THE SLAB BOYS BY JOHN BYRNEHigher Scottish Text 2015-2016

•John Byrne, born 6th January 1940.• Grew up in Ferguslie Park, a housing scheme in north west Paisley.• Left school prior to sitting his ‘Highers’• Started working as a ‘Slab Boy’ for A.F Stoddard carpet manufacturers in Elderslie.•Accepted into Glasgow School of Art in 1958.

ABOUT THE PLAYWRIGHT

Read An extract from the foreword to John Byrne's 'The Slab Boys'.

The play was set in 1957 and published in 1997.

http://www.bbc.co.uk/scotland/education/hist/employment/carpets/section_b/page01.shtml

ABOUT THE PLAYWRIGHT

PRIOR KNOWLEDGE & CONTEXT

LEARNING INTENTIONS

To have: A basic understanding of working life in the

1950s Knowledge of what the job of a ‘slab boy’

entailed. A basic understanding of life in a housing

scheme in the 1950s. A basic knowledge of fashion tastes in the

1950s. An understanding of the treatment of mental

illnesses in 1950s Scotland.

CONTEXT – SCOTTISH CARPET INDUSTRY

Extract from BBC - Education Scotland

http://www.bbc.co.uk/scotland/education/hist/employment/carpets/section_a/index.shtml

SLAB BOY

Were the bottom rung of the ladder, the lowest paid workers.

However, the work done was essential to production.

Laborious work

What did they do? Used a marble slab and palette knife Took the paint powders Ground the paint powder with gum- arabic and

water to make the paint “Dished” these for use

WORKING LIFE

40-48 hour week 16 days holiday £7.50 weekly wage 8.7 million in

manufacturing ‘job for life’

38 hour week (but often expected to work more hours for free to finish a job)

4 weeks minimum £517 weekly wage 2.3 million in

manufacturing “ ‘Job hopping’ is the

new normal”**

1950s 2016

1950S FASHION

Teