Mark Scheme

Section A — Poetry

Question 1: Plenty (Isobel Dixon)

Assessment Objectives:

• AO1: Show detailed knowledge of the text; understand explicit meanings and attitudes
• AO2: Understand how writers achieve effects through use of language, structure, and form
• AO4: Communicate a sensitive and informed personal response to literary texts

Mark allocation: 25 marks

Marking criteria — Levels of response:

Level 6 (21–25 marks):

• Perceptive, assured understanding of the mother-daughter relationship
• Close textual analysis with well-selected detail
• Sophisticated grasp of how Dixon uses language and structure to create vivid impressions
• Cogent, integrated response with personal engagement
• Precise use of technical terminology

Level 5 (17–20 marks):

• Secure understanding of the relationship and its presentation
• Detailed reference to text with clear engagement
• Sound analysis of Dixon's methods (language, form, structure)
• Well-structured response showing engagement
• Accurate use of terminology

Level 4 (13–16 marks):

• Clear understanding of the relationship
• Some detailed textual support
• Explains some effects of Dixon's choices
• Organized response showing some personal response
• Some use of appropriate terminology

Level 3 (9–12 marks):

• Generally sound grasp of the relationship
• References to text support points made
• Identifies some uses of language with partial explanation
• Response is reasonably structured
• Basic terminology used

Level 2 (5–8 marks):

• Broad understanding with occasional relevant comment
• Some textual support, may be general
• Some awareness of language use, explanation may be simple
• Response shows basic structure
• Limited use of terminology

Level 1 (1–4 marks):

• Simple awareness of relationship
• Occasional textual reference, may paraphrase or describe
• Very limited awareness of how meaning is conveyed
• Response may lack clear structure
• Little or no terminology

0 marks: No creditable response.

Indicative content — accept any valid responses addressing:

Mother-daughter relationship — closeness/partnership:

• "we'll buy one" — collective pronoun, shared experience
• Mother includes daughter in imaginary wealth/shopping despite poverty
• "We finger each creature / carefully" — tender, shared learning activity
• "we will learn, grow richer together" — emphasis on togetherness, emotional not financial wealth
• "my mother at my back" — support, protection, empowerment

Poverty and imagination:

• "Flat broke" — direct economic reality
• "secret ship come in" — metaphor for pretend wealth, shared fantasy
• "I know we can't afford one plank of that" — child's awareness of reality
• Creative response to hardship through art and learning

The child's response/empowerment:

• Shift to "I" in final stanza — individual agency resulting from mother's influence
• "I take out pencils, start to draw" — creativity inspired by mother
• "make a law / for my own country, where no one will lack" — idealism, desire to help others, learned empathy
• "I'm rich now" — redefines wealth through relationship and creativity

Language and poetic technique:

• Sonnet form — suggests value, elevation of this memory
• Turn/volta at line 13 ("Back home") — shift from collective "we" to empowered "I"
• Enjambment (lines 1–2, 7–8) — mirrors flowing experience, connection
• "matric-less" — South African context, educational aspiration
• Concrete nouns (folk-weave, vase, finch, lark) — specificity of imagined purchases
• "richer" — pun on financial and emotional wealth
• Final rhyming couplet gives sense of completion, security
• Title "Plenty" — ironic given poverty, but true emotionally

Accept other valid interpretations showing close engagement with the text.

Question 2: Loss in ONE poem

Mark allocation: 25 marks

Use same banded criteria as Question 1.

Indicative content for The Bright Lights of Sarajevo:

• Contrast between romance and war creates sense of loss of normality
• "blood-dungled crusts of shrapnel" — violent imagery, loss of safety
• Young people continue dating despite siege — loss of innocence
• "Death-deep, death-dark" — repetition emphasizes pervading loss
• Historical references (Austro-Hungarian) — loss of cultural heritage
• Present tense creates immediacy of ongoing loss
• Darkness/light imagery — loss of security, civilization

Indicative content for One Flesh:

• "Lying apart now" — physical and emotional distance, loss of intimacy
• "Whose fire... has now grown cold" — metaphor for lost passion
• Biblical language ("That old fire") — sacred quality now lost
• Question "Do they know they're old?" — loss of self-awareness, youth
• "Silence between them like a thread" — connection exists but fragile
• Regular form (three stanzas) mirrors monotony of lost passion
• Final stanza's rhetorical question — incomprehension, loss of understanding
• "Whose chastity / Shadows" — even memory of passion is fading

Question 3: Comparison of childhood in TWO poems

Mark allocation: 25 marks

Use same banded criteria as Question 1, with additional credit for:

• Sustained comparison throughout
• Integrated discussion of both poems
• Identification of similarities and differences in presentation

Indicative content — candidates may choose from poems in Part 4 including:

• Plenty — poverty, imagination, mother-daughter relationship, empowerment
• Horses (Edwin Muir) — rural childhood, awe and fear, loss of innocence
• Hide and Seek (Vernon Scannell) — game-playing, isolation, disappointment
• Mort aux Chats (Peter Porter) — child's perspective on cruelty, satirical voice

Candidates should compare poets' methods: language, imagery, form, structure, tone, perspective.

Section B — Prose

Question 4: The Destructors (Graham Greene)

(a) T.'s character and influence — 12 marks

Level 4 (10–12 marks):

• Perceptive understanding of T.'s character in extract
• Close analysis of Greene's presentation
• Well-selected detail with integrated textual support
• Assured personal response

Level 3 (7–9 marks):

• Clear understanding of T.'s character and influence
• Sound analysis with relevant detail
• Textual support used to develop points
• Engaged response

Level 2 (4–6 marks):

• Generally sound grasp of character
• Some analysis with textual reference
• Explanation of some effects
• Structured response

Level 1 (1–3 marks):

• Basic awareness of character
• Simple references or description
• Limited analysis
• May paraphrase

0 marks: No creditable response.

Indicative content:

T.'s character:

• Calm, methodical: "I've got it all worked out"
• Leader/visionary: "I want the gang to do something that has never been done before"
• Not motivated by gain: "But we don't have to steal anything"
• Destructive ideology: "Nobody's going to live there ever again"
• Confident: looks "straight at Blackie" — challenges previous leader
• Detailed planner: specifies timeline, method, sequence
• Uses language of work: "proper job," "moving house" — normalizes destruction

Influence over gang:

• Commands attention: "There was a silence"
• Overcomes skepticism: from "You're barmy" to consideration
• Appeal to group identity: "I want the gang to do something"
• Makes destruction sound achievable and exciting: "It'd be a lark"
• Shifts leadership from Blackie through force of vision
• Specific details persuade: "from inside," "dead careful"
• Dehumanizes victim: "Old Misery" nickname

Greene's methods:

• Dialogue-driven — reveals character through speech
• Short sentences create authority: "I saw them." "No, I'm not."
• Repetition of "We'd" — inclusive, builds momentum
• Contrast: T.'s calm vs. gang's initial reaction
• Euphemistic language disguises violence

(b) ONE other moment showing destructive nature — 13 marks

Level 4 (11–13 marks):

• Perceptive selection and exploration of moment
• Close analysis of how Greene presents destruction
• Assured understanding of effects
• Integrated textual detail
• Cogent personal response

Level 3 (8–10 marks):

• Apt selection of moment
• Clear analysis of presentation
• Sound understanding of effects
• Relevant textual support
• Engaged response

Level 2 (5–7 marks):

• Appropriate selection
• Some analysis with explanation
• Generally sound understanding
• Some textual support
• Structured response

Level 1 (1–4 marks):

• Relevant moment identified
• Limited analysis, may describe
• Basic understanding
• Simple textual reference
• May paraphrase

0 marks: No creditable response.

Indicative content — candidates may select from:

The systematic destruction itself:

• Methodical removal of fixtures
• Burning of banknotes — destruction of value
• "It's got to go. Nobody's going to live there ever again"
• Attention to detail in destruction
• Greene's precise descriptions of demolition work

Old Misery locked in lavatory:

• Physical imprisonment
• Psychological cruelty
• T.'s cold response to his protests
• "We're getting out. We've finished" — casual dismissal
• Contrast between Old Misery's desperation and boys' indifference

The final collapse:

• Driver's lorry pulls house down
• Ironic completion through accident
• Old Misery's anguished response
• Driver's laughter: "There's nothing personal"
• Destruction of beauty (Wren architecture)
• Post-war setting amplifies destruction theme

Greene's methods:

• Understatement and matter-of-fact tone
• Contrast (boys' efficiency vs. chaos created)
• Symbolism (post-war destruction of old order)
• Dark irony throughout
• Sensory detail of destruction

Question 5: The Yellow Wallpaper (Gilman)

(a) Disturbing ending — 12 marks

Use same banded criteria as Question 4(a)

Indicative content:

Elements making ending disturbing:

• Narrator's complete psychological break: "I've got out at last"
• Identification with woman in wallpaper — delusion complete
• Creeping over husband: role reversal, disturbing image
• "In spite of you and Jane" — fragmented identity
• John faints — collapse of patriarchal authority, but too late
• Physical act of creeping: animalistic, trapped
• Triumph in madness: narrator believes she's free
• Locked door — she has imprisoned herself
• "I had to creep over him every time!" — repetition of disturbing action

Gilman's methods:

• First person maintains intimacy to the end
• Short, declarative sentences: confidence in insanity
• Exclamation marks suggest excitement in madness
• Final image of creeping is visceral, disturbing
• No resolution or help arrives
• Matter-of-fact tone makes it more disturbing
• Reversal: reader sympathy but horror at outcome

(b) Psychological decline elsewhere — 13 marks

Use same banded criteria as Question 4(b)

Indicative content — candidates should select ONE other moment:

Obsession with wallpaper developing:

• Initial disgust to fascination
• Seeing patterns, then figures
• "The front pattern does move"
• Smelling the wallpaper throughout house
• Personification of pattern as living thing
• Increasingly fragmented syntax mirrors declining mental state

Conflict with John:

• His dismissal of her concerns
• "Blessed little goose" — condescension
• Medical authority used to control
• "What is it little girl?"
• Her secret writing and deception
• Isolation from decision-making about her own treatment

Physical deterioration:

• Loss of appetite
• Disturbed sleep
• Weakening physical state
• Crying episodes
• Nervous exhaustion

Narrative technique:

• Fragmented journal entries
• Increasing irrationality in observations
• Contradiction and confusion
• Shorter paragraphs as decline progresses
• Loss of logical connection between ideas

Question 6: Parent-child relationships in ONE story

Mark allocation: 25 marks

Use same banded criteria as Question 1.

Indicative content for The Prison:

• Tommy's desire to help the girl reflects his own lack of guidance
• Failed father figure — his own father's absence/failure implied
• Projection of his own lost chances onto the girl
• Attempt to prevent her repeating his mistakes
• Violence of his intervention shows desperation
• Rosa's criticism — domestic tension, different priorities
• The irony: he becomes the threatening adult
• Inability to save himself or others
• Candy store as prison/trap, generational poverty
• Gilman's sparse style emphasizes bleakness
• Third person allows insight into Tommy's thoughts
• Circular narrative — no escape, repeated patterns

Indicative content for The Voice:

• Son's admiration for father's singing voice
• Father's alcoholism and decline
• Loss of respect in community
• Mother's bitterness and shame
• Boy torn between loyalty and embarrassment
• Irish family context — poverty, class
• Father's brief moment of dignity singing
• Boy's eventual understanding and compassion
• Dialogue captures family dynamics
• Behan's warmth despite difficult subject
• First person creates intimacy

Indicative content for Secrets:

• Aunt's privacy violated by nephew
• Discovery of past love affair
• Betrayal of trust
• Aunt's physical violence shows depth of hurt
• Boy's guilt and shame
• Revelation of aunt's sacrificed life
• Tenderness alongside disappointment
• Final reconciliation but loss of innocence
• Letters as symbol of private pain
• MacLaverty's controlled prose
• Psychological depth in both characters

Sample Answers with Examiner Commentary

Question 1 — Sample Answers

Grade A* (high distinction) answer

Dixon vividly presents a relationship of exceptional closeness between mother and daughter through the poem's portrayal of shared imagination in the face of poverty. The opening line's stark admission, "Flat broke," establishes the economic reality immediately, yet this directness itself suggests the mother's honesty with her daughter—there are no comforting lies. The subsequent invitation to explore "bed-sit land" transforms poverty into adventure through the metaphor of a "secret ship come in," where the word "secret" suggests a special intimacy between mother and child, a private world they share despite their lack of material wealth. Dixon's use of collective pronouns throughout the first three stanzas—"We'll buy," "We finger"—creates a syntactic partnership that enacts the emotional unity between them.

