Time Bomb - Pearson Schools

Time Bomb Teacher’s booklet

Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JE England and Associated Companies throughout the World © Pearson Education 2006 The right of Vanwy Arif to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act of 1988. The original edition of Time Bomb is published in the UK by Puffin Books We are grateful to Curtis Brown on behalf of the estate of Sir Winston Churchill for permission to use an extract from one of his speeches delivered on 3rd September 1939 and published in Never Give In! The Best of Winston Churchill’s Speeches by Pimlico. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the Publishers or a licence permitting restricted copying in the United Kingdom issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London, W1T 4LP ISBN-10: 1-4058-2274-0 ISBN-13: 978-1-4058-2274-9 First published 2006

Time Bomb Teacher Support  Pearson Education Limited 2006

Introduction Synopsis Andy, Eddie, Bob and Manny are on the verge of adolescence as they spend their last summer of childhood together. One day, the boys find an unexploded bomb on wasteland. Time ticks by as they decide whether to keep it. Boyish games take a serious turn as they learn about betrayal, politics and friendship. Against a backdrop of family tensions, racial intolerance and supernatural curses, the boys take their first painful steps into the world of adults.

Teaching Time Bomb at Key Stage 3 This book is ideal for use with a wide range of ability groups, but is perhaps especially suited to Year 8 pupils, with its gradual introduction of more adult themes, moving readers from a tale of naughty schoolboys to darker elements. Whilst the plot is simply driven (will they tell or not?), the book works on several layers. For example, more able pupils can trace the points at which the schoolboy adventure stops and the rites of passage story begins. Characters can be explored at both a simple level (why does Eddie change?) and at a more complex one (e.g. How is the narrative voice used to alert the reader to the danger of Cap?). The setting of the early post war period can be studied in terms of what was different about life then e.g. the rationing of sweets or the complex backdrop of extreme right wing politics. On a social and cultural level, there is much to be explored, including the issues of fascism and anti Semitism, ensuring that cultural diversity and the challenging theme of racism can be tackled.

Structure of this resource This resource provides suggestions for activities which can be easily slotted into a scheme of work around the novel. It consists of two parts: the overview of teaching and learning and the resources. The overview of teaching and learning aims to secure progression in learning, rather than just progression through the pages. It has been divided into nine natural sections. The overview for each section indicates: • • • •

the chapters to be read the features of the text to be explored the learning aims for the section (including Assessment focuses) brief descriptions of the approaches to teaching.

The resources comprise: • • •

Pupil worksheets (which can be photocopied) Teacher support sheets/OHTs etc Assessment criteria, grids etc.


Overview of teaching and learning Section

Features to explore during reading

Chapters 1-4 Last day at primary school

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• Resources Resource Sheet 1 (OHT) Resource Sheet 2 Resource Sheet 3 Photocopies of text on pages 17–18

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•

How an ideal last day at primary school is described by the writer. The ways in which the writer builds up a picture of Miss Carver. How the writer creates a contrast between Miss Carver and Mr Rix. How the writer creates a contrast between Eddie at the start of the day and Eddie after he has been punished.


Assessment focuses and Framework objectives

Activities

Reading AF3: 8R13

Activity 1: Close reading and deduction • Show pupils Resource Sheet 1 (OHT) and model the process of how to analyse a description, in response to the question, using Resource Sheet 2 as a reference. Teacher adds comments to un-annotated text. • Pupils then annotate copied versions of section of text on pages 17–18 (from I went to my desk… to …of the corridor) in pairs. Activity 2: Writing a comparison • Model how to plan and write a comparison of the way that Miss Carver is described on page 17 and the way that she is described at the end of Chapter 3 using the frame on Resource Sheet 3. • Point out that a comparison must have two parts to it – Miss Carver as she was at the beginning and Miss Carver as she was at the end. • Now distribute Resource Sheet 3 and ask pupils to work in pairs to complete the frame. Model how these might be linked by bringing in introductory sentences for this section of the response (i.e The writer describes Miss Carver differently at the end of Chapter 1 and the end of Chapter 3. For example, at the start….) • Pupils work on their own to follow the same process in order to complete a longer reading response: ‘How does the writer describe Eddie in the first four chapters?’ (This is a baseline reading assessment.)

Section


Chapters 5–8 Waiting for Eddie

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Resources Resource Sheet 4 Resource Sheet 5

• • •

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•

•

The writer’s introduction of a minor character in order to recount events. His use of non-standard dialogue for recount. How the writer makes Andy’s Dad likeable. How the writer gives the reader clues that Andy’s Dad has something to hide. How dialogue is used to make Eddie’s punishment vivid. How the placing of Bob’s past next to a description of his father makes the reader feel. The way in which short sentences make the discovery of the bomb vivid and exciting.

Assessment focuses and Framework objectives Reading AF5: 8S11

Activities

Activity 1: Exploring non-standard dialogue • Distribute Resource Sheet 4 which guides pupils through a process in which they re-write Andy and Margot’s dialogue in standard English. Pupils read and respond to the dialogue on page 51 first. Activity 2: Record and evaluate • Pupils record both dialogues. Feed back by asking which sounded more effective. Activity 3: Exploring how the writer creates tension • Introduce the idea of tension and how it can be created by looking at the definitions and extracts on Resource Sheet 5. Pupils then work in pairs to complete the task. • Feed back asking pupils what they notice about the way the writer creates tension. Do all pairs agree? Were they precise about how the tension was created? • Then allocate either Extracts A and B or Extract C to pairs and ask them to consider how questions are raised in the readers’ minds (for example, Andy says ‘I saw everything with startling clarity’: reader asks – ‘What does he see?’). • Feedback: which of these questions can be answered by the text (deduction) and which are still open to final resolution (speculation)? Extension • Ask pupils to think about any other events that have happened in the story and note down what kind of tension the writer was using.


