Hello Year 11,
Here is a sample answer to the question we had a go at today in class:
How does the writer convince us that he was not very academic or good at school work?
The writer also uses humour, describing his grades as a ‘line of Pac-Men doing the Conga’. The simile is a very light-hearted way of suggesting that he got a series of G grades, but the humour is convincing; we do not feel that he is exaggerating the truth, but that he has a clear view of what the situation was. Similarly, his tone of voice is convincing; even when describing painful memories of ‘chilly emptiness’ he remains he isn’t particularly upset or emotional. He seems detached and objective, which emphasises his certainty and makes us feel that we have no need to doubt him.
Rayner uses emotive language to convince us of his past failures. Words such as ‘dread’ and ‘humiliation’ are suggestive of the intense emotions that he felt as a child when unable to complete the homework tasks set. They make it seem as if he really struggled with his school work, and that his efforts were very much below the standards of his peers, and therefore humiliating.
The journalist also uses triplication in the list of three memories, which lends a certain truth to his writing. Even though these are, indeed, memories (and distant ones from years ago, at that), the effect of listing three of them makes them seem factual. Structurally, this long sentence is then followed by a short one: ‘The fact is that I was not especially academic.’ This makes Rayner sound certain; he presents his opinion as fact.
When describing his attempt to complete his son’s maths homework, the writer comments: ‘This I used to be able to do. Or at least I think I used to be able to do this.’ This is interesting, because it suggests that his memory is not perfect. It is an admission of his humanity which, rather than suggesting that we should doubt his memory of the past, only confirms that he is flawed, like everyone else, and that in all probability he was never any good at maths at all.