The central section of the poem demonstrates how the mother educates through imagination. The precise, almost ritualistic description "We finger each creature / carefully, the finch, the lark, note feather- / markings, beaks and claws, their habitat" shows a mother teaching observation and curiosity. The enjambment across "each creature / carefully" mirrors the gentle, patient touching it describes, while the accumulation of specific details—"feather-markings, beaks and claws"—suggests the thoroughness of the mother's engagement. Crucially, Dixon conveys vividly that this education happens not through possession but through attention and shared learning: "we will learn, grow richer together." The comparative "richer" functions as a brilliant pun, indicating that emotional and intellectual wealth can replace material wealth, a lesson the mother is actively teaching.

The poem's volta at line 13, marked by "Back home," represents a shift from "we" to "I" that vividly demonstrates the mother's successful empowerment of her daughter. The child, inspired by their imaginary shopping trip, takes independent action: "I take out pencils, start to draw." The simple present tense verbs suggest agency and determination. Most strikingly, the daughter doesn't just copy what she's seen—she creates "a law / for my own country, where no one will lack," transforming her mother's lesson into political idealism and empathy for others. The final line, "I'm rich now with my mother at my back," is Dixon's most vivid expression of their relationship: the mother provides foundational support ("at my back") from which the daughter can act confidently in the world. The metaphor suggests both protection and encouragement, pushing forward rather than holding back. The transformation of "Flat broke" to "I'm rich now" completes the poem's emotional arc, vividly conveying that the mother has given her daughter something invaluable—confidence, imagination, and moral purpose.

Dixon's choice of the sonnet form itself suggests that this memory is treasured and significant, elevating a simple shopping trip to the level of love poetry. The relationship between mother and daughter is presented as a partnership of equals engaged in a joint project of learning and imagination, making poverty not just bearable but transformative.

Mark: 25/25

Examiner commentary: This is a perceptive, sophisticated response demonstrating assured understanding of the mother-daughter relationship. The candidate integrates close textual analysis throughout, examining language ("secret ship," collective pronouns, "richer"), structure (volta, enjambment, shift from "we" to "I"), and form (sonnet). Technical terminology is used precisely and naturally. The response is cogent and well-structured, moving from opening through central section to conclusion, while maintaining focus on the question of how Dixon creates vivid impressions. Personal engagement is evident in phrases like "brilliant pun" and in the candidate's ability to articulate subtle effects. This answer fulfills all Level 6 criteria.

Grade C (pass) answer

Dixon shows the close relationship between the mother and daughter in several ways. The mother takes her daughter on a trip even though they are "Flat broke" which shows that she wants to spend time with her even when they don't have money. They go to look at things they can't afford and the mother shows her daughter different things like textbooks and paintings. Dixon uses "we" a lot in the poem which shows they are together and doing things as a team.

The mother and daughter look at a textbook about birds and they "finger each creature / carefully" which shows they are both interested in learning. They look at "the finch, the lark" and their "feather-markings, beaks and claws" which is very detailed. The daughter says "I know we can't afford one plank of that" which shows she understands they are poor but she doesn't mind because she is with her mother. The mother is teaching her that learning is more important than buying things, and they "will learn, grow richer together." The word "richer" shows they will get richer through learning, not through money.

In the last part of the poem, the daughter goes home and starts drawing. She draws "a sunset and a house" and makes "a law for my own country, where no one will lack." This shows that her mother has inspired her to be creative and to think about helping other people. The daughter has learned from her mother that you don't need money to be happy. The final line says "I'm rich now with my mother at my back" which shows that having her mother's support makes her feel rich. The mother is supporting her and believing in her.

Dixon makes the relationship vivid by showing them doing things together and by showing how the mother teaches the daughter important lessons about life. The use of "we" throughout most of the poem and then "I" at the end shows how the daughter has become independent but still has her mother's support.

Mark: 14/25

Examiner commentary: This response demonstrates clear understanding of the mother-daughter relationship and includes relevant textual support. The candidate identifies key features (use of collective pronouns, the learning experience, the shift to "I") and explains some effects of Dixon's choices. However, the analysis remains somewhat straightforward—for example, noting that "we" shows they're "together" and "doing things as a team" without exploring the deeper implications of syntactic partnership. The explanation of "richer" as a pun is present but not developed. Technical terminology is limited (no discussion of form, only basic mention of enjambment implied). The response is organized and shows engagement, placing it securely in Level 4, but lacks the sophistication, integrated textual detail, and assured analysis required for higher bands.