Section


Chapters 9–12 Finding HQ

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•

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How the writer alerts the reader to the fact that Andy’s Dad is not as genuine as he seems. How the writer alerts the reader to the fact that Parachute Pete is not infallible. Why it is important that it is Bob who finds the cellar. The reason why, on page 102, the adult narrative voice intervenes in the telling of the story.



Activities

Reading AF3: 8R7

Activity 1: Character analysis • Hinton builds Andy’s dad up as an heroic character whilst embedding clues that he is having an affair. Give out cut-out quotation cards to pairs from Resource Sheet 6 and ask pairs to do a ‘free sort’ i.e. put cards into groups of their own choosing. Did anyone sort them into Dad as hero, Dad as anti-hero? If not, suggest these categories and ask pupils to re-sort. • Discuss: which words revealed the heroic/anti-heroic aspect? Why did the writer build Andy’s dad up and embed clues to the opposite effect? Activity 2: Different viewpoints • Explain that there are two narrators in the novel – Andy the 11-yearold and a more adult Andy, looking back. • Distribute Resource Sheet 7 to individuals to identify which narrative is being used and then do a matching exercise to identify reasons.

Section


Chapters 13– 15 The adult world can be an ugly place

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Resources Resource Sheet 8 Resource Sheet 9 Resource Sheet 10 Resource Sheet 11 Resource Sheet 12

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How the writer creates a sense of dangerous excitement in the description of the riot. How the writer use adjectives and adverbs in order to create a tense atmosphere between Andy and his dad.



Activities

Reading AF5: 8W8

Activity 1: Use of language • Do the first activity following the instructions on Resource Sheet 8 and distributing the required additional resources to the groups (Resource Sheet 9). Resource Sheet 10 is available for teacher’s reference during feedback. Activity 2: Voices in the head • Give out Resource Sheet 11 to groups of four and ask pupils to read it through together. They should discuss briefly what can be inferred about characters’ feelings and behaviour. • Refer to Resource Sheet 12 to take pupils through a drama-based thought-tracking performance so as to gain insight into characters and the writer’s craft. Extension • Ask pupils to write down what Mrs Wallace might have been thinking and feeling when she met Andy, and give reasons for this. How much of this is inferred? How much are we actually told?

Section


Chapters 16 & 17 Meeting a real, live hero

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• Resources Resource Sheet 13 Resource Sheet 14

The ways in which the writer makes Cap interesting and magnetic to the boys. How the writer alerts the reader to the fact that Cap is not going to be the hero he first appears to be.


Assessment focuses and Framework objectives Reading AF2: 8R3, 8Wr17

Activities

Activity 1: Gathering information • Give out Resource Sheet 13 (a role on the wall exercise) to pupils and ask them to complete all aspects of the sheet, or, for lowerattaining pupils, only what Cap says and does. At this point, recording information is all that is required. Inference can come afterwards. • Now ask pupils to work in small groups and compare the information they have gathered. What do they think it is about Cap that makes him interesting and compelling as far as the two boys are concerned? Activity 2: Building character • Give out Resource Sheet 14 to groups and ask them to work through it, identifying and discussing clues laid down by the writer to the effect that Cap is not trustworthy. • Feed back findings to the rest of the class, justifying choices of the strongest clues.

Section


Chapter 18 Andyand Eddie let down Mannyand Bob

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Resources Resource Sheet 15 (OHT) Resource Sheet 16 Resource Sheet 17 Resource Sheet 18

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•

• • •

Why the writer uses questions when Cap meets Manny. When and why the adult narrator voice intervenes. Bob’s dislike of Cap – and how this makes the reader feel about Cap. Cap’s speech and its features. How the writer shows that Cap is a fascist. How the writer shows the power Cap has over Eddie and Andy.

Assessment focuses and Framework objectives Reading AF4: 8R10

Activities

Activity 1: Exploring features of speeches • Display Resource Sheet 15 (OHT) of an extract from Churchill’s speech and annotate the first part of it using modelling and sharing (see Resource Sheet 16 – teacher reference). • Then, give out photocopied versions of the extract and ask pupils to annotate the second half in similar way. • Finally, elicit key features of political speeches. Activity 2: Comparing speeches • Give pupils a copy of Cap’s speech about Britain on page 196 and ask them to highlight the speech and annotate it with the names of devices and effects upon the listener. • Then, complete a grid (Resource Sheet 17) in which pupils select 3–5 features and note down how they are used by both Cap and Churchill. • Set pupils the task of writing the answer to the question, How does Cap’s speech on page 196 (You know… to ….fit for heroes) resemble a political speech? You may need to model how to turn points from the grid into evidence-based sentences. Activity 3: Writer’s viewpoint? • Look at how the writer uses narrative devices to distance himself from the views of Cap. Explain how writers have to be careful about using racist language, which is why Nigel Hinton makes it clear that Cap is a liar and unreliable. Distribute Resource Sheet 18 and ask pupils to work in pairs to complete the grid.


