Cambridge IGCSE™

LITERATURE IN ENGLISH 0475/12

Paper 1 Poetry and Prose May/June 2022

1 hour 30 minutes

You must answer on the enclosed answer booklet.

* 7 4 1 6 1 5 9 8 8 9 *

You will need: Answer booklet (enclosed)

INSTRUCTIONS
● Answer two questions in total:
Section A: answer one question.
Section B: answer one question.
● Follow the instructions on the front cover of the answer booklet. If you need additional answer paper,
ask the invigilator for a continuation booklet.

INFORMATION
● The total mark for this paper is 50.
● All questions are worth equal marks.

This document has 28 pages. Any blank pages are indicated.

DC (RCL (DF)) 219216/1

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CONTENTS

Section A: Poetry

text question
numbers page[s]

Songs of Ourselves Volume 1: from Part 3 1, 2 pages 4–5

Songs of Ourselves Volume 2 : from Part 4 3, 4 pages 6–7
Carol Ann Duffy: from New Selected Poems 5, 6 pages 8–9

Section B: Prose

text question
numbers page[s]

Chimamanda Ngozi Adichie: Purple Hibiscus 7, 8 pages 10–11

Charlotte Brontë: Jane Eyre 9, 10 pages 12–13
Zora Neale Hurston: Their Eyes Were Watching God 11, 12 page 14
Henry James: Washington Square 13, 14 pages 16–17
Jhumpa Lahiri: The Namesake 15, 16 pages 18–19
Yann Martel: Life of Pi 17, 18 pages 20–21
George Orwell: 1984 19, 20 pages 22–23
from Stories of Ourselves Volume 2 21, 22 pages 24–25

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SECTION A: POETRY

Answer one question from this section.

SONGS OF OURSELVES VOLUME 1: from Part 3

Remember to support your ideas with details from the writing.

Either 1 Read this poem, and then answer the question that follows it:

Those Winter Sundays

Sundays too my father got up early

Content removed due to copyright restrictions.

of love’s austere and lonely offices?

(Robert Hayden)

How does Hayden make Those Winter Sundays such a striking poem?

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Or 2 Explore how Scott creates such memorable impressions of the wife in Marrysong.

Marrysong

He never learned her, quite. Year after year

Content removed due to copyright restrictions.

his way among the landscapes of her mind.

(Dennis Scott)

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SONGS OF OURSELVES VOLUME 2: from Part 4

Remember to support your ideas with details from the writing.

Either 3 Read this poem, and then answer the question that follows it:

Waterfall

I do not ask for youth, nor for delay

in the rising of time’s irreversible river
that takes the jewelled arc of the waterfall
in which I glimpse, minute by glinting minute,
all that I have and all I am always losing 5
as sunlight lights each drop fast, fast falling.

I do not dream that you, young again,

might come to me darkly in love’s green darkness
where the dust of the bracken spices the air
moss, crushed, gives out an astringent sweetness 10
and water holds our reflections
motionless, as if for ever.

It is enough now to come into a room

and find the kindness we have for each other
– calling it love – in eyes that are shrewd 15
but trustful still, face chastened by years
of careful judgement; to sit in the afternoons
in mild conversation, without nostalgia.

But when you leave me, with your jauntiness

sinewed by resolution more than strength 20
– suddenly then I love you with a quick
intensity, remembering that water,
however luminous and grand, falls fast
and only once to the dark pool below.

(Lauris Edmond)

How does Edmond movingly convey the passing of time in this poem?

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Or 4 How does Walcott vividly convey his thoughts and feelings about growing older in
Nearing Forty?

Nearing Forty

(for John Figueroa)

The irregular combination of fanciful invention

may delight awhile by that novelty of which the
common satiety of life sends us all in quest.
But the pleasures of sudden wonder are soon
exhausted and the mind can only repose on the
stability of truth …
SAMUEL JOHNSON

Insomniac since four, hearing this narrow,

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even when it seems to weep.

(Derek Walcott)

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CAROL ANN DUFFY: from New Selected Poems

Remember to support your ideas with details from the writing.

Either 5 Read this poem, and then answer the question that follows it:

Recognition

Things get away from one.

I’ve let myself go, I know.
Children? I’ve had three
and don’t even know them.