Grade E (near miss) answer

This poem is about a mother and daughter who go shopping but they don't have any money. The relationship between them is good because they spend time together. The mother wants to buy things for the house like "one folk-weave tapestry" and "a vase" and other decorations. The daughter goes with her and they look at things in shops.

They look at a book about birds which shows the mother cares about education. They look at different birds like finches and larks. The daughter knows they are poor because she says they can't afford it. But the mother still takes her on the trip which shows she is a good mother who wants to spend time with her daughter even when they don't have money to buy things.

At the end the daughter goes home and does some drawing. She draws a sunset and a house. She also thinks about making laws for her own country where no one will be poor. This shows she is thinking about the future and wants to help people. She says she is rich now because she has her mother supporting her. This shows that love is more important than money and you don't need to be rich to be happy.

The poem shows that the mother and daughter have a good relationship because they do things together and the mother teaches her daughter that money isn't everything. The daughter learns to be creative and to think about other people who are poor like them.

Mark: 7/25

Examiner commentary: This response shows broad understanding of the relationship with occasional relevant comment, placing it at the top of Level 2. The candidate identifies that mother and daughter are close and that the mother values education and time together. However, the response often paraphrases or describes content rather than analyzing how Dixon creates effects. Key details are mentioned (the shopping trip, the birds, the drawing) but without exploration of language, imagery, or structure. There is no discussion of the sonnet form, the significance of pronouns, the volta, or the metaphorical dimension of "richer." The final paragraph offers a thematic summary but doesn't engage with Dixon's methods. To reach Level 3, the candidate needed to move beyond description to explain some specific effects of Dixon's choices with closer reference to the text and appropriate terminology.

Question 4(a) — Sample Answers

Grade A* (high distinction) answer

Greene presents T. as a figure of cold authority whose radical vision transforms him from outsider to leader within the space of this extract. The striking quality of T.'s character lies in his ideological motivation rather than criminal greed. When he insists "we don't have to steal anything," Greene reveals a boy driven by destruction for its own sake, making him far more disturbing than a simple thief. The repetition of "That's not the idea" and his explanation "We'd have to take it away to burn it, that's all" demonstrate a chilling moral framework in which destruction is justified if nothing is personally gained—a perverse code of honor that makes his plan simultaneously principled and nihilistic.

T.'s influence over the gang operates through a combination of visionary rhetoric and practical detail. His opening gambit—"I want the gang to do something that has never been done before"—appeals to their desire for status and achievement, transforming vandalism into historic accomplishment. Greene makes this persuasive power striking through the gang's shifting response: from laughter ("You're barmy, T.") to serious consideration, T. overcomes skepticism through sheer conviction. The moment when he looks "straight at Blackie" is particularly striking, as Greene stages a silent challenge to the previous leader. T. doesn't argue for leadership; he assumes it through the force of his vision, and Greene's simple statement "There was a silence" conveys the gang's recognition of a new authority.

What makes T.'s character most striking is Greene's presentation of destruction as creative work. T. uses the language of craft and planning: "I've got it all worked out," "We'd do a proper job," "It would be like moving house." This domestication of violence makes his plan sound reasonable, even professional. The accumulation of "We'd" statements builds momentum and creates a collective identity around destruction: "We'd do it from inside. We'd be dead careful... We could pull it down... we'd move everything out... we take what we can away... we'd pull down the house." Greene makes the repetition almost hypnotic, demonstrating how T.'s methodical approach seduces the gang into complicity. The attention to sequence—"Last of all we'd pull down the house"—suggests planning and patience rather than impulsive vandalism, making T. seem mature and competent, qualities that earn him influence over boys seeking leadership.

Finally, Greene makes T.'s dehumanization of the victim striking through his casual use of the nickname "Old Misery" and his chilling final vision: "Nobody's going to live there ever again. Old Misery's going to come home to nothing." The reduction of a person to "nothing" reveals the totality of T.'s destructive purpose and his complete lack of empathy, while his ability to articulate this vision so clearly demonstrates the calculating intelligence that makes him such a compelling and dangerous leader.

