilgrims come from all parts of society. This idea of satire is also supported by the lack of detail of the journey itself – Chaucer focuses chiefly on the stories and the pilgrims themselves, thus The Canterbury Tales gives an insight into society rather than exploring the nature of a pilgrimage.

Reeve (carpenter) is shown to not appreciate the way his profession was portrayed and uses his story to mockingly portray a miller. As well as exploring characters from many backgrounds, Chaucer’s use of English, despite the upper-class speaking French, and Latin being the language of the Church meant his writing was accessible and allowed him to aid the development of English as a literary language. This decision is also seen to be influenced by the Italian writers, who wrote in their native Italian language, however by doing this Chaucer made his work more accessible linguistically. This suggests further that Chaucer’s aim was satire of society as a whole, as the writing is not something that could only be read and therefore enjoyed by the upper classes.

Satire is seen as ‘holding a mirror up to society’, using irony, sarcasm and humour to do this. John Bullitt states that “In its most serious function, satire is a mediator between two perceptions – the unillusioned perception of man as he actually is, and the ideal perception, or vision, of man as he ought to be”, thus through using satire Chaucer comedically gives an insight into the interactions, pitfalls, and absurdity of society at the time. Satire is found throughout The Canterbury Tales, as Chaucer explores the Church, nobility, peasantry, relationships, gender, etc.

Through the roles of the different pilgrims, Chaucer demonstrates how they fail to fulfil their duties and thus mocks their societal interactions. One key idea

The Canterbury Tales’ frame draws on Italian Literature, as Boccaccio’s The Decameron uses a similar idea of ten nobles fleeing the Black Death, each telling a different story on this journey. Chaucer modifies this to allow a rounded satire of society, as Chaucer’s storytellers are not nobility. Moreover the interaction between the different pilgrims through their story provides another layer of comedy, as they demonstrate interactions and differences between classes. For example, after the Miller’s Tale, the

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The Canterbury Tales Pilgrims by Anna and Elena Balbusso Twins

blends satire and commentary on society with more crude humour (fabliaux) to ensure this is achieved. For example, the Knight’s Tale involves sacrifice, courtly love, chivalry, etc. and includes Christian theology and philosophy. The elevated subject matter is immediately dragged down by the Miller’s interruption and subsequent, bawdier tale about marriage and romance. This mocks the more ‘intellectual’ subject matter through the comedic interruption, as both are placed on the same level.

Moreover, it exposes the difference between what is desired by society and the actuality of what occurs. Another way this is achieved is through the intertwined nature of political comments and farcical scenes. This means that any commentary on politics is preceded by/followed by an obviously humorous, absurd scene. Thus, any satire is more playful than it would be without the comedy, and so is framed in an entertaining way. An example of this is found in the Nun’s Priest’s Tale, as Chaucer’s reference to “Jack Straw” and the peasants revolt is contained within a farcical farmyard chase scene, meaning the idea that Chaucer had a particular cause to promote is supressed, and instead an observation of society is comedically provided. Chaucer further undercuts the serious nature of his satire with self-deprecation and self-reflexivity, by doing this Chaucer demonstrates how his satire and mockery is humorous rather than of a more serious nature, as he even involves himself to create a more comedic atmosphere rather than one advocating true change/societal reform. An example of this self-reflexivity is in the Nun’s Priest’s Tale as he mocks rhetoric as a technique and thus the tools of writing itself. It has been argued that “he went even

Artist, Unknown.

Geoffrey Chaucer: A portrait from the Welsh Portrait Collection at the National Library of Wales

that Chaucer satirises is religion – in the Wife of Bath’s Tale, religious logic is mocked as the wife justifies her lack of virginity and multiple husbands through her own interpretation of the Bible – thus Chaucer explores the idea of what ‘misinterpretation’ of scripture is in a comedic way. Chaucer further satirises the Church through the use of The Pardoner’s Tale, as he is a medieval preacher who collects money for himself rather than for religious reasons, this again satirises the role of the Church in society and even its failures. Chaucer’s large focus on the Church is logical in context of society at the time, as the Church played a major role for all. Therefore, by satirising the Church, Chaucer’s humour stems from something that would be relatable to everyone at the time – as the Church was vital in the life of all members.

The satire in The Canterbury Tales is undoubtedly comedic, this is due to the fact any politics/message advocated that could have resulted from satire, is undercut through Chaucer’s use of humour and comedy, creating more light-hearted satire. Chaucer

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Detail of a miniature of Lydgate and pilgrims on the road to Canterbury, at the beginning of the prologue of the Seige of Thebes.

Attributed to Gerard Horenbout c.1516-1523 British Library MS Royal 18 D II f.148

beyond that degree of self-consciousness; he grasped the nature and the meaning of the mask which the humourist must wear, and let us see that he saw through it by now and then peeping from under it”, thus by satirising even himself and the construction of the story, Chaucer ensures a less severe atmosphere.

Chaucer’s satire, as a result seems good-natured and tolerant, due to the fact that everyone is ‘targeted’ meaning no particular person/section of society is criticised. Furthermore, the mix of satire in humorous circumstances means that the more serious nature to satire is undercut. This aids the idea that The Canterbury Tales, from its conception, seems to be entertaining for all as its humour stems from all aspects of society and is therefore accessible – the mocking of the Church, the use of English, the range of characters, etc. making the subject matter universal.

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Photo Credit: Frederick Hohman

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The Tradition of Pierott

by Maddie Williams

Pierrot became a stock character in French drama following the influence of the Italian Commedia dell’arte fused with Parisian tradition. Evolving from the Italian Pedrolino (the loyal servant) the Pierrot emerged in the late seventeenth century as Commedia dell’arte troupes toured Europe since the mid-sixteenth century resulting from the cultural hybrid of Italian and French tradition.

