Writing in the style of Kate Tempest

Clive’s 16,
Thrown into to this labyrinth of life,
A modern day Theseus.
But there’s no thread for him,
To follow.
No Ariadne waiting at the end.
Clive saw every adult,
Every teacher,
As a Minotaur.
He had to fight them.
Had to return home with his white sail aloft.
Every day was a battle of strength.
But this life
It ain’t fair.


For Clive, there’s no heroes.
Only monsters to fight.
He knows he ain’t no angel
But he has to do his part.
His anger his sword and shield.
Burning hot within.
His hoodie is his armour,
No one really sees ‘him.’


This world that fathered him,
And fathered us all,
Has done nothing
But devour us.
Like Kronos.
Clive’s got no hope.
His nicked blade won’t set him free,
No Zeus to cut him out.

Brand New Ancients Close Analysis Commentary

Extract Chosen - Page 26 - 28 (Simon Cowell parody scene)

In the 2013 epic narrative poem 'Brand New Ancients', Kate Tempest tells the story of 'everyday people', but does so whilst incorporating aspects of Ancient Greek mythology, in an attempt to 'argue for a new mythology'. Tempest believes that we have lost touch with our connection to deity that we had in the past, yet she believes that we are all Gods in our own right, and are 'capable of amazing and terrible things'.
The story follows the lives of two families over the period of a lifetime. Throughout the course of the plot, the two families stories intertwine and connect, leading to the climax of the story where they finally come together.

In my chosen extract, we see Tempest comment on, and parody, the 'fame' culture of modern society, and how all anyone seems to want is to become 'famous', and that the only way to achieve true happiness is to do so. Just before this extract we see Tommy finally achieve his dream of becoming a published comic book artist, this section follows to compare Tommy's relative success to the droves of others in society who strive for success, but fall short.

This is one of the sections of the poem that does not fit into the character-driven narrative of the rest of the poem, it instead focuses on the wider aspects of modern human society as a whole, and contains a 'chorus' section, as do the other similar parts of the text. ("The gods are...")
Tempest's parody of this fame-obsessed culture serves as a wake up call, or warning that we need to stop worshiping these 'false idols', as she calls them.

Due to the broader nature of this extract, there is no specific focus on any one of the main characters from the text, however, one character mentioned prominently, and only in this section, is the character referred to as 'Simon' as well as 'the new Dionysus', an obvious parody of talent show judge Simon Cowell. Dionysus is most famous for being the God of Grapes and Wine, but this comparison comes from his position as the God of Theatre and Ritual Madness. The 'theatre' of his character represents the talent shows presented and judged by 'Simon', and the 'madness' is an allusion to the intense, and dangerous, obsession with these contests in the real world.

Unlike in the rest of the poem, there is no concrete setting for this section of the piece, as it is more of a social commentary than an individually-focused character section.  When the section turns to focus on the 'New Dionysus' we see him in his dressing room, preparing to go out on stage for the show.

The character does not speak in this extract, but Tempest represents him through his actions, and to an extent, his thoughts. First, we see him preparing in his dressing room for the show. Tempest says: 'The makeup girls hold their breath as they dream him into a perfect bronze.'
The word 'dream' used as it is here alludes to the fact that this character's appearance is nothing more than an illusion, yet it is something that people aspire, or 'dream' to achieve.
Tempest then goes on to describe him as 'the permatanned God of our age.'
A few stanzas later we see Tempest say: 'Now, watch him shaking his head, he is furious'. This links to the anger that the Gods of classical mythology, which often had devastating consequences for the mortals whom incurred their wrath.
It is noteworthy that Dionysus was also the God who bestowed upon Midas the 'Midas Touch', which turned everything to gold, a 'gift' Midas soon came to regret. This links back to the text, where Tempest refers to the aspirations of the public, who want to be 'beautiful, ageless... with airbrushed bodies that shine golden.' This could represent the fact that, thought this is what the people might think they want, it ultimately serves only as a curse.

Tempest finishes this extract with: 'He took the eyes from our heads and blamed us for our blindness.'
This is a clear critique of the 'fame' culture that exists. It seems to say that people like Simon and his 'talent' shows strip the world of actual, true talent and then blame the people for the lack of talent presented before him.