Mark: 12/12

Examiner commentary: This is a perceptive, assured response with close analysis of Greene's presentation of character. The candidate examines multiple dimensions of T.'s character (ideological motivation, leadership style, use of language) and consistently focuses on what makes the presentation "striking." Quotations are well-selected and integrated, with detailed analysis of effects (e.g., the "We'd" repetition as "hypnotic," the challenge to Blackie, the "perverse code of honor"). The response demonstrates sophisticated understanding of Greene's methods and maintains a personal, engaged tone throughout. All Level 4 criteria are fulfilled with confidence.

Grade C (pass) answer

Greene presents T. as a strong leader who has a plan to destroy the house. What is striking is that T. is very confident and organized. He says "I've got it all worked out" which shows he has thought about his plan carefully. He wants to do "something that has never been done before" which shows he is ambitious and wants the gang to be special or different from other gangs.

T.'s character is striking because he doesn't want to steal anything. He says "we don't have to steal anything" and "That's not the idea." This is unusual because normally gangs would want to steal things to make money or get things for themselves. But T. just wants to destroy the house which makes him seem strange or different. He wants to pull down the whole house "from inside" and be "dead careful" so nobody knows until it's finished.

T. has influence over the gang because he has a detailed plan. He explains exactly what they will do: "We'd move everything out. Then when we're done, we take what we can away and burn the rest." He has thought about each step which makes the other boys think he knows what he's doing. At first someone laughs at him and says "You're barmy" but T. says "No, I'm not" and keeps explaining his plan. Greene shows that T. doesn't give up when people doubt him.

Greene also shows T.'s influence when he looks "straight at Blackie." This is striking because Blackie used to be the leader but now T. is challenging him. There is "a silence" after T. explains his plan which shows the gang is thinking seriously about it. They are not laughing anymore.

T. calls the old man "Old Misery" which shows he doesn't think of him as a real person. He says "Old Misery's going to come home to nothing" which is quite cruel. This shows that T. doesn't care about the old man's feelings and just wants to destroy his house.

Mark: 8/12

Examiner commentary: This response shows clear understanding of T.'s character and his influence, with relevant textual support. The candidate identifies key aspects (confidence, organization, unusual motivation, detailed planning, challenge to Blackie) and provides appropriate quotations. However, the analysis remains somewhat straightforward—for example, noting that T. "doesn't give up" without exploring the psychological dimension of his persuasive technique or the implications of his non-criminal ideology. The point about "Old Misery" is made but not developed in terms of dehumanization. The response is well-organized and engaged, placing it firmly in Level 3, but lacks the close analysis, sophisticated vocabulary, and assured personal response that would elevate it to Level 4.

Grade E (near miss) answer

T. is the character who has the plan to destroy the house. He is striking because he is the leader of the gang and tells everyone what to do. He has worked out a plan and wants to pull down the whole house. He tells the gang "We pull it down" and "We pull the whole house down." This shows he is determined to do it.

T. has influence over the gang because they listen to him. At first someone says "You're barmy T." because they think his plan is crazy. But T. keeps talking and explains his plan more. He says they will do it from inside and be careful so no one finds out. He says it will take a week or maybe two weeks.

Greene shows that T. wants to move everything out of the house and burn it. He says "we take what we can away and burn the rest." This shows he wants to destroy everything in the house, not just break a few things. He also wants to pull the house down at the end.

T. talks about the old man who lives in the house and calls him "Old Misery." He says Old Misery will come home to nothing. This shows that T. wants to destroy everything so there is nothing left. The gang seems to agree with T.'s plan because someone says "It'd be a lark" which means it would be fun.

T. is striking because he is confident and has a plan. He makes the gang want to do the destruction by explaining everything carefully.

Mark: 5/12

Examiner commentary: This response demonstrates basic understanding of T.'s character and some awareness of his influence, placing it in Level 2. The candidate identifies relevant details (the plan, the gang's initial skepticism, the nickname "Old Misery") and provides textual support, though this sometimes tends toward paraphrase ("He says they will do it from inside and be careful"). Analysis is limited—statements like "This shows he is determined" or "This shows that T. wants to destroy everything" offer assertion rather than exploration of how Greene creates effects. There's no discussion of T.'s ideology, his use of language to persuade, or the significance of his challenge to Blackie. The response is simply structured but needs more detailed analysis of Greene's methods and closer engagement with what makes the presentation "striking" to reach Level 3.