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the other masked charecters. Pierrot tended to be a victim within the lazzi (the comic routines) as he pines for Columbina (the witty maid) to whom his courtship is unrequited, or is tricked by the Arlecchino (the playful servant) often appearing ignorant, or failing to perform his duty’s and so being violently punished by the vecchi (the masters) introducing the potential for slapstick comedy into the lazzi. Pierrot emasculation by Columbina and his effeminate

ommedia dell’arte was a form of improvisational

white face, often that of a young man, made him a symbol of

comic sketches consisting of stock charecters,

adrogeny as he was adopted by David Bowie “I’m using myself

identified by masks which reflected their character,

as a canvas and trying to paint the truth of our time.” While, the

portraying a stereotpye that could be identified

character of Pedrolino primarily gave rise to lazzi through his

within all societies, allowing the comedy to exist beyond borders,

ignorant misinterpritations of orders, Pierrot introduces a static

languages and cultures allowing all audiences to relate to the

state of idealism, as he is inevitably exploited for his sensitivity

comedy, as the companies toured. The Pierrot as a character was

and innocence that appeared closer to the Innamorati (the lovers)

the naïve servant, part of the zanni (the serving classes) identitfied

introducing a tragedy into his isolation which has made Pierrot a

through his loose white clothes and chalked face which contrasted

muse for future artists.

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wrote Deburau’s Pierrot consists of comic contrasts “artful Jean-Antoine Watteau, Pierrot detto Gilles (1718-1719, Musée du Louvre).

foolishness and foolish finesse, brazen and naïve gluttony, blustering cowardice… and all those surprising contrast that must be expressed by a wink of the eye.” Deburau’s Pierrot romantic ambition remains a motif from the original Commedia character, however his downfall appears more tragic and severe than the lazzi of his previous incarnation.

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eburau’s influence led to an association with

mutism

added

that

contrasted

tragic

Pierrot’s

pathos initially

overwhelmingly comedic role, however

the character had always appeared isolated beyond the social unity and cohesion as he is spurned by both the zanni and

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the vecchi charecters. The stark white expressive face had

ierrot can most easily be traced to the lovelorn

itself alluded to youthful innocence as well as the melancholy

peasant in Moliere’s Don Juan (1665) in a

inevitability of death. Pierrot increasingly became a bridge

role most similar to Pedrolino as a provider

between the genres of comedy and tragedy, often alluded to

of comic relief through his foolish and chaotic

in the comic relief roles within tragedy’s to emphasise the

actions. The figure grew popular in the pantomime that

sublime absurdity in human lives, as well as taking on main

grew popular after the French Revolution, as a social who

roles within the genre as a parody of the hero. Leoncavallo’s

represented the lower class struggle against the exploitation

opera Pagliacci (1892) reflects this elevation to the tragedy

of his bourgeous masters. However the influence of the mime

genre, as the protagonist Canio, himself the Pierrot in a group

artist Jean-Gaspard Deburau that revolutionised the character

of performing clowns, explores the complex follies of the

beyond his crude ignorance into the more poigniant and

human heart. Canio, while acting in a play about infidelity,

complex charrecter which inspired the romantics. Deburau’s

murders his wife Nedda (Columbina) and her lover Silvio.

“Theartre des Funambules” was a company in the 1820’s

The play within a play structure form a motif of duplicity

that performed expressive mime and acrobatics to entertain

as the audience is unable to distinguish between the play

the audiences of Paris. Deburau’s own character was that

and reality, which is echoed by Canio’s tragic aria “Vesti

of Pierrot whose role he expanded to occupy the centre

la guibba” (“put on the costume”) in which he reflects on

stage by creating a figure with more complex motivations

his own tragic façade as Pierrot as his laughs become sobs

and desires. One routine was compared by Théophile

“Laugh, clown at your broken love! Laugh at the grief that

Gautier to the tragedies of Shakespeare, in which Deburau’s

poisons your heart!” This sense of paradoxical contrast runs

Pierrot murders a pedlar to obtain robes in order to court a

within the veins of Pierrot as the tragic clown, which made

duchess, before himself being murdered at his wedding by

him popular in the refined middle classes of Victorian Era

the same knife. The poet and journalist Théophile Gautier

as the epitome of repression and facade. Arthur Symons

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Paul Legrand as Pierott c. 1855

Prufrock (1915) contains the monolgue “Prufrock” whose character himself appears to echo that of Pierrot in his isolated perspective “certain half-deserted streets”; “restless nights in one-night cheap hotels” and his sexual frustration towards women who he percieves as unobtainable “I have heard the mermaids singing, each to each. I do not think they will sing to me.” Prufrock affiliates and identifies with “the fool” as he reflects on the futility of his actions “a hundred indescisions and a hundred visions and revisions” reflecting the lazzi that arose from the bumbling duties of the Pierrot’s earlier incarnations.

Charles Deburau the mime, as Pierott c.1854-55

(1865-1945) discussed the appeal of the character “ He has worn his heart on his sleeve so long, that it has hardened in the cold air… condemned always to be in public… he becomes exquisitely false.”

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ierrot’s status as an literary icon was

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ierrot’s evolution from the origins of

confirmed as he was adopted as the muse

Pedrolino in Commedia to the melancholy

of the romantic poets. The Symbolist and Decadent poet, Jules Laforgue’s L’Imitation

muse created by Deberau, that influenced the romantic and modernist writers, reflecting

de Notre Dame de la Lune (1886) is a collection of free

the eternal relevancy of Pierrot’s figure. The ambiguity of

verse exploring the melancholy world of Pierrot whose

the tragicomic figure, as his laughter morphs into sobs, made

sole companion appears to be the moon. Pierrot offered

him the ideal character for social satire and that gave rise to

the Symbolists an object by which emotions of extreme

his popularity. The eternal duplicity and performance façade

boredom and romantic desperation could be evoked in his

are reflected by the tears that exist behind the painted face

static repressive state of his perpetually painted face, with

and the exploitation of his eternal innocence.

a state of mind and struggles that the reader could identify with, as his aspirations evaded him. Laforgue became a key influence to the works of TS Eliot not only in the structural use of free verse but also of expression “an emotional quality to contemporary ideas… and taught me how to use my own voice.” Eliot’s own collection The Love Song of J Alfred

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Language Reading through many a Scribble article, I’ve noticed one key component of English that I feel is quite deprived of the platform it deserves – that being English Language. To much of our dismay, yes it’s compulsory, and yes we have to pass it (at some point) – unfortunately for some GCSE English Language is a long, winding uphill journey that involves numerous attempts to achieve that precious grade 4. Since the introduction of the 9-1 grading system for English in 2017, the amount of students I’ve heard exceed their predictions by some 3 grades, and others achieve 3 grades below what they had wished is absurd. One positive; English Language almost always seems to be the subject that students are genuinely surprised about on results day. It’s a subject that unbeknownst to many, is developed as a skill first introduced at the budding age of six years old (year 2), through reading comprehensions, the exhilaration of creating your own fictional monster story as well as (my personal favourite) spelling, punctuation and grammar. Its importance stands parallel to that of maths: a GCSE in English Language is required for your entry to sixth form, university, and even certain jobs – I’m not saying it’s the be-all-and-endall of anyone’s success in life, but as a qualification it’s something quite valuable that I believe we, as students, need to start thinking about.

Throughout my GCSE experience, a predictable groan filled the room as Mr Allen introduced any lesson beginning with ‘English Language’, this followed with a desperate attempt to convince him to do any other English revision over the dreaded ‘practise questions’ of the 4, 8 and 20 markers. As this didn’t appear to work, our next mission was to

manipulate him into writing answers for us and when that failed, we finally gave up our pursuit and got stuck into the work ourselves. It was a lengthy process, but conclusively benefitted our class as a whole. Realistically, we should’ve approached Language as enthusiastically as we did Literature, but that wasn’t the case – here’s my theory why.

English Language is taught methodically – even when it comes to the creative writing element of both papers.

Obviously every answer requires some structure, as this is one of the factors that allows you to gain marks. However there’s still this stigma of rigidness associated with the approach to each question, one that doesn’t necessarily exist when thinking of English Literature.

When given a 30 mark essay question and a blank piece of lined paper, it’s as if you’re being set a journey to embark on, but one that you’re entirely in control of and one that you can manipulate to your advantage. You can add your own flare and charisma to this journey and ultimately reach a destination that will serve as a masterpiece. What some students don’t realise, and this is why I believe there’s a certain level of restraint when approaching a question, is that English Language can be exactly the same. There may only be a certain

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amount of lines given per question in the answer booklet, but that doesn’t mean that you can’t ask for more!

Of course teachers give you a structured answer to help you, but don’t think it’s a sin to not follow that specific structure – if you find a technique that suits your style of writing, use that instead! To put it into perspective, every school will teach exam technique differently, so although you may not be following what you’ve specifically been taught, there will be hundreds of thousands of other students around the country that will approach one question differently, meaning there will be countless exam techniques that work for various individuals. Once you get past the idea that English Language is simply a sequence of repetitive questions and that you can actually manipulate it to your sole advantage, the subject can become quite fun. In fact, it’s a subject that can encourage the development of self expression.

Papers 1 and 2, question 1, quite frankly

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a confidence booster as you can gain 4 marks in as rapid as 1 minute (this was tested and proven by my year 11 English set). Although the paper 2 question can throw up a few red herrings, theoretically this should be quite straight forward – my only advice, don’t overthink it! In this question, you will be your own worst enemy, your mind will be racing at the beginning of the exam and the likelihood of you making a silly mistake is quite high, so don’t allow yourself to trip on this.

Paper 1, question 2 – potentially the favourite comprehension question as you don’t need to waste time rereading the whole article as the exam board is kind enough to select a passage for you!

This, and paper 1 question 3 is definitely the best executed when well structured.

Don’t allow the examiner to question your answers, be confident in what you’re talking about and emphasise this; show them when you’re moving onto a new point and what new point that is within the first sentence of a new paragraph. Although this may start to feel tedious, again it’s just a simple way of gaining marks at the start of the paper.

Paper 1, question 3 was definitely the question I was most uncomfortable with at the start – sometimes it can feel like you’re trying to scrape a quality answer out of nothing. However with consistent practise, locating points within a text to write about will become gradually easier as well as the time you take to think about how to develop the point.

One side-note though, if during lesson a teacher spends a greater proportion of time on one of these questions than the other, ensure that you’re still just as confident in answering the lessconcentrated-on question. Although weaknesses do need to be worked on, you can’t risk losing your strengths during that process also.

Paper 2, question 2 – again, don’t overthink this process. Selecting basic points and then developing them in a perceptive manner is the key to unlocking marks in this question –

perceptive as in inferring potential meanings and reasons as to why a writer has made these certain decisions you’ve selected. I found the number of lines in this question especially helpful as it encouraged me to condense my points and not spend too much unnecessary time on a question that only offers half as many marks as the later question 4 of the paper. Paper 2, question 3 is simply an extension of paper 1, question 2, however many students find locating points difficult for this as the extract is non-fiction. Despite the extract taking a more informative approach than what one would find in paper 1, it will still have an extensive amount of language points that are constantly put in place to ultimately stimulate an emotional reaction from a reader and keep their interests concentrated on the purpose of the article they’re reading. Don’t feel intimidated by the number of marks available for this question – if you keep your mind open to ideas, certain points may jump out from the extract, jot them down in a quick plan and simply start writing! One thing I always did when I became stuck on developing a point was taking a step back from my answer, focussing on the quote I had located and asking myself; ‘‘what could that mean?’’. By simply removing yourself from the bigger picture of the answer and allowing all your concentration to focus in on one quote, you can begin to develop some detailed and perceptive points, aiding you in creating a clear and thoughtful answer.

Papers 1 and 2, question 4 – despite asking different things, I approach these in a similar fashion. They’re the longest mark questions in both papers, although this may seem daunting, these questions actually allow the most flexibility with your answer. This is the section of the comprehension where you can really add your own flare to the answer, you can express your views in as much detail as you can gather and they’re both the only questions really, where you can structure your answer like a full essay. These questions are designed

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to allow students to wholly present their individual talents, unique ideas and ability to develop perceptive points quickly, so approach this question with confidence in your own writing. You have an entire extract to play with, pick areas that may not appear obvious to talk about instantly – surprise the examiner with how deep your mind can think about the meaning of a few words on a page. As these questions are worth the most marks, ideally you should spend the most amount of your exam time on developing them. Feel excited about the fact this question is allowing you to voice your personalised ideas and that an examiner will be listening to them!

Finally, the other half of each paper is definitely the most exciting, vibrant and expressive part of the exam, the writing.

The beauty of paper 1 creative writing, especially with the narrative option, is that you can manipulate the prompt to quite literally any storyline – the ideas are infinite. Creative writing allows each student to engulf themselves in a world of their own fantasies, their own desires and life experiences whilst also being anonymous. It allows you to delve deep into the themes of depression, horror, joy, shock and countless other raw human emotions that deserve to be talked about. The same with paper 2, whether it’s in the form of a letter, speech or newspaper, today’s societal issues are being argued and made a point of by our country’s 15-16 year olds in the June of every year. That’s powerful. Hence why we as students shouldn’t be scared, bored or simply unenthusiastic about English Language, we should utilise its examinations and really draw attention to topics that none of us should feel restricted in talking about, whether we’re being listened to or not.

by Dani Hales

THE BUTTERFLY EFFECT On 22nd January, I travelled to GDST Howell’s School, Cardiff to represent Shrewsbury High School in the Chrystall Carter Public Speaking Competition.

The competition took place in their Old Hall which was a beautiful room in which to speak.

My chosen subject was The Butterfly Effect, which proved to be a fascinating and wide ranging subject.

Overall, this public speaking commotion was an amazing experience and an excellent way to meet other GDST pupils. I would strongly encourage anyone to take part in any public speaking opportunities at school because it is is genuinely enjoyable and helps develops skills you will use throughout your life.

By GDST Chrystall Prize Nominee Willow Dowd

The Butterly Effect Levi Eugeniu

«

!

Before I begin my speech I would like to warn you that I could now be changing the course of your life forever.

Today I will be talking to you about how the butterfly effect has influenced not only civilisation as we know it but our individual lives as well.

When I say the ‘butterfly effect’ it doesn’t really sound like a life changing kind of phrase but by the end of this speech you may think differently.

In essence the butterfly effect is when a small change can result in a large difference.

Although the concept of the butterfly effect has long been debated, the identification of it is credited to Edward Lorenz an American mathematician and meteorologist. The Butterfly Effect is also known as Chaos Theory which you might have heard of. In an experiment to model a weather prediction, Lorenz entered the initial condition as 0.506, instead of 0.506127. The result was surprising: this tiny decimal difference resulted in a completely different prediction. From this, he deduced that the weather must be influenced by minute changes.

These small changes in the initial conditions had

Black Hand terrorist group. A grenade was thrown at the Archduke’s motorcar but instead hit another car and he escaped with his life. Later that day he decided to visit the injured passengers of the car which was hit. On the way he noticed that his driver was not going down the correct route that had previously been agreed and asked him to turn the car around.

Edward Lorenz Source: Wikipedia

As the driver began to back out, one of the men assigned to assassinate the Archduke - Gavrilo Princip - happened to be buying a sandwich at the corner where the car carrying the Archduke stopped. Princip took the opportunity to shoot the Archduke and his wife dead.

This opportunistic murder by the quick thinking Princip triggered the First World War and arguably led to the Second World War. Has it ever crossed your mind that leaving your house two minutes earlier or later could determine the course of the rest of your life? Well it did for the Archduke and for the estimated 37 million people who died in the first world war and the estimated 80 million people who died in the second. This is a tangible example of how the butterfly effect has influenced modern history.

enormous long-term implications.

The concept is imagined with a butterfly flapping its wings in say Texas and causing a typhoon in China. Of course, there is no proof that a butterfly flapping its wings can cause a typhoon however, small events can, serve as catalysts that lead to bigger events. In fact what a lot of people don’t know is that it is not called the Butterfly Effect because of this flapping wings analogy but because when Lorenz ran weather simulations with slightly different inputs the patterns that they were able to visualise resemble the wings of a butterfly.

Now many of you are sitting here thinking well, without the assassination of Franz Ferdinand a war would have eventually broken out. My thought to you, is if that war started months or possibly years later do you not think this would have changed what did happen? How many people died and possibly the outcome! This to me shows how the butterfly effect (a small change resulting in a large difference) has influenced civilisation as we know it.

But how did Lorenz’s experiment change civilisation?

I am not saying that America’s assassination of General Soleimani by a drone strike will trigger a third world war but it certainly parallels the events of 1914. Since writing my first draft of this speech 56 people have been trampled to death and the Iranians have shot down a Ukranian passenger plane with the loss of 176 lives. Who knows what could happen in the future?

Today, Lorenz’s concept has become so famous, that it is used in psychological thinking. The butterfly effect serves as a metaphor for life in a chaotic world.

It can be argued that the butterfly effect HAS hugely influenced human civilisation. The example I am about to tell you bares much resemblance to what is going on today particularly in the news.

In 1914 there was an unsuccessful attempt to assassinate Archduke Franz Ferdinand by the

I should perhaps point out that everyone in this room has made numerous every day decisions that have changed the course of their lives. Perhaps, one day a decision that you take could affect future civilisations. This links in to my next point about how it’s not just on a grand scale that the butterfly effect comes in to play - you can look much closer to home to see it in action. Without going into too much detail each one of

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us was created by one tiny sperm competing with millions to reach the egg. Just think if your parents had not had that extra glass of wine, cosy night in or mini break to the Cotswolds - you wouldn’t be sitting here today. It seems that everything hangs in the balance of the butterfly effect.

I am sure that many of you will now be thinking of a small action that you have taken which has changed your life. I would now like to give a relevant example of my own.

Back in November my English teacher mentioned a public speaking competition and it sounded interesting. But as I was hungry and really looking forward to Tuesday’s chicken pie, I headed in the direction of the dining room. Half way down the corridor I realised that I had left my water bottle in the classroom and I went back to collect it – as I walked in my teacher assumed that I was signing up for the competition.

an MP and then get invited to become a member of the cabinet (all going well so far!). Before long a spot opens for prime minister and because I have received such an excellent all round education at the GDST – I win!

I do apologise I have run away with myself.

On a serious note, the examples I have used show the influence of the butterfly effect on civilisation as well as the individual.

Writing this speech has made me feel differently about how I live my life and the decisions I take and I hope it has done the same for you.

A couple of weeks later I took part in the heats and was delighted to win - which is why I am standing here in front of you today.

We can take this idea further, if I was privileged enough to win today and perhaps the final too, it might be that when I write my personal statement the Chrystall Carter Public Speaking Prize could be an influencing factor in receiving an offer from an excellent university. And because I have new found confidence in public speaking I might apply for politics.

Let’s say I get an internship in the House of Commons with a Conservative or Labour MP and that I do quite well. I might then be suggested as a candidate in a marginal seat – and through my excellent public speaking skills – win! And so I become Willow Dowd and Zoe Rumble (pictured below) at Howell’s School, Llandaff.

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Questions with

Mrs Lingen

Welcome to another exclusive interview conducted by Scribble to find out yet again about another member of staff’s love of literature. Sadly, this is my final Scribble interview, and this time I had the opportunity to interview Mrs Lingen, a new English teacher who joined the school in September 2019. It is great to see how well Mrs Lingen has settled as a new member of staff at Shrewsbury High School! She already has a great presence throughout the school and it is really evident that she has the potential to make a real impact within our school community. In this interview, Mrs Lingen is the third teacher who has been quizzed on what she really loves about literature as well as offering her useful advice for those taking their GCSEs or A-Levels in the near future. From the recurring motif of the literary legend Margret Attwood to her favourite genre of thrillers, this interview is well worth a read as we explore what makes Mrs Lingen enjoy literature!

Q1

What is your favourite book and why?

Q2

Did you enjoy studying English literature at school

My favourite book, if I had to name just one, would of course be Virginia Woolf’s ‘Mrs Dalloway’, one of Woolf’s most famous novels. Published in 1925, it details the life of a fictional Clarissa Dalloway, a woman living in high-society post WW1 England. I think the female author in particular being Virginia Woolf as well as it being a classic from the modernist period are definitely reasons why I have to say this is my favourite book. However, it was also one of the first stream of consciousness books I read, it was ground-breaking in its time, and the morals are still so present in the society we live in today.

Yes, absolutely! I really enjoyed it! The world renowned complete works of William Shakespeare made English naturally so interesting to study. It just really made sense to me and the captivating nature of the wonderful array of material he wrote greatly promotes English literature in schools. It is fantastic that it can resonate on so many different levels and has the potential to appeal to a wide range of audiences. The varying themes he wrote throughout his life really exemplify why he is still studied today by pupils across the country in their education. Shakespeare really amplified English as a subject for me. It just clicked!

Q3

What is your favourite genre?

Thriller is definitely my favourite genre at the moment; the excitement a reader can consume from a thriller novel really is enthralling! They are always hard to put down! I have been reading lots of novels from this genre recently and even though they are all encompassed under one genre they are all distinctively different. Thrillers being known for ‘the moods they elicit, giving viewers heightened feelings of suspense, excitement, surprise, anticipation and anxiety’. Their array of emotions and their captivating nature highlights the potential thrillers have to offer any reader!

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Q4

Do you prefer reading from a tablet/phone or traditional book?

Q5

Agatha Christie or Lord of the Rings?

Q6

What was the last book you read?

Q7

What is one piece of advice you would give to an A-level or GCSE Student?

Q8

What is a book you plan on reading?

Q9

Are you a member of a book club?

I absolutely prefer the experience of reading from a traditional book; they are just so much more tactile and more relaxing. However I will admit, there are times when I do read from my phone!

Agatha Christie

Gail Honeyman’s book ‘Eleanor Oliphant is Completely Fine’. This was her debut book and it actually won the 2017 Costa Debut Novel Award. The mix of genre was really interesting and the anticipation provides you with the motivation to keep on reading. The novel is of course surrounding Eleanor Oliphant, a clue from the title! Eleanor is an example of resilience, a really inspiring character, one from whom the reader can learn a great deal

Always make sure that you put all your energy into your exams! This is especially important at the moment with exams coming up soon, and students have the opportunity to reap the rewards in August!

Testaments by Margret Attwood. This is actually a recent release by Attwood, published in September 2019, and is the sequel to The Handmaid’s Tale, a really popular book when it was released! However Testaments is set 15 years after the events of The Handmaid’s Tale so the assumption can be made that there will be a slightly different narrative focus! I’m sure it will be a great read as it was shortlisted for the Waterstones Book of the Year 2019 and I’m so excited to start it soon!

Yes, I would highlight how beneficial this is as it regularly encourages you to read more books especially those that you would not choose to read normally therefore expanding the diversity and scope of the novels you have read.

The deadline naturally imposed by the meetings is also a nice addition to have to encourage you to read the book sooner!

However do be ready to try some books that you may not enjoy!! You have to learn to love the fact that it helps to widen the range of genres and narratives you read. It just adds more excitement and some books may really surprise you, often I’m really captivated by a book that I would not have chosen myself!

From reading our interview it becomes more apparent more questions asked that Mrs Lingen is clearly a passionate reader of diverse nature! With her favourable choice of Agatha Christie over Lord of the Rings, Christie being infamous for her popular crime classics. Mrs Lingen truly embraces the value of literature in its many forms and enjoys an eclectic array of genres. She provides inspiration, encouraging the joys of a book club, relishing the variety of books available, even those that wouldn’t have been her initial choice. I would strongly recommend following her advice and choose Testaments as your next read, with the following review from The Guardian, ‘The Testaments belong to our moment of history, when things in a number of countries seen to be heading more towards Gilead’. We look forward to more exciting contributions from Mrs Lingen, so watch out for her forthcoming article in the following editions as she is keen to become a regular member of the Scribble Team!

Kirsty Eades

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Interviewer

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Just War

by Divya Balain

Just War Theory provides a framework for judging what circumstances a war should be fought for it to be considered acceptable by society. Consisting of sets of conditions for resorting to war and the conditions in conflict, the theory is used to defend killing and therefore allow society to fell humane and ethical in the face of a seemingly immoral action. of many philosophers - e.g. Augustine and Aquinas - the Just War Theory perhaps provides the most realistic, best way to conduct a war. The idea that the Just War Theory is the most realistic framework for war is further supported by the fact that it recognises the need to sometimes fight to defend people against evil - e.g. in WW2 the allies fought against the Nazis.

This is ensured under the ‘right intention’ clause, which Aquinas argued was “the advancement of good or the avoidance of evil”. However, Weigel argued against this idea that the Just War Theory is the best, most feasible idea, as he proposes that the modern Church took the wrong approach concerning war, and instead of stating that Augustine and early Christian scholars were wrong, they tried to justify their position with more complicated conditions. This is further supported by the arguably inconsistent view held by some Christians, ho support the principle of sanctity of life with issues such as abortion, yet argue

The Just War doctrine aims to set out conditions in which war is morally justifiable and therefore permissible. Its origin is in the 14th Century as Augustine reconciled the traditional Christian pacifist belief with the duty to defend Rome, arguing a ‘just cause’ and ‘legitimate authority’ made a war morally just. Whilst warfare is not a modern issue, the means of war and fighting has altered over time, and with this the Just War Theory has developed into a set of more secular criteria.

A key strength of the Just War Theory is the framework it provides for making a war just - the conditions that it defines include war being a ‘last resort’ and the need for a high chance of success.

This means that any war fought would at least have limitations to prevent irreparable destruction, meaning the Just War Theory helps provide structure and morality. Moreover, by combining the wisdom

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killing in war can be justified. This suggests that the Just War Theory is not the most moral option as is not morally consistent and thus defendable.

This idea links to a key weakness of the Just War Theory - that it allows murder and violence as morally permissible in certain circumstances, and just defends an immoral perspective. This is supported by Holmes, who proposed there would be/is a correlation between discussions of Just War Theory and outbreaks of war.

This weakens the Just War Theory by highlighting a fundamental issue with its ultimate aim. Although it can be argued that a nation’s right to defend itself with force is similar to an individual’s right to selfdefence, this analogy is not fully applicable as nations usually defend themselves in terms of sovereignty and border control rather than a literal right for life.

The anti-violence perspective is supported further by Christians who argue Jesus himself advocated against fighting/war - e. g. “all who take the sword will perish by the sword”, and thus the Just War Theory’s roots in Christianity are not stable, as it ignores fundamental teachings by Jesus in order to defend the interests of the Roman empire.

relevant. Furthermore, the way that warfare has changed means that the Just War Theory has not been effective - one of the principles is the need to discriminate between civilians and combatants (the Vatican describes indiscriminate warfare as a “crime against God and man himself”), however 80% of the casualties in modern warfare are civilians, suggesting the Just War Theory has not been followed and therefore is ultimately not effective. Additionally, the lack of detail/complexity to certain principles means that the difficulty of war is not acknowledged. This is illustrated by the fact that in the Vietnam war, the Guerrilla forces were viewed as civilians by some yet legitimate targets by the US forces, thus the Just war Theory is weakened by its inability to account for and be useful in complex situations that are typical of war.

This criticism of the Just war Theory can be solved, however, as some suggest further guidelines and an impartial council to judge and lead the decision making - this would mean clearer judgements and less subjectivity as some nations may support each other as they are allies not on the cause of the war itself.

Peter Vardy suggests that the “UN may well provide the way forward” (as long as it is not dominated by This provides a New Testament synoptic link, the wealthy countries). The ultimate critique to this however, as some Christians may suggest that Jesus’ view, however, is that not every country will/has teachings were not fully pacifist, and thus the Just War agreed to be part of this, and therefore should they be Theory is supported. This is due to certain teachings sanctioned / forced to adhere to a system they don’t of Jesus that perhaps are more forceful - e.g. at the agree to. cleansing of the Temple he “made a whip out of cords and drove all from the temple area”. Therefore, they In conclusion, the Just War Theory ultimately suffers argue than in the face of injustices, Jesus proposed from the fact that it is unrealistic - the conditions are a more forceful approach, to best serve Jesus’ “love hard to enforce (i.e. a ‘right intention’ is often judged thy neighbour” principle, and that war is sometimes best in hindsight), and there are no real consequences needed to resist a greater evil. to not following the Just War Theory, as it can be argued that if a war has to be fought, there is no reason Another Criticism of the Just war Theory is that it is to attempt to frame it as moral. However, the Just War too simplistic and unrealistic - especially in modern Theory does provide a needed ethical framework, society. This is due to the fact that terrorism and and even if it acts as a suggestion/guideline it can help technological/ chemical weapons require a different to reduce the damage of an inevitable situation. This approach. In addition, the existence of nuclear means that despite its inherent flaws, its existence is weapons makes the principle of ‘proportionality’ in better than not having anything at all. the jus ad bello section impossible to ensure. This means that the principles of the Just War Theory do not provide sufficient support and guidance for modern circumstances and so are outdated and not

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For the Greater Good Creative Writing By Amy Watton “Peacekeepers, humanitarians, soldiers and innocents, all of whom, gave their lives fighting the fires and the floods. Millions of these people’s lives have become the price for negligence, silence and inaction. Distinguished Mr President, Excellences, this on-going tragedy unites us all. Here today, we must choose survival over selfishness. Thank you.”

Applause ensues.

The Assembly is concluded with a resounding smack of the hammer. People begin standing, and filing out slowly. In the distance you could hear a reporter, “Live from New York…” Push on. A hand at your elbow, an overzealous face invades your vision. “Your excellency! What’s going to happen to the migrants?” You don’t bother answering; knowing security has her under control. Her face is shoved away and you’re escorted to the Range Rover.

“On behalf of the General Assembly, I wish to thank the President of Morocco for the statement just The driver spends twenty minutes driving in made. May I ask for excellences to remain seated calculated circuits to lose any eager tails. The eyes while we greet the Head of State.” are still following. You can feel them. After an hour or so, the car pulls up to a halt outside the casino.

The two men stood, one a shrivelled creature with No press here. Even so, they wouldn’t dare come a posse behind him, the other resembling more of near. They have strict time slots. As soon as they’re a prepubescent boy than a man. If neither had the off duty, they help brush all the sleaze under the rug. power to nuke a city as big as Mumbai, you would They’re the cause of most of it anyway. find it comical. They separate, forced amiability exposed through awkward smiles and shoulder- The lights are muted and you’re quickly guided to pats, the boy turns and leaves through the side door, the back booth. Upon entering you immediately the President returns to the chair. spot the cluster seated at the round table.