Throughout this section, Kate Tempest uses many poetic techniques to enhance the effect and meaning of the section.

The section opens with the line: 'Pan out, soft focus; reveal the subtext:'
This phrase uses imagery of camera movement to alter the perception of the reader. This camera-linked terminology treats the entire poem as if it were a TV show or movie filming. This, when taken into consideration with the section that follows, could be seen as Tempest critiquing society as a whole, as though it has become one giant media, fame-obsessed civilization.
This image takes a morbid turn when the image to which the proverbial camera is panning is revealed.
Tempest writes: 'behind the couple striving on there is more, the bloodspecked sword in the sand, the bodies scattered around like sun bathers... the tattoos across their hearts read 'when will I be famous?'
The image of the 'bloodspecked sword' could be a representation of the fame and fortune that so many strive to achieve, with the 'bodies scattered around' representing those who have tried so hard to achieve fame, but are only to fall, even when getting so close. These people are so driven to realise this ideal that their hearts themselves are tattooed across 'When will I be famous?'

Writing in the Style of Kate Tempest

Writing in the style of Kate Tempest

Clive’s 16,

Thrown into to this labyrinth of life,

A modern day Theseus.

But there’s no thread for them,

To follow.

No Ariadne waiting at the end.

Clive saw every adult,

Every teacher,

As a Minotaur.

He had to fight them.

Had to return home with his white sail aloft.

Every day was a battle of strength.

But this life

It ain’t fair.

For Clive, there’s no heroes.

Only monsters to fight.

He knows he ain’t no angel

But he has to do his part.

His anger his sword and shield.

Burning hot within.

His hoodie is his armour,

No one really sees ‘him.’

This world that fathered him,

And fathered us all,

Has done nothing

But devour us.

Like Kronos.

Clive’s got no hope.

His nicked blade won’t set him free,

No Zeus to cut him out.

Dehumanisation Essay

Compare the ways the immigration process dehumanises people in ‘The Reluctant Fundamentalist’ and ‘The Inheritance of Loss’.

In both of these texts, the process of immigration is seen to dehumanise those who pass through it. In ‘The Reluctant Fundamentalist’ the process is relatively impersonal and detached, taking place in an American airport’s immigration department. Conversely , in ‘The Inheritance of Loss’, the manner in which the characters are dehumanised is on a much more raw and emotional level, as they apply for visas at the American Embassy in India. The way in which the character is treated in ‘The Reluctant Fundamentalist’ is largely attributed to the setting and context of the novel. Set largely in post-9/11 America; a time where immigrants, particularly those from the middle east and Asia, were vilified due to the events of the World Trade Centre Attacks in 2001. In the novel, the writer tells the story in a first person narrative through two characters engaging in a monologue. These two characters, Changes and the American, are often viewed as representations of different ‘sides’ of the author, Mohsin Hamid.

The dehumanisation of immigrants in post-9/11 America is illustrated by Hamid in ‘The Reluctant Fundamentalist’ through a 1^st person dramatic monologue, in which the character, upon entering America, is subject to immigration checks. The author uses the protagonist, Changez to show how the immigration process affected those who were foreign after 9/11. As Changez goes through immigration he is faced with a woman, whom Hamid describes as: “a solidly built woman with a pistol at her hip and a mastery of English inferior to mine”. The way the first person narrative is used to describe woman is a reflection of the character himself. Changez is certainly far better educated than this woman appears to be, but due the inherent unreliability of a first person narrative, we have no way of truly verifying this. Hamid then goes on to say that Changez: “attempted to disarm her with a smile.” The word ‘disarm’ is an interesting word choice, especially considering the fact that the officer was carrying a gun. It could be construed from this that the militaristic appearance of the women drew a similarly militaristic response out of the protagonist. However, this attempt at charming the character fails, and takes some inter-personal humanity out of the interaction. This could be viewed as the exchange that starts the process of dehumanising Changez. In the ensuing conversation, all attempts made by Changez to reinvigorate the conversation in one way or another are quashed by the cold detachment of the immigration officer, which has the effect of reducing Changez to less than equal, debatably less than human. However, it is not just Changez that is being dehumanised in this exchange. One could argue that, due to the constraints placed on her by her job and the recent events of 9/11, the immigration officer was being forced into acting in such a cold and impersonal manner, thus dehumanising her, in turn.

Hamid’s representation of the process of dehumanisation is at odds with that which is displayed in Desai’s ‘The Inheritance of Loss’. In Desai’s novel, the perspective is that of a 3^rd person narrative, told from the viewpoints of several different characters. This extract takes place at an American embassy in India, with many Indians waiting to apply for visas so they can legally enter the country. This novel is set in the late 1980’s, and despite the independence of India almost 40 years prior to this, the effects of the British colonialism were still being felt. As a result, it was next to impossible to qualify for a visa unless you were relatively wealthy, and had an assortment of valid documents to verify various things about you. In response to this, many people resorted to acquiring falsified documents such as birth certificates and vaccination records, as well as using their family to make it seem as if they had far more money than they actually did. However, this couldn’t really be said to dehumanise people. The dehumanisation truly begins when the office opens to visa applications. Knowing that the office will only take so many applicants in a day, there is a mad rush to be first in line. Desai uses many animalistic and inhuman terms to describe the actions taken by those who are rushing to be first in line. Desai describes their actions: “They knew what they should do. Stink and spit and scream and charge;” This representation of the visa applicants very literally dehumanises them, as opposed to the more subliminal form of dehumanisation displayed in 'The Reluctant Fundamentalist'. This continues in much the same vein, with even more animalistic imagery and actions being described. "Young men mowing through, tossing aside toothless grannies, trampling babies underfoot." This shows the lengths to which this system has pushed people. It shows the utter lack of regard that these people have for human life and wellbeing, and how this fervour is attributed to the application process they have to go through.


Despite their differences, there are several notable similarities between the two texts in terms of how the immigration process is represented. One such similarity is the fact that in both texts, the American government is the involved power inflicting the process of dehumanisation on the immigrants. Another contributing factor shared between the two texts is the use of distance or impersonality by those in charge. In 'The Inheritance of Loss', Desai shows this distance in two ways. First by the announcement made from the "invisible loudspeaker". This 'invisibility' creates a sense of tension amongst the applicants, it also portrays the immigration officers as a sort of higher being, in an almost Godly sense. The other way in which this is carried out is by the separation of the immigration officers and the applicants by a glass window. This detachment makes it seem as though the officers are on the outside of a glass cage looking in on the 'animals' that the applicants have become.
In 'The Reluctant Fundamentalist' this detachment comes in the form of the officer Changez encounters in the airport. Her uniform speech patterns detach her from any form of meaningful conversation with Changez on a human level, thus dehumanising him, albeit in a different way to the more prominent dehumanisation presented in 'The Inheritance of Loss'.

How does Williams create a sense of tension and drama for the audience in this extract? (scene 4 monologue) (30 marks)

In scene 4, Williams build a sense of tension and drama for the audience, through Blanche's monologue about Stanley. Along with the inflammatory content of Blanche's speech, tension is also heightened by the sense of dramatic irony imparted upon the audience. The fact that we can hear what is being said, as well as knowing that Stanley can, unbeknownst to Blanche & Stella, hear her too. This makes the audience nervous in anticipation of how Stanley will react to being spoken about in this way. Since we know he is a particularly unstable and inflammatory character, we know that the end result could be bad for Blanche, a premonition that does come true at the end of the play.

In her monologue, Blanche constantly makes reference to animalistic imagery when referring to Stanley, a portrait of the character that Williams often uses. Blanche is by no means implicit in her reference to Stanley in the manner. She even opens her tirade with the phrase: "He acts like an animal, has an animal's habits! Eats like one, moves like one, talks like one!" From this already offensive statement, she degrades him even further: "There's even something-sub-human-something not quite to the stage of humanity yet!" going on to say: "like one of those pictures I've seen in - anthropological studies!" These words, while harsh, paint a somewhat accurate view of Stanley, one which the audience are likely to sympathise with. The vivid images which Blanche uses really do cause the audience to view Stanley in a new light, and almost sympathise with her plight. Although it may have the adverse effect of causing the audience to grow to dislike Blanche, as some members of the audience may see her comments as over the top, or downright slanderous. However, as aforementioned, all of these thoughts and feelings are overshadowed by the anticipation of Stanley's reaction, with only the audience actually knowing he is there.


The sense of drama is heightened further by the content of Blanche's speech. At one point she even references the very first scene of play, where Stanley is introduced and when he throws the bloody meat package at Stella. "Bearing the raw meat home from the kill in the jungle!" This is interesting, considering the fact that Blanche was not cited as being there to witness the event, yet offers a sense of connection to the members of the audience astute enough to notice. Blanche goes on to refer to the events of the night before, where Stanley hit Stella in his drunken stupor. "Maybe he'll strike you or maybe grunt and kiss you! That is, if kisses have been discovered yet!". The fact that she refers to the events of the previous night without hesitation shows a lack of empathy towards those most affected by the situation, choosing instead to continue her self-righteous tirade, without regard for anyone else.

John Mcrae Lecture Notes

1) - Introduction to 'A Streetcar Named Desire'

First performed in 1947, but less than 100 years after the American civil war.

North/South division. Williams' always sets plays in the South.

Also before SELMA, MLK & 'Civil Rights'

South (especially New Orleans) is like another country to Americans.

Important part of the localisation of the culture of Streetcar

Removed from 'Normal' America, American Literature and Traditions.

Establishing a 'new' America.

A tragedy. But the main character doesn't die.

Many layers.

Play transcends its 'cliché' interpretations.

Based around a 'disintegrating' concept of the old families of the South.

Tragedy of love & sex.

Culminates in an act of sexual violence.

Not seen as particularly sexual at it's time.

Tragedy of gender, roles and power & influence. Want and desire.

Original title: The Poker Game.

Poker in the play: a male, tribal, activity.

Exclusiveness to the masculinity in the play, and to how Blanche handles her femininity.

Audience expected to feel sympathy for Blanche.

Blanche's 'kindness of strangers' is the key quote of the play.
Catharsis - release of emotions of fear & pity
Williams wants to move drama on from its previous form.
Anti-tragedy

 2) Scene 1

Noticeable for the long stage directions. Important.

Gives clues as to the main themes of the play in the names.

Elysian Fields, Stella for Star, Blanche for White, Streetcar named desire.

Play moves from May - September. Play moves through a summer. Palpable heat.

Heat is key concept.

Many scenes take place in evening. 

Music, sound, presence of other people. 

Whole society encapsulated. Music, People upstairs, people in the street.

Communicating to all of the audience's senses.

First characters we see are not important.

White & Coloured, New Orleans more racially integrated than the rest of America.

NO French territory bought by America.

Traditional music of NO is Jazz.

Music serves as emotional undercurrent.

Getting a glimpse into a family home here in New Orleans.

Begins with 'overhearing' a conversation between two side-characters.

Setting up a scene before the main characters enter.

A play for atmosphere.

All at once: Stanley, Mitch & Stella. Established in concept of money relationship.

A scene of movement.

Movement & Stasis, key aspects.

Blanche is quiet and static by comparison.

Blanche - incongruous.

She doesn't know this society.

Moth and Flame.

Light v Darkness.

First lines key.

Colossal irony.

Journey of desire takes us past cemeteries and Elysian fields.

Set up to accommodate a stranger.

Constantly jars against the society, preventing her from assimilating.

Ownership & loss another layer.

Contrast between social life of the New Orleans people, against the lonely nature of Blanche.

Blanche is a character without a future, but with much of a past.

Contrasting French past society vs Multicultural.

Blanche scared of the noises around this society.

Pretends not to drink, yet that is completely untrue.

Audience knows through dramatic irony that she is an alcoholic.

'onstage people are sympathetic to alcoholics'

Relationship between B & STE well established.

'Long progress to the graveyard'.

Long Parade

in TW funerals are a 'prettification' of death

Blanche determined to find beauty wherever she can, even in death,

Stanley the 'new man of new America'.

'a stud'.

Alpha male, cock of the walk

Polish

Gender & Identity. 

gaudy seed-bearer

American society that believes in capitalism and multiculturalism.

'Archaic America is no more'.

Stanley Kowalski is the future, like it or not.

Power & Vulnerability established when B and STA meet.

Sex on Stage.

Tragedy encapsulated in the final scene.

3) - Scene 2 

Pickup of speed.

Documentation/paperwork.

dead hand of the past catching up with the future

Past = Papers

Future = Stella's baby.

Society that has stopped/been sold of vs a society that, even without money is moving on.

Blanche is a sexual character, but will not have children.

Not childless in a tragic way, but in an 'end of the line' way.

No future to offer a child.

'Epic Fornications' run in the family.

Blanche is the product of her family & history.

Whole play an analogy for a developing America.

Invited to see Stella in a very positive light.

Will stick with her choices, and try to be as loyal as she can to Blanche, but will stick with Stanley.

Blanche becomes a lost cause to the audience/reader.

Alive but dead.

How 'dead' is she?

Doesn't die, but latches on to the doctor & nurse.

Napoleonic code.

Old, French background still in use in the advancing America.

Blanche owns nothing. Hence why her body is so important to her.

She is fading.

'I was flirting with your husband'.

Flirts because it's the only thing she knows to do.

Thinks its what men 'want'.

Blanche is irresponsible.

Tries to make up for it by being 'pretty' and 'flirtatious'

Williams wants us to sympathize for B and not judge her a total failure.

Tragic nobility redeems her, despite everything falling apart.

4) - Scene 3

Poker Game

The possible title.

Masculinity. Violent, strong.

Steve's Joke is important.

inclusion of the word nigger is important.

Williams uses it to show the male joking.

The word would be used without thinking.

The joke is about priorities - sex over food, money etc

Mitch 'emerges' from the poker game.

B and M's first encounter is about physical needs.

gallantry - old fashioned

Echoes 'gone with the wind' Vivian Leigh, main female character in both.

America growing up. 

Poker game 'explodes into violence'.

Clash of masculine values.

STA & STE a whole new 'language' of relationships to Blanche.

Un-relatable to her.

5) - Scene 4

Scene runs on directly.

The following morning

'Choral chant'.

Like in Greek tragedy.

'Life goes on'

Blanche survives, despite her shortcomings.

Nature of the tragedy? 

- that she survives?

- that she will keep going?

- anybody else's tragedy?

Some critics see it as a tragedy of 'unfulfilled desires' symbolised by Mitch.

key word in scene 4 - desire

contrast between what the mind and emotions do.

Rossetti's Attitudes Towards Death - Exam Question Plan

Explore the ways Rossetti presents attitudes towards death in 'Up-Hill' and other poems.

Up-Hill
In Up-Hill death, at least in pursuit of heaven, is viewed as a rest at the end of the long journey that is life.
Key Quotes:
'Will the day's journey take the whole long day?'
'Shall I find comfort, travel-sore and weak?'
'Will there be beds for me and all who seek?'
'They will not keep you standing at that door'
'Of labour you shall find the sum.'
'Yea, beds for all who come.'

Song (When I am dead, my dearest)
In Song, the speaker is telling a loved one how they wish their death to be handled. It concentrates on a desire for as little cliché mourning as possible.
Key Quotes:
'Sing no sad songs for me;'
'Plant thou no roses at my head,'
'And if thou wilt remember, and if thou wilt forget'
'Haply I may remember, and haply may forget'

Remember
Remember takes the opposite stance to Soong, where the speaker begs for those left behind to remember them, however, as the poem goes on the voice changes to say how they don't mind if the bereaved forget.
Key Quotes:
'Remember me when I am gone away, gone far away into the silent land'
'Yet if you should forget me for a while and afterwards remember, do not grieve.'
'Better by far you should forget and smile than that you should remember and be sad.'

Echo
In echo, death is seen as something that soon becomes boring.
Key Quotes:
'... in Paradise, where souls brimfull of love abide and meet; where thirsting longing eyes watch the slow door that opening, letting in, lets out no more.

In the Round Tower at Jhansi
In this poem, death is viewed as a swift, merciful release when the characters are faced with a painful death otherwise.
Key Quotes:
"Kiss and kiss: 'It is not pain thus to kiss and die. One kiss more.'-'And yet one again.'-'Goodbye.'-'Goodbye.'