Section


Chapter 19 Friends again

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•

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The ways in which the writer conveys the idea that Manny and Bob are the more powerful in the relationship with Andy and Eddie. What Andy and Eddie have done to lose their ‘power’ amongst their friends. How the writer creates a feeling of awe in the description of the way the boys become friends again.



Activities

Reading AF5: 9W7

Activity 1: Analysing power • Pupils list words and phrases from pp 200-201 that show that Manny and Bob have gained power in the relationship with Eddie and Andy. They then decide which words provide the strongest evidence that Manny and Bob hold the power. • Write the words onto a power target (Resource Sheet 19), the most powerful words being towards the centre and the least powerful towards the edge. Activity 2: The pact • Identify the most important moments in the pact scene and explain why each moment is powerful. Pupils use Resource Sheet 20 which instructs them to work as an individual, then in pairs and then in groups of four. • Feed back ideas after the process.

Section


Chapter 20 Cap’s betrayal

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Resources Resource Sheet 21

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•

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How the writer makes Cap appear to be a weak character when he is with the other men. How Cap’s speech changes, when he is a) being a fascist, and b) being himself. What the changes in Cap’s speech make the reader feel about him. How the reader feels when Cap curses the boys.



Activities

Reading AF3: 9R18

Activity 1: Evidence for both sides • Read Chapter 20 and look especially at page 220. Distribute Resource Sheet 21 to pupils and ask them work through it on their own. For the final task, ensure pupils are clear about the conventions of script writing.

Section


Chapters 21-24 Revenge and Cap’s curse

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• Resources Resource Sheet 22 Resource Sheet 23

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• •

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How the writer creates a sense of unease in Chapter 21. What clues there are to the sense that the boys are growing up. Chapter 23 – how the punctuation supports the sense of collapse. How the Cap described by the mother compares with Cap earlier. The effect of placing the curse after the story ends. The different effect had the curse been at the beginning. Tracing views and ideas which have been developed as themes through the text.



Activities

Reading AF4: 9S7 Reading AF6: 9R6

Activity 1: Second endings • Pupils work on their own initially, using Resource Sheet 22 to speculate on why the author may have introduced a second ending to the book. • As a whole class, discuss why Hinton used a second ending and how it makes the reader feel. Assessment task • Use Resource Sheet 23 to take pupils through the preparation and writing of the reading assessment task.

Pupil Resource Sheet 1 (OHT) Task Compare the way that the writer describes Miss Carver at the start of Chapter 1 with the way he describes Miss Carver at the end of Chapter 3.

Pronoun suggests writer was one of many, thus giving validity to his view.

We all loved Miss Carver. She had high cheekbones and beautiful, big, brown, almond-shaped eyes, and I adored the way her long hair swung across her face when she bent her head. She was the prettiest teacher I had ever known and by far the nicest.

Time Bomb Pupil Resource Sheet 1 Pearson Education 2006

Teacher Resource Sheet 2 Points to add to Miss Carver paragraph on Pupil Resource Sheet 1: pronoun ‘We’

all

loved

high cheekbones beautiful, big, brown

almond-shaped

writer suggesting that he was one among many, thus giving validity to his view of Miss Carver there were no other views of Miss Carver – everyone agreed – this strengthens the writer’s view of Miss Carver a strong word has been chosen – the writer wants no ambiguity about his feelings. Love can also have adult connotations, and so there is a hint that the writer is moving into adolescence these are associated with natural beauty alliteration to create a poetic quality – brown eyes are supposed to be ‘warmer’ than blue, so there is a hint that not only is Miss Carver attractive, but that she has a warm personality too - use of three adjectives as an emphatic device

long hair

another adjective – have a sense of the exotic about them, which adds to the idea that she is beautiful again a strong word, with a sense of worship adjective - a sense of femininity

swung

verb - suggests life and energy

She

pronoun used a lot, begins more than one sentence - centres Miss Carver as the most important person how Miss Carver looks is key to the writer emphatic

adored

prettiest by far nicest

Time Bomb Teacher Resource Sheet 2 Pearson Education 2006

adjective – a weak term when compared with the strong and definite phrases used to describe her looks

Pupil Resource Sheet 3 Task Compare the way that the writer describes Miss Carver at the start of Chapter 1 with the way he describes her at the end of Chapter 3. 1

With a partner, complete these sentences.

Miss Carver is described at the start

The writer uses personal pronouns in different ways in order to show how much he admired Miss Carver. For example,

The writer used adjectives to describe Miss Carver – he used a list of three

The writer focused on her physical beauty and used words which emphasised this

The writer used alliteration to create a poetic feel to his description

2

Once you have gathered similar information for Chapter 3, work on your own to write a longer response in which you link your points using organisational words and phrases – for example: The writer describes Miss Carver differently at the end of Chapter 1 and at the end of Chapter 3. Firstly, he shows his admiration for Miss Carver by using many personal pronouns in his description. For example… Another way that the writer shows how much he likes Miss Carver is through the use of adjectives.


Pupil Resource Sheet 4 Dialogue performs useful functions in a story. A writer may want to give the reader information about the plot or show aspects of a character. For example, in Time Bomb, the writer wants to tell the reader what has happened to Eddie as a result of not having a school Bible to give them information about the plot. Task 1

Look at the dialogue between Andy and Margot on page 51.