You know the deal; these people come forward, blame-name-shame and move on, escorted by pimped-up security in limousines to their lavish hotels. Tcht. The loss of the life of one of them was worth more than the millions already taken. Survival over selfishness. Survival of who? But you’re a part of this; you’re a part of The Program. It’s the survival of you.

“I see you found your way Gorky?” the short, bald prime minister said, feigning politeness. “Get on with it Collins.” You snap. “I need updates, where you all up to with The Program?”

“I heard Rita talking about you; talking about you… leaving.”

Dying. Not leaving.

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That’s what she wanted to say. But they would know.

“Granny, I know you don’t want to, so why bother going?”

“I’m old and senile, they’ll take care of me.”

He sighs and rubs his face in frustration. “Can I at least visit you?”

No. “Of course. You think I half raised you just so you could abandon me?”

He chuckles weakly and takes her hand. “I’ll miss you, you know?”

“I know.”

They don’t touch the subject again, chatting idly until he gets a call. When he returns, he kisses her gently on the cheek in apology and murmurs a goodbye.

She watches him walk out the door, his stiff suit reminding her of the man who came to visit.

Financial adviser my ass. What kind of financial adviser carries a gun around? There hadn’t been just one either. Two were waiting in the sleek, blackedout Range Rover parked outside. Subtle.

She’d let him in mainly out of confusion; she couldn’t remember having a call of prior warning and she was awful at remembering faces. National Service. Or something. They knew she was alone.

He was a clean man, cold and formal with a twitch in his cheek. He pulled out a wad of paper and calmly explained that she was going to die soon. She’d replied jokingly, “That would be the logical thing I suppose.” No smile, just a deadeye stare. “Why are you here?” she asks instead.

“I’m from the government.”

“Figures.” She scoffs. A sharp look.

“The UN is starting up a global… program.” He said deliberately. “You’re aware of the migrant crisis?”

“It’s all over the news.” A slight nod.

“So you know that the equatorial countries are all slowly becoming uninhabitable. South America, Central Africa, South Asia and the Middle East are all at risk. This means millions, if not a billion of people are fleeing or will flee in order to escape the

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fires and floods.”

“Why are you telling me this?”

“The UN is having to face the question of where they can go. They’re all coming north but there is neither the infrastructure nor the resources to support the existing population, let alone the migrant influx.”

“So you have to be selective.” Another nod.

Darwinism. Survival. In its crudest form.

“Given the limited time frame, and the failed schemes already attempted, the UN has started up The Program.”

A sense of unease begins to settle in the base of her spine. “And The Program is?”

“The Program is a screening process. The majority of High Income Countries today have an aging population, so most people are aged seventy or older. Therefore, most people don’t have the physical or mental capacity to cope with any sort of employment. They are a drain on society’s resources. Thus, the UN has legalised voluntary euthanasia.”

The way he says voluntary implies that it is anything but. And as if the UN ever agreed to that, there would be uproar.

“When people turn seventy, they will be offered the choice of an injection.”

“Offered or coerced?”

“Non-compliance will result in being ostracised by society. No electricity, no water, nothing.”

“And you expect me to agree to this?”

“You have ten days to come to a decision.

Remember,” he gives a slight pause, “It’s for the greater good.”

SCRIBBLE

From the Archives Shrewsbury High School’s Archives contain an extensive collection of photographs, documents and artefacts offering a wealth of history about our School, its students and staff and managed by Librarian Miss Hale. As proud stewards of such rich history since 1885, Scribble will be publishing poems, stories from this period to the present date.

This Poem was composed in 1923 and showcased in Shrewsbury High School School Magazine. The Hockey Players have been taken from an illustration by an unknown artist , published in the School Magazine in 1941

A Hockey Match (with apologies to Chaucer) Whan that the Sonnë with his warmë raye, Had dreyed the ground wheron thei were to pleye, Twleve lusty maidës out the Scolë came, But nay! I mind me nou a was a dame.

Uppon the field thei allë didë troop, Accoutered gailie with a riband loop Of blewë coleur lik the sky aboven, A compaignye that might men’s hertës moven, And bravelie did oppose hem to the foe.

A shrillë blastë did the dame blowe, And with accordë did tweye maidës smight The leathern pill in hewë tinted whyt, Adoun the fielde did the ballë spede, E’en t’wards the foës half, in bataille tried, Full straight and longë was hir mighty stroke.

With wordës sterne than up the dame spoke, “Stickës!” she cried and the penaltie.

Fro that same spot the balle was swappit free, Ful spede ahed the leftern wingë renne The backe approached, the contek thei begenne Greet was the strife and long betwixe hem tweye.

Oh evel chaunce, alacke and woe the daye!

Uptripped the leftern winge and strombled gruf, The foës backe is maked of sterner stuff.

An inner quicklie did the balle up tak, And drove it past the Scolës leftë backe, The feréd maidë staunding twixe the postes, Seyde, “I moot stop the pill at allë costes.”

A mighty stroke the centre than did give Straight thurgh the gappe hit wente, as I do live.

Hou greet a sorwë suffreth nou our wight She thoght allas the daye I seigh the lighte.

Would that I haddë leyser for to seye, Hou that the Scolë the bataille wonne that daye, And chered the folk who losten hadde a game, Then torning roundë swetely thinked the dame, But this is yet the bestë game of alle Whan maidës do with stickës hitte a balle.

E Simpson and K Barraclough Form VIa (School Magazine, 1923)

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SCRIBBLE

Becoming Co-Editors

professionalism and prestige is an immense privilege.

It has been so exciting to see the first Scribble edition of the school year unfold and I am eager to see the rest to come.

Since I can remember I have had a mind of creativity and overflowing imagination that has been driven by the art of reading. Whether being transported to ‘The Secret Garden’ of Francis Hodgson Burnett, the wonderful world that is Roald Dahl’s ‘Charlie and the Chocolate Factory’ or the glowing Italian summer of 1987 in Andre Aciman’s ‘Call Me by Your Name’, each place I have travelled, each character I have met and each emotion I have experienced has had the overwhelming ability to expand and develop my way of thinking and has opened my mind for the better, helping me grow as a young woman. Reasons such as these are why I feel so passionate about a platform such as this in allowing readers to openly express how a narrative, sensation or big idea has made them feel or think differently, catalysing open discussions and debates, bringing individuals together – the true power of literature.

In longing for a career in journalism or marketing and communications, I feel Scribble is the perfect place whereby I can enjoy building upon a number of skills based upon writing, editing and promotion, not only just inside the Scribble publications but also in areas such as the social media platform created by Holly and myself, showing that even in the technology driven world of today, we can still make literature a prominent feature of our lives.

Lily Harding, Grace Turner & Holly Lovett New Co-Editors of Scribble

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hen hoping to study English Literature A-Level at our school, I can honestly say Scribble swept me in at first sight. I have always desired to write for a school publication in one way or another and being presented with the opportunity to be as involved in one of this level of

Kirsty’s position is going to be a tough one to uphold and I wish her and the remaining upper sixth members of our team all the luck for the future. As the new coeditors I hope Holly, Lily and I, along with the help of the rest of us involved, can make this fantastic project flourish even further!

Grace 27

that I discovered texts such as ‘Wuthering Heights’

by Emily Bronte, ‘Property’ by Valerie Martin and one of my favourites ‘Frankenstein’ by Mary Shelley (which I wrote an article on in the previous Scribble edition). Reading these novels made me feel strong emotions, feelings I had never experienced whilst reading ‘fairy tales’ as a child. They moved me. When the characters achieved, I felt empowered alongside them, and when they failed, I felt their defeat. When characters were mistreated, I felt their anger and pain, and when they were loved I felt their contentment.

And for me personally, this is what literature is all about - the feelings we experience within the new world we jump into.

Illustration from Danny The Chamption of the World

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hen I was little, the thought of being able to pick up a book and jump into a whole new world was certainly appealing. As a young girl I was particularly attracted to the Roald Dahl books, especially ‘Danny, the Champion of the World’ was one of my favourites. As I grew up, I loved exploring different genres from horror to romance, and it’s fair to say that now as a seventeen-year-old, my bookshelf has a grown to include a very wide variety. It was not until I was in year eight that I discovered my love for Shakespeare after we studied ‘The Tempest’, and even dressed up as the various different characters which was an interesting lesson! However, it was in year ten where my love for reading really evolved, moving from reading a book, to understanding and feeling a book. My English teacher asked me to visit her office, where she had a bag full of old books that she wanted me to indulge in. It was here

Since starting A-Level English Literature, my love for books has continued to grow. Up until the summer after finishing my GCSE’s, I had read very few crime fictions and so it wasn’t until I was given a summer reading list by Mr Aldridge that I began to explore this particular genre. To begin with, I read ‘Eeny Meeney’

by M.J. Arlidge and I was instantly hooked, (and in the previous addition of Scribble, Mr Aldridge celebrated the works of this modern style of crime writing). I then moved on to some more traditional crime fiction by reading some of the works of Arthur Conan-Doyle (creator of Sherlock Holmes), as well as some Agatha Christie. In class, we are currently studying When Will There Be Good News? a crime novel in a series written by Kate Atkinson, and with all of it’s twists, turns and coincidences, and it’s dashes of realism, it is a novel that I have truly learnt to love.

Becoming a co-editor of a magazine with such a diverse set of different ideas that are created through literature is exciting. Although I have spoken about loving the emotions, I personally get when reading, I am always interested to hear and understand other people’s opinions. Scribble is such a wonderful opportunity to express how different authors make us feel and also it gives us a chance to celebrate a united love for literature.

Since joining the Scribble team, Grace and I have created Scribble’s very own Instagram page, so if you have a passion for literature, or just fancy taking a peek at what’s involved in the different aspects of matured a little since then; now my favourites shelf is stocked with titles like Regeneration by Pat Barker creating the scribble magazine, then find us (a book I would recommend to anyone sick of the @scribble_magazine_shs pulpier side of historical fiction who wants an honest I am looking forward to taking on the role of co-editor look at the lives of a diverse array of soldiers during for this magazine, and wish every success to Kirsty WW1), the poems of Frank O’Hara, and classics such for the future. I hope you enjoy this, and many more as Les Miserables and Dracula. editions of Scribble.

Holly My love of reading has also translated into my academic life as I now take English, History and Classical Civilisations for my A Level courses, a mix t 7 years old I was a ‘How To Train Your that results in a lot of essay writing (yay!).

Dragon’ fanatic. I don’t use that word lightly either, I’m talking going through When it comes to Scribble, I’m always enthusiastic; the McDonalds drive thru several times I think this magazine is one of the most exciting in one day when it was still in cinemas just so I opportunities open to students here, and as co-editor I could collect all of the different plastic dragons at the aim to make that opportunity more accessible across bottom of the happy meal box. This movie was my the school to everyone who likes to read, whether life, I adored it completely. To my young mind, it was they’re a Dickens aficionado or have only read one flawless. or two Harry Potter books. Oftentimes I feel that

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My Auntie, taking note of this borderline worrying obsession (she had been present for the happy meal debacle), did some research and found the perfect Christmas present for the child in a state of 24-hour dragon induced mania. It turned out that the film I loved so much was actually based on a series of books

by Cressida Cowell, and on that fateful Christmas morning I unwrapped ‘How To Speak Dragonese’a book that was actually the third in the series and subsequently led to an hour of frantic googling- but the sentiment was appreciated, and I launched into the series ready for new adventures with the characters I already loved so much.

That is the story of how I got into literature, and from then on reading has become one of my favourite and most rewarding pastimes. I still love the How To Train Your Dragon books, although my tastes have

the professionalism of this publication is a little intimidating to the younger girls, whose contributions I believe are actually some of the most important, as it should be our goal to encourage a love of literature and literary analysis whatever the year group.

My personal contributions and articles are works I’m very proud of and have improved my independent writing skills; I only hope that in the publications to come I can provide that same experience.

Lily

S C R I B B L E Independent Day School 32 Town Walls I Shrewsbury I Shropshire I SY1 1TN I 01743 494000 www.shrewsburyhigh.gdst.net Follow us on Instagram

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