I strain to remember a time 5

when my body felt lighter.
Years. My face is swollen
with regrets. I put powder on,

but it flakes off. I love him,

through habit, but the proof 10
has evaporated. He gets upset.
I tried to do all the essentials

on one trip. Foolish, yes,

but I was weepy all morning.
Quiche. A blond boy swung me up 15
in his arms and promised the earth.

You see, this came back to me

as I stood on the scales.
I wept. Shallots. In the window,
creamy ladies held a pose 20

which left me clogged and old.

The waste. I’d forgotten my purse,
fumbled; the shopgirl gaped at me,
compassionless. Claret. I blushed.

Cheese. Kleenex. It did happen. 25

I lay in my slip on wet grass,
laughing. Years. I had to rush out,
blind in a hot flush, and bumped

into an anxious, dowdy matron

who touched the cold mirror 30
and stared at me. Stared
and said I’m sorry sorry sorry.

Explore the ways in which Duffy powerfully portrays growing old in this poem.

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Or 6 In what ways does Duffy movingly convey the speaker’s thoughts and feelings in
Originally?

Originally

We came from our own country in a red room

which fell through the fields, our mother singing
our father’s name to the turn of the wheels.
My brothers cried, one of them bawling, Home,
Home, as the miles rushed back to the city, 5
the street, the house, the vacant rooms
where we didn’t live any more. I stared
at the eyes of a blind toy, holding its paw.

All childhood is an emigration. Some are slow,

leaving you standing, resigned, up an avenue 10
where no one you know stays. Others are sudden.
Your accent wrong. Corners, which seem familiar,
leading to unimagined pebble-dashed estates, big boys
eating worms and shouting words you don’t understand.
My parents’ anxiety stirred like a loose tooth 15
in my head. I want our own country, I said.

But then you forget, or don’t recall, or change,

and, seeing your brother swallow a slug, feel only
a skelf of shame. I remember my tongue
shedding its skin like a snake, my voice 20
in the classroom sounding just like the rest. Do I only think
I lost a river, culture, speech, sense of first space
and the right place? Now, Where do you come from?
strangers ask. Originally? And I hesitate.

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SECTION B: PROSE

Answer one question from this section.

CHIMAMANDA NGOZI ADICHIE: Purple Hibiscus

Remember to support your ideas with details from the writing.

Either 7 Read this passage, and then answer the question that follows it:

I knew Papa would come in to say good night, to kiss my forehead.

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I closed my eyes and

slipped away into quiet.

How does Adichie make this such a disturbing moment in the novel?

Or 8 Kambili describes Aunty Ifeoma as ‘fearless’. Explore two moments when Adichie makes
this fearlessness very clear.

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CHARLOTTE BRONTË: Jane Eyre

Remember to support your ideas with details from the writing.

Either 9 Read this passage, and then answer the question that follows it:

‘In about a month I hope to be a bridegroom,’ continued Mr Rochester;

‘and in the interim, I shall myself look out for employment and an asylum for
you.’
‘Thank you, sir; I am sorry to give —’
‘Oh, no need to apologise! I consider that when a dependent does her duty 5
as well as you have done yours, she has a sort of claim upon her employer
for any little assistance he can conveniently render her; indeed I have already,
through my future mother-in-law, heard of a place that I think will suit: it is
to undertake the education of the five daughters of Mrs Dionysius O’Gall of
Bitternutt Lodge, Connaught, Ireland. You’ll like Ireland, I think: they’re such 10
warm-hearted people there, they say.’
‘It is a long way off, sir.’
‘No matter – a girl of your sense will not object to the voyage or the
distance.’
‘Not the voyage, but the distance: and then the sea is a barrier —’ 15
‘From what, Jane?’
‘From England and from Thornfield: and —’
‘Well?’
‘From you, sir.’
I said this almost involuntarily, and with as little sanction of free will, my 20
tears gushed out. I did not cry so as to be heard, however; I avoided sobbing.
The thought of Mrs O’Gall and Bitternutt Lodge struck cold to my heart; and
colder the thought of all the brine and foam, destined, as it seemed, to rush
between me and the master at whose side I now walked; and coldest the
remembrance of the wider ocean – wealth, caste, custom intervened between 25
me and what I naturally and inevitably loved.
‘It is a long way,’ I again said.
‘It is, to be sure; and when you get to Bitternutt Lodge, Connaught, Ireland,
I shall never see you again, Jane: that’s morally certain. I never go over to
Ireland, not having myself much of a fancy for the country. We have been good 30
friends, Jane; have we not?’
‘Yes, sir.’
‘And when friends are on the eve of separation, they like to spend the little
time that remains to them close to each other. Come! we’ll talk over the voyage
and the parting quietly, half an hour or so, while the stars enter into their shining 35
life up in heaven yonder: here is the chestnut-tree: here is the bench at its old
roots. Come, we will sit there in peace to-night, though we should never more
be destined to sit there together.’ He seated me and himself.
‘It is a long way to Ireland, Janet, and I am sorry to send my little friend
on such weary travels: but if I can’t do better, how is it to be helped? Are you 40
anything akin to me, do you think, Jane?’
I could risk no sort of answer by this time: my heart was still.
‘Because,’ he said, ‘I sometimes have a queer feeling with regard to you –
especially when you are near me, as now: it is as if I had a string somewhere
under my left ribs, tightly and inextricably knotted to a similar string situated in 45
the corresponding quarter of your little frame. And if that boisterous Channel,
and two hundred miles or so of land come broad between us, I am afraid that
cord of communion will be snapped; and then I’ve a nervous notion I should
take to bleeding inwardly. As for you – you’d forget me.’
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‘That I never should, sir: you know —’ Impossible to proceed. 50

‘Jane, do you hear that nightingale singing in the wood? Listen!’
In listening, I sobbed convulsively; for I could repress what I endured no
longer; I was obliged to yield, and I was shaken from head to foot with acute
distress. When I did speak, it was only to express an impetuous wish that I had
never been born, or never come to Thornfield. 55

(from Chapter 23)

How does Brontë make this such a moving moment in the novel?

Or 10 ‘A monster’.

To what extent does Brontë persuade you to agree with this description of Bertha
Rochester?

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ZORA NEALE HURSTON: Their Eyes Were Watching God

Remember to support your ideas with details from the writing.

Either 11 Read this passage, and then answer the question that follows it:

Janie fooled around outside awhile to try and think it wasn’t so.

Content removed due to copyright restrictions.

Don’t lak tuh be by mahself when Ah’m sick.’

(from Chapter 19)

How does Hurston make this such a moving moment in the novel?

Or 12 Explore how Hurston creates such striking impressions of Janie’s marriage to Joe Starks
(Jody).

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HENRY JAMES: Washington Square

Remember to support your ideas with details from the writing.

Either 13 Read this passage, and then answer the question that follows it:

‘My plans have not changed!’ said Catherine, with a little laugh.
‘Ah, but Mr Townsend’s have,’ her aunt answered very gently.
‘What do you mean?’
There was an imperious brevity in the tone of this inquiry, against which
Mrs Penniman felt bound to protest; the information with which she had 5
undertaken to supply her niece was after all a favour. She had tried sharpness,
and she had tried sternness; but neither would do; she was shocked at the girl’s
obstinacy. ‘Ah, well,’ she said, ‘if he hasn’t told you!…’ and she turned away.
Catherine watched her a moment in silence; then she hurried after her,
stopping her before she reached the door. ‘Told me what? What do you mean? 10
What are you hinting at and threatening me with?’
‘Isn’t it broken off?’ asked Mrs Penniman.
‘My engagement? Not in the least!’
‘I beg your pardon in that case. I have spoken too soon!’
‘Too soon! Soon or late,’ Catherine broke out, ‘you speak foolishly and 15
cruelly!’
‘What has happened between you then?’ asked her aunt struck by the
sincerity of this cry. ‘For something certainly has happened.’
‘Nothing has happened but that I love him more and more!’
Mrs Penniman was silent an instant. ‘I suppose that’s the reason you went 20
to see him this afternoon.’
Catherine flushed as if she had been struck. ‘Yes, I did go to see him! But
that’s my own business.’
‘Very well, then; we won’t talk about it.’ And Mrs Penniman moved towards
the door again. But she was stopped by a sudden imploring cry from the girl. 25
‘Aunt Lavinia, where has he gone?’
‘Ah, you admit then that he has gone away? Didn’t they know at his house?’
‘They said he had left town. I asked no more questions; I was ashamed,’
said Catherine simply enough.
‘You needn’t have taken so compromising a step if you had had a little more 30
confidence in me,’ Mrs Penniman observed, with a good deal of grandeur.
‘Is it to New Orleans!’ Catherine went on, irrelevantly.
It was the first time Mrs Penniman had heard of New Orleans in this
connection; but she was averse to letting Catherine know that she was in the
dark. She attempted to strike an illumination from the instructions she had 35
received from Morris. ‘My dear Catherine,’ she said, ‘when a separation has
been agreed upon, the farther he goes away the better.’
‘Agreed upon? Has he agreed upon it with you?’ A consummate sense of
her aunt’s meddlesome folly had come over her during the last five minutes,
and she was sickened at the thought that Mrs Penniman had been let loose, as 40
it were, upon her happiness.
‘He certainly has sometimes advised with me,’ said Mrs Penniman.
‘Is it you then that have changed him and made him so unnatural?’
Catherine cried. ‘Is it you that have worked on him and taken him from me! He
doesn’t belong to you, and I don’t see how you have anything to do with what 45
is between us! Is it you that have made this plot and told him to leave me? How
could you be so wicked, so cruel? What have I ever done to you; why can’t
you leave me alone? I was afraid you would spoil everything; for you do spoil
everything you touch! I was afraid of you all the time we were abroad; I had no
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rest when I thought that you were always talking to him.’ Catherine went on 50
with growing vehemence, pouring out in her bitterness and in the clairvoyance
of her passion (which suddenly, jumping all processes, made her judge her
aunt finally and without appeal), the uneasiness which had lain for so many
months upon her heart.

(from Chapter 30)

How does James make this such a powerful moment in the novel?

Or 14 Explore the ways in which James vividly portrays the battle between Dr Sloper and
Morris Townsend.

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JHUMPA LAHIRI: The Namesake

Remember to support your ideas with details from the writing.

Either 15 Read this passage, and then answer the question that follows it:

It had been after tutoring one day that Ashima’s mother had met her at the
door, told her to go straight to the bedroom and prepare herself; a man was
waiting to see her.

Content removed due to copyright restrictions.

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These
were her last moments as Ashima Bhaduri, before becoming Ashima Ganguli.

(from Chapter 1)

In what ways does Lahiri make this such an entertaining and memorable moment in the
novel?

Or 16 How does Lahiri powerfully convey Gogol’s feelings about his names?

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YANN MARTEL: Life of Pi

Remember to support your ideas with details from the writing.

Either 17 Read this passage, and then answer the question that follows it:

We must have been at a sixty-degree incline when we reached the summit

of the swell and broke through its crest onto the other side. The smallest portion
of the swell’s supply of water crashed down on us. I felt as if I were being
pummelled by a great fist. The lifeboat abruptly tilted forward and everything
was reversed: I was now at the lower end of the lifeboat, and the water that had 5
swamped it, with a tiger soaking in it, came my way. I did not feel the tiger—I had
no precise idea of where Richard Parker was; it was pitch-black beneath the
tarpaulin—but before we reached the next valley I was half-drowned.
For the rest of that day and into the night, we went up and down, up and
down, up and down, until terror became monotonous and was replaced by 10
numbness and a complete giving-up. I held on to the tarpaulin rope with one
hand and the edge of the bow bench with the other, while my body lay flat
against the side bench. In this position—water pouring in, water pouring out—
the tarpaulin beat me to a pulp, I was soaked and chilled, and I was bruised
and cut by bones and turtle shells. The noise of the storm was constant, as was 15
Richard Parker’s snarling.
Sometime during the night my mind noted that the storm was over. We
were bobbing on the sea in a normal way. Through a tear in the tarpaulin I
glimpsed the night sky. Starry and cloudless. I undid the tarpaulin and lay on
top of it. 20
I noticed the loss of the raft at dawn. All that was left of it were two tied oars
and the life jacket between them. They had the same effect on me as the last
standing beam of a burnt-down house would have on a householder. I turned
and scrutinized every quarter of the horizon. Nothing. My little marine town had
vanished. That the sea anchors, miraculously, were not lost—they continued to 25
tug at the lifeboat faithfully—was a consolation that had no effect. The loss of
the raft was perhaps not fatal to my body, but it felt fatal to my spirits.
The boat was in a sorry state. The tarpaulin was torn in several places,
some tears evidently the work of Richard Parker’s claws. Much of our food was
gone, either lost overboard or destroyed by the water that had come in. I was 30
sore all over and had a bad cut on my thigh; the wound was swollen and white. I
was nearly too afraid to check the contents of the locker. Thank God none of the
water bags had split. The net and the solar stills, which I had not entirely deflated,
had filled the empty space and prevented the bags from moving too much.
I felt exhausted and depressed. I unhooked the tarpaulin at the stern. Richard 35
Parker was so silent I wondered whether he had drowned. He hadn’t. As I rolled
back the tarpaulin to the middle bench and daylight came to him, he stirred and
growled. He climbed out of the water and set himself on the stern bench. I took
out needle and thread and went about mending the tears in the tarpaulin.
Later I tied one of the buckets to a rope and bailed the boat. Richard Parker 40
watched me distractedly. He seemed to find nearly everything I did boring. The
day was hot and I proceeded slowly. One haul brought me something I had
lost. I considered it. Cradled in the palm of my hand was all that remained
between me and death: the last of the orange whistles.

(from Chapter 83)

How does Martel powerfully depict the impact of the storm at this moment in the novel?
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Or 18 ‘Pi and Richard Parker are both enemies and allies.’

In what ways does Martel vividly convey this?

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GEORGE ORWELL: 1984

Remember to support your ideas with details from the writing.

Either 19 Read this passage, and then answer the question that follows it:

Winston kept his back turned to the telescreen. It was safer; though, as he
well knew, even a back can be revealing. A kilometre away the Ministry of Truth,
his place of work, towered vast and white above the grimy landscape. This, he
thought with a sort of vague distaste – this was London, chief city of Airstrip One,
itself the third most populous of the provinces of Oceania. He tried to squeeze 5
out some childhood memory that should tell him whether London had always
been quite like this. Were there always these vistas of rotting nineteenth-century
houses, their sides shored up with baulks of timber, their windows patched
with cardboard and their roofs with corrugated iron, their crazy garden walls
sagging in all directions? And the bombed sites where the plaster dust swirled 10
in the air and the willowherb straggled over the heaps of rubble; and the places
where the bombs had cleared a larger patch and there had sprung up sordid
colonies of wooden dwellings like chicken-houses? But it was no use, he could
not remember: nothing remained of his childhood except a series of bright-lit
tableaux, occurring against no background and mostly unintelligible. 15
The Ministry of Truth – Minitrue, in Newspeak – was startlingly different
from any other object in sight. It was an enormous pyramidal structure of
glittering white concrete, soaring up, terrace after terrace, three hundred metres
into the air. From where Winston stood it was just possible to read, picked out
on its white face in elegant lettering, the three slogans of the Party: 20

WAR IS PEACE
FREEDOM IS SLAVERY
IGNORANCE IS STRENGTH.

The Ministry of Truth contained, it was said, three thousand rooms above ground
level, and corresponding ramifications below. Scattered about London there 25
were just three other buildings of similar appearance and size. So completely
did they dwarf the surrounding architecture that from the roof of Victory
Mansions you could see all four of them simultaneously. They were the homes
of the four Ministries between which the entire apparatus of government was
divided. The Ministry of Truth, which concerned itself with news, entertainment, 30
education and the fine arts. The Ministry of Peace, which concerned itself with
war. The Ministry of Love, which maintained law and order. And the Ministry of
Plenty, which was responsible for economic affairs. Their names, in Newspeak:
Minitrue, Minipax, Miniluv and Miniplenty.
The Ministry of Love was the really frightening one. There were no windows 35
in it at all. Winston had never been inside the Ministry of Love, nor within half
a kilometre of it. It was a place impossible to enter except on official business,
and then only by penetrating through a maze of barbed-wire entanglements,
steel doors and hidden machine-gun nests. Even the streets leading up to its
outer barriers were roamed by gorilla-faced guards in black uniforms, armed 40
with jointed truncheons.

(from Part 1 Chapter 1)

Explore how Orwell creates such striking impressions of London and the four Ministries
at this moment in the novel.
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Or 20 How does Orwell powerfully convey the Party’s methods of controlling people’s thoughts?

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from Stories of Ourselves Volume 2

Remember to support your ideas with details from the writing.

Either 21 Read this passage from The Reservoir (by Janet Frame), and then answer the question
that follows it:

It was said to be four or five miles along the gully,

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the little valleys with their new growth of lush grass where the creek had
‘changed its course’, and no longer flowed.

How does Frame vividly convey the fascination that the Reservoir holds for the children?

Or 22 Explore the ways in which Richardson makes you feel sorry for Dolly in And Women
Must Weep.

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