Instead of having the narrator or Eddie report events to the reader, the writer allows the reader to hear what Eddie’s younger sister, Margot, has to say about what happened. It is important for Andy to hear of the terrible suffering that Eddie is going through, whilst Eddie is still enduring it. This is because both the reader and Andy worry in case anything worse is going to happen to Eddie. So, the writer has not only informed the reader of an important part of the plot but also made the reader sympathise with a character. In pairs, discuss the question below and then write an answer in the space provided: Q:

Why does the introduction of Margot help to make the reader and Andy worry about Eddie?

A:

The introduction of Margot helps to make the reader and Andy worry about Eddie ______________________________________________________

Dialogue can also tell the reader about the age, social class and mood of a character, as well as add pace and excitement. The writer does both in Time Bomb, as Margot uses non-standard English to describe what has happened to Eddie and also uses features of speech, such as ‘Well’ and ‘that’s what’. 2

In order to consider the effect of dialogue upon the reader, in pairs write the conversation in formal standard English.

3

When you are happy with what you have written, record yourselves a) using formal standard English, and b) using the non-standard informal English of Margot and Andy. Listen to both versions. Which version is more exciting to listen to? As a pair, give three reasons and be ready to feed back to the rest of the class.


1

Pupil Resource Sheet 5 The following types of tension are used by writers:

Surprise Expectancy Time

something happens that you are not expecting you know something is going to happen, but you don’t know what or how you know what is going to happen, but you don’t know when

Task Look at the three passages below. • •

How many different types of tension is the writer using? Colour as follows the words and phrases that you think belong to the different types of tension: Surprise = Red Expectancy = Green Time = Yellow

A It was also the day when Bob made the first of his two discoveries at the Bomb Building. (page 60) B ‘There’s s-s-something d-down here,’ Bob said, poking at the earth again. He got down on his knees and brushed away the clods of clay. ‘It’s m-m-metal.’ ‘Probably a water pipe,’ Manny offered. ‘My dad told me there used to be loads of greenhouses down here.’ A drop of rain landed on my head. ‘Strewth, the roof’s leaking,’ I said. ‘I’m going for lunch.’ ‘Me too,’ Manny said, following. ‘Come on, Bob.’ ‘OK,’ Bob said, getting up reluctantly. (page 66)


2 C ‘Andy! Eddie! Quick! Quick!’ The urgency in Bob’s voice shot us to our feet and we ran in the direction of the den. Bob and Manny were waiting on the main path. ‘What is it?’ I asked. Bob beckoned and started walking slowly through the undergrowth towards the den. ‘You’re not going in there, are you? You’re nuts!’ Manny said as we followed Bob into the bushes, but he fell into step behind us. Bob tiptoed up to the hut and gingerly opened the door. Eddie and I leaned forwad to look. Where Bob and Manny had scraped the earth away, there were four rusty-red triangles poking above the lip of the hole they had made. I saw everything with startling clarity. I saw the pieces of slate that Manny and Bob had been using to dig round the triangles. The pieces of slate they had dropped as they had suddenly realized what they were looking at. I saw the four triangles. I saw a curve of metal and the intricate detail of the smeared and bobbly weld lines that joined the triangles on to it. Then my brain put the various shapes together, just as Bob and Manny’s brains had suddenly put them together, and I understood what I was looking at. They had unearthed an unexploded bomb. (pages 67–8)


Pupil Resource Sheet 6 Cut out the quotation cards about Andy’s father:

My mum was sitting at the kitchen table when I ran in for tea. She got up at once and went into the scullery. I followed her and caught her quickly wiping her eyes. (page 79)

…she [Andy’s mum] was worried about my dad’s gambling and his involvement in the black market. (page 80)

‘Give us a ride on your bike,’ my dad pleaded, turning to Eddie. Then he took up a boxer’s stance and threw a couple of joke punches at him. Eddie laughed. (page 88)

‘So what you two doing down here then?’ my dad asked with a conspiratorial grin. (page 88)

‘…I’m just doing a bit of shopping,’ my dad said… ‘It’s your mum’s birthday next week.’ (page 88)

‘I thought I’d get her [Andy’s mum] something nice so I asked someone to help me. Women always know what other women like.’ … ‘Andy, this is Mrs Wallace; she works with me at the stadium.’ (page 89)

She [Mrs Wallace] smiled and I noticed a smear of lipstick on one of her very white teeth. (page 89)

She [Mrs Wallace] was quite pretty although her face was rather long and her nose and chin were a bit pointed and reminded me slightly of a witch. (page 89)

My dad took a packet of Woodbines from his pocket. He slid a cigarette out, put it into his mouth, and then jokingly offered the packet to Eddie. (page 89)

‘Just you try!’ my dad laughed, slapping Eddie’s hand away. ‘If I catch either of you two having a puff I’ll knock you into the middle of next week.’ (page 89)

‘Here,’ he [Andy’s dad] said. ’Don’t want to get you into trouble so I won’t tell your mum I saw you. Besides, we don’t want her to know about the present.’ (page 90)

‘Zo, mum’s ze vord, mein führer,’ he [Andy’s dad] said in a silly German accent. He winked at me, then walked away with Mrs Wallace. (page 90)


Pupil Resource Sheet 7 Task 1

Which viewpoint? Andy as an 11-year old, or adult Andy? Decide your answer and write ‘child’ or ‘adult’ alongside each extract.

That’s what polio was called in those days and it was the scourge of our summers. Every year, dread rumours swept around about how you could catch it in swimming pools or cinemas or from drinking fountains. (page 77)

My mum was sitting at the kitchen table when I ran in for tea. She got up at once and went into the scullery. (page 79)

2

Think about why the writer decided to use a child narrator for most of the novel and yet have an adult narrator appear occasionally. Match the advantages of each viewpoint listed below to the type of narrator under the appropriate heading: e.g.

Child Andy: Statement A

Statements A) A younger reader would find it more exciting to hear from this narrator B) This narrator would be more likely to be believed C) This narrator would misunderstand events and make mistakes - making the plot happen D) This narrator would be able to explain things that the reader or even the characters might not understand E) The reader might know or understand more than this narrator, making the reader feel powerful Write your answers here: Child Andy: Adult Andy: Time Bomb Pupil Resource Sheet 7 Pearson Education 2006

Teacher Resource Sheet 8 Task This is a jigsaw activity. 1 •

•

2

• • • •

Place pupils in mixed ability home groups with four to six pupils in each. Explain that they are going to undertake close textual analysis of a selected passage, and that each member will act as an ‘expert’ on a specific feature. Home groups will not have a complete analysis unless everyone reports in detail what they learned in the expert group. Share the objectives of the activity: to explain and comment on a writer’s use of language and how he achieves his effects; how excitement and tension are built up in the selected passage. Pupils read pages 117–121 from ‘“Hey, something’s happening,”...’ to ‘fighting like this’. Explain that the areas of writer’s craft to be analysed are: Verbs Adjectives and adverbs Dialogue Punctuation Allocate members of each home group to analyse one of the above language features (i.e. David = verbs; Yasmin = punctuation, etc).

3

Re-group pupils into expert groups (sometimes pupils will need to double up e.g. if a home group has six pupils, two may have to work on the same language feature – this is a useful way to support less able pupils). Distribute the specific Expert Resource Cards (see Resource Sheets 9 and 10) and ask groups to work through them. [Note Resource Sheet 10 lists references to verbs and dialogue in case groups need support.]

4

Pupils return to home groups and take turns to feed back what they have learned about their allotted language feature. ‘Experts’ return to their home group and report back, so that the whole group gains a sense of how the writer has achieved his effects through language.

5

Whole class feedback Groups feed back selective findings, with each adding one or two things they have identified in each of the expert areas. (Groups could prepare PowerPoint presentations of their findings and present these to the whole class).


Pupil Resource Sheet 9 Group discussion prompt cards:

VERB EXPERTS •

Highlight or list the verbs on pages 117–121.

•

What kinds of verbs are (mostly) used?

•

How many verbs are generally in each sentence?

•

What is the effect of such verbs on the reader?

ADJECTIVE AND ADVERB EXPERTS

•

Highlight the adjectives on pages 117–121.

•

Using a different colour, highlight the adverbs on these pages.

•

Comment on how much descriptive language is used.

•

Why has the writer used the descriptive language in this way?

DIALOGUE EXPERTS •

Highlight the dialogue on pages 117–121.

•

How long are the sentences?

•

What kind of punctuation is used?

•

Is standard English or dialect used?

•

Describe the kinds of verbs that have been used

PUNCTUATION EXPERTS •

Highlight the punctuation on pages 117–121.

•

What kind of punctuation is used?

•

Why is it used?

•

What effect does it have?


Teacher Resource Sheet 10 VERBS yelled, sped, rounded, saw, trotting, marching, moving, shouting, gesticulating, signalled, get out, pulled, called, standing, held, wheeled, swept, letting, talking, proclaimed, surging, screaming, chanting, pointing, holding, shouting, caught, lost, chanting, clapping, grew, found, caught up, yelled, replied, decided, not liking, agreed, poured, thinned, saw, bringing up the rear, shoot, suggested, jumped, raced, reached, left, ran, see, going by, was crowded, forced out, rose, came trotting, trying, showed white, frightened, started to rear, steadied, skittered, driving, stumbled, grabbed, hit, broke, heaving, fighting, scattered, kicking, punching, surged, crushed, sailed, shattered, felt, pulled, standing, rolled, twisted, burst, chased, holding, rained, dodged, crammed, flailing, kicking, ran ahead, grabbed, scooted, passed, jerked, crashed, dropped, ran, let go, caught, curled, trying, kicking, stamping, grabbed, tried to pull, shouted, turned, seized, pushed, roared, flung, went back, kicking, crunched, was over, stood, squared, straightened, brushed past, backed away, leaped, streaming, shouted, scuttled, staggered, paused, looking round, stumbled, running, dodging, chasing, escaping, aiming, wielding, scuffling, stopped, jumped, scattered, pounded, fleeing, grabbed, pedalled, stopped, sat talking, seen, fighting ADJECTIVES and ADVERBS road’s empty, huge crowd, marching men, another mass, mounted policemen, tiny front garden, darlin’ Hitler, garden spade, marched along silently, large banner, silent marchers, rising hysteria, garden gate, main road, skittered sideways, heaving melee, fighting people, kicking, punching group, young man, older men, market stalls, more people, hopeless pursuit, approaching sirens, three police cars, four policemen, fleeing men, talking excitedly DIALOGUE ‘Hey, something’s happening. Look – the road’s empty. Let’s go and see.’ ‘What is it?’ ‘It’s that Oswald Mosley’s lot, innit? Cheek they’ve got – marchin’ round ’ere after their darlin’ Hitler dropped all them bombs on us. I wouldn’t stand there, if I was you. Better nip in ’ere, quick.’ ‘I’ll give ’em this if they think of comin’ in ’ere. Look at ’em. Fascists in the road and Communists on the pavement. Scum, the lot of ’em. The police ought to get out of the way and let ’em bash the daylights out of each other.’ ‘Out, out – Fascists out! Out, out Fascists out!’ ‘Look, it’s Mr. Solomon…’ ‘…my people…murder…’ ‘Whose side are you on?’ ‘Don’t know, you?’ ‘The Commies.’ ‘Me too.’ ‘All right, then.’ ‘Let’s shoot round the back streets and see it again.’ ‘Don’t go gettin’ yerselves mixed up!’ ‘What?’ ‘Leave him alone, leave him alone.’ ‘Scram, you little runt!’ ‘Commies! Commies!’


Pupil Resource Sheet 11 Sometimes a writer tells the reader what characters are thinking. This helps the reader to understand everything that is going on in a story. For example, in Chapter 14, the writer tells us what Andy is thinking: ‘Was my dad in love with Mrs Wallace? Would he leave me and my mum and go and live with her?’ (page 136) We are able to see that Andy is confused and feels frightened about the future. Sometimes the writer gives us only what the character says and/or does but without directly revealing his or her feelings. In these cases, we have to infer (work out or imagine) what the character is feeling. Task Read the following sentences and phrases from Chapter 14. Discuss in your group what the various characters are thinking or feeling. ‘You remember Mrs Wallace, Andy? She’s been helping me with my work. All finished, thanks to her.’ … I smiled back. (page 136)

‘What’s the matter?’ ‘It’s too hot,’ I said… ‘Why didn’t you come up to my office when you got there this evening?’ my dad suddenly asked. ‘Just didn’t.’ ‘It was good that Susan came and helped me,’ my dad said, stubbing out his cigarette. (page 138)

‘Whatta you wanta now, signor? Icer de creama?’ my dad asked. ‘No, thanks.’ ‘What’s the matter with you?’ ‘Not hungry,’ I mumbled. (page 138)

‘Where you going?’ I asked as he suddenly got up. ‘To the lav. Do you mind?’ he snapped. (page 144) Time Bomb Pupil Resource Sheet 11 Pearson Education 2006

Teacher Resource Sheet 12 Thought tracking Use this resource to support pupils who might struggle with the previous activity unscaffolded. 1

In the same groups, pupils will now have a chance to vocalise these thoughts and feelings through thought-tracking. Allocate roles within each group of four i.e. A = Andy B = Dad C = Andy’s thoughts D = Dad’s thoughts If only three are in the group, then C = Andy and Dad’s thoughts.

2

Ask pupils to re-enact the spoken lines from the exchanges between Andy and his dad in Chapter 14 as they have been written. In this scenario only A and B speak; the remaining group members stand to one side, watching.

3

Next, re-enact the exchanges between Andy and his dad, but ask pupils to freeze after each sentence or clause, so that the pupils who are ‘thoughts’ can say aloud what the group believes the characters are really thinking.

4

After some rehearsal, watch all groups perform both their pieces - that means the exchanges without any thoughts (original) and the exchanges with thoughts added (new). Ask pupils:

• •

Which performance created more tension for the audience? Why was that? (the ‘space’ between words idea)

5

Link the work back to the text by asking pupils to say what they have learned about the characters of Andy and Dad from the work of the other group.


Pupil Resource Sheet 13 Characters are created by writers through what they do and say, how others respond to them, what others say about them, and the words, phrases, sentences and punctuation writers use when describing them. Task Your teacher will tell you what pages to refer to. Then, fill in any relevant words, phrases, etc from the text in the boxes. What Cap says and does

How Cap is described

How others behave towards Cap

What others say about Cap


Pupil Resource Sheet 14 Read the following: Action Heroes and Dramatic Irony Action heroes are great to watch on film because they look very good and often special effects are used which are exciting to see. However, when we read a novel, we want the characters to be more complex than either ‘good’ or ‘bad’. This is because in real life people are usually a mix of good and bad. It is also because a character who is both good and bad keeps us guessing as we, the reader, are not sure how they are going to be at the end of the novel. Sometimes writers create characters who appear to be ‘good’ to the other characters in the story, but can be seen by the reader to be actually ‘bad’. When the reader knows more about a character than the people in the story, this is called Dramatic Irony. The writer has used dramatic irony in Time Bomb because Eddie and Andy really like Cap, but the reader can see that Cap is not a good character at all. Task In Chapter 16 there are a lot of clues for the reader that Cap is not ‘good’, for example on page 155: ‘A jack-in-the box,’ a voice said, and a man’s face peered over the lip of the stone. This suggests that Cap is ‘bad’ because a) the man is in a deserted place - what is he doing there by himself? b) he knew the boys were there because he speaks to them - why doesn’t he warn them that he’s coming and that he’s friendly? c) the man has no reason to speak to the boys, so why does he play a trick on them? •

In a group of four, find as many similar clues as you can in Chapter 16.

•

Decide which clues are the strongest i.e. which really make the reader realise that Cap is ‘bad’, and give reasons why.

•

Rank your clues in order, with the strongest first, and be ready to justify to others why this order has been selected. Explain what these show the reader about Cap.


Pupil Resource Sheet 15 (OHT) Speech made by Winston Churchill, September 3rd, 1939, at the House of Commons when Britain’s entry into World War Two was announced. Churchill is talking about the fact that Britain had tried time and again to make peace with Adolf Hitler.

….our repeated efforts for peace… have been illstarred, but all have been faithful and sincere. This is of the highest moral value – and not only moral value, but practical value – at the present time, because the whole-hearted concurrence of scores of millions of men and women, whose cooperation is indispensable and whose comradeship and brotherhood are indispensable, is the only foundation upon which the trial and tribulation of modern war can be endured and surmounted. This moral conviction alone affords that ever-fresh resilience which renews the strength and energy of people in long, doubtful and dark days. Outside, the storms of war may blow and the lands may be lashed with the fury of its gales, but in our own hearts this Sunday morning there is peace. Our hands may be active, but our consciences are at rest. Time Bomb Pupil Resource Sheet 15 Pearson Education 2006

Teacher Resource Sheet 16 repeated

emphatic

ill-starred

Shakespearean phrase – reminding the listener of Shakespeare’s heroes – a heroic and poetic adjective provides balance to the sentence very positive adjectives – used as a pair to be more emphatic determiner linking back to the previous adjectives, foregrounding them as the main part of what he has to say positive superlative taking the high ground – in Britain we value heart not money/land to add information, pausing as if a thought has just occurred to him which he wished to share with the listener – making his speech sound more personal

but faithful and sincere This highest moral value parenthetical clause between dashes moral value

whose comradeship

use of repetition to foreground the importance of this phrase reminding the listeners to ground themselves in reality i.e. make preparations for war adjective, stressing ‘all’ – makes people feel that they have to be involved or be different-hearted – repeating the idea of ‘heart’ – which, by extension, the Nazis do not have agreement – stressing unity extreme number – emphasising unity and making people not involved feel left out inclusive – the war will require everyone another clause has been added, making his speech long and full of additional details and angles, which make it seem natural and personal emphasis on unity and helping – alliterates with ‘concurrence’ and so links the two ideas repeating pattern of ‘whose’ building up to a list of three ‘c’ words meaning support

brotherhood

again unity

indispensable

repetition of this as a central idea

the only trial and tribulation endure and surmounted

categorical – no room for negotiation a pair-alliteration – sense of suffering and sacrifice which is ennobling a pair – the sentence ends on a high note, as ‘endure’ means that suffering can be borne and ‘surmounted’ means that the people will triumph over suffering

practical value whole-hearted

concurrence scores of millions men and women parenthetical clause between commas co-operation


Pupil Resource Sheet 17 Task Write down some key features of political speeches based on your study so far. • • • • • Which of the features that you have identified in political speeches are used in Cap’s speeches? Use the grid to write down your ideas. Feature


Cap’s speeches

Pupil Resource Sheet 18 Task 1 Read this extract from the book and the information below it. ‘Excellent. That’s the way. Tough and ready for anything. Not like those other two. What a degenerate shower! That Jewboy with his thick glasses and his big ugly nose. And that little squirt with the stutter. What kind of future would Britain have with them? Not exactly empire builders, those two, are they?’

It is important to be able to identify when a writer holds views which are different to the views held by characters in a story. For example, a writer would be careful before giving a character racist words to say, in case the reader believed the words and thought that they were true. However, before giving Cap racist words, the writer has worked hard to make sure that the reader will not believe what Cap is saying. 2

Now complete the grid below to see how Nigel Hinton has distanced himself from Cap’s horrible views. Add examples of the features.

Narrative device Clues about the fact that Cap is a liar have been built into the text. The writer has explained that Hitler and Mosley were wrong.

The writer has presented Manny as an important character and so the reader likes Manny. The writer has described why Bob stutters and so the reader understands and likes Bob. The writer has made Cap concentrate on what Manny and Bob are like physically but shown that when a character is judged by looks alone, the judgement is often wrong. Time Bomb Pupil Resource Sheet 18 Pearson Education 2006

Example from the text p157 Cap says that the England wicketkeeper is his cousin, but then gets his name wrong, calling him Geoffrey instead of Godfrey.

Pupil Resource Sheet 19 Task Read pages 200-202, then work in groups of four. 1

First, list words and phrases which point to the fact that Manny and Bob have taken power over Andy and Eddie: for example, after a fallout, Andy says that he and Eddie were ‘wandering aimlessly’. This shows that they lacked the motivation to do anything without Manny and Bob.

2

Then, as a group, write these on a group power target, with those in the centre being the strongest evidence that Manny and Bob have power over Andy and Eddie: for example, ‘wandering aimlessly’ is not a very strong way of saying that Bob and Manny had become powerful, so it is on the outer rim of the target.


Pupil Resource Sheet 20 Task 1 Read Chapter 19, pages 204–205. The writer has described the moment when the boys make friends again and kiss the bomb as a very special moment. He has used words and descriptions which belong to love stories and to religious festivals to describe the unity of the boys. This creates a sense of awe. As an individual, decide what the four most important moments in the description are. 2

Now work with a partner and compare ideas. As a pair, agree on the three most important moments. Rehearse an explanation as to why you think that these are important – remembering to justify your opinions with quotations from the text.

3

Join up with another pair. After each pair has explained their three most important moments, choose two to write about in more detail. In the box below, draw the two key moments your four have chosen. Next to them, explain why you think they are so important to the reader’s understanding of what happens between the boys on that day. An example has been done for you.

Key moment

Manny sees Eddie’s school report stuffed next to the bomb.


Reasons We agreed that this was a key moment because it links this part of the story to the beginning. The description of Eddie being beaten at the start of the story explains why Eddie hates adults and so is linked to the fact that they decide to let the bomb explode.

Pupil Resource Sheet 21 Task 1

After reading Chapter 20, write a sentence explaining how you think Cap’s workmates treat him.

It is important to be able to explain the relationship that characters have by referring to the text as evidence. Explain which words made you think this, by writing the words out below. Evidence

Explanation

‘…you can walk ’ome’

This makes me feel that the man does not care about Cap.

2

Sometimes you will be asked to show your understanding of a character through imaginative writing. Show that you understand the way the workmen see Cap by writing the dialogue about Cap that the two men have as they are driving away in the lorry (page 213). Write at least 10 lines. The first line has been written for you. Man 1: That Cap is late again, I’m tellin’ the boss. Man 2: Yeah. The problem with Cap is


Pupil Resource Sheet 22 Sometimes a writer will create a second ending, which changes the way the reader thinks and feels about the story and the characters. Task Answer these questions about Nigel Hinton’s use of this device. 1

What second ending has Nigel Hinton created?

2

Why do we feel uncomfortable for Andy as an adult?

3

What do you think may happen to Andy now that he has written the story?

4

Can you think of any films or other stories that have used a second ending?

_______________________________________________________ Time Bomb Pupil Resource Sheet 22 Pearson Education 2006

Pupil Assessment Sheet 23 Reading task 1

Introduce pupils to the title: Write about the theme of growing up in Time Bomb.

• • • • •

Recap the objectives for the work, and then briefly go through the phases of work they will need to cover, namely: evidence gathering analysis of text planning response to include introduction, conclusion and topic sentences re-drafting.

2

As a class, construct a spidergram of instances when the theme of growing up occurs in Time Bomb – e.g. the sister leaving home, the little boy action games on the hill, the realisation that Andy’s father is having an affair and that the marriage might break up, the vandalism of the contractor’s car, the observing of the riot and trying to understand the politics behind it, the blowing up of Cap, the moving to a new school, the birthday bike and the visits to see Cap, etc

3

Identify and explore specific passages through sharing and modelling to see what language features Hinton uses when bringing out the theme – e.g. direct description, adult narrator’s voice, child narrator’s voice, embedding textual clues, dialogue, dramatic irony, etc. Pupils to make notes based on the whole-class discussion.

4

Pupils identify apt quotations for each stage of the plan and then complete a first draft of their response, synthesising the features discussed.

5

Pupils check their response against marking criteria and peer or selfassess, before completing a final copy for assessment purposes.

Follow-up Having supported pupils through a formal assessment looking at theme, set the following title: Write about the theme of betrayal in Time Bomb.

Time Bomb Pupil Assessment Sheet 23 Pearson Education 2006

Reading Task Assessment Guidelines Title: Write about the theme of betrayal in Time Bomb. AF6 – identify and comment on writers’ purposes and viewpoints, and the overall effect of the text on the reader. Level 3

From some parts in the excerpt: Comments identify main purpose e.g. ‘Hinton is writing about betrayal.There have been betrayals in the story, for example Eddie was betrayed by Mr Rix and Miss Carver.’ Expresses personal response but with little awareness of the writer’s viewpoint or effect on the reader e.g. ‘I do not like it when Eddie is let down by his teachers.’

Level 4

Across the whole excerpt: Main purpose identified. Simple comments show some awareness of writer’s viewpoint e.g. ‘The writer is ‘on the side’ of the boys during these betrayals.’ Simple comment on the overall effect on the reader e.g. ‘The reader feels sorry for the boys when they are betrayed.’

Level 5

Across the whole excerpt: Main purpose clearly identified, often through general overview e.g. ‘There are a range of betrayals in the story, many of which are from adults, especially father figures.’ Viewpoints clearly identified with some, often limited, explanation e.g. ‘Hinton is always on the side of the boys and he shows that the adults, who should be behaving as parents, let the boys down.’ General awareness of effect on reader with some, often limited, explanation.

Level 6

Across the whole excerpt: Evidence for identifying main purpose precisely located at word/sentence level or traced through excerpt e.g. ‘Eddie and Andy betray their best friends Manny and Bob when they let Cap say things such as, ‘What kind of future would Britain have with them?’ without stopping him.’ Viewpoints clearly identified and explanation of it developed through close reference to the text . The effect on the reader is clearly identified, with some explicit explanation as to how that effect has been created.

Time Bomb Assessment Guidelines Pearson Education 2006

Level 7

Across the whole excerpt: Apt and judicious use of evidence for identifying main purpose precisely located at word/sentence level or traced through excerpt e.g. ‘At the start of the novel Eddie was betrayed by teachers and this is followed by a more serious betrayal as Eddie was betrayed by his step father. In the middle of the novel, we see an even more serious betrayal because Andy and his mother were betrayed by his father.’ Subtleties of viewpoint explored through developed explanation with close reference to the text. A range of effects on the reader is explored, with explicit explanation as to how that effect has been created.

Time Bomb Assessment Guidelines Pearson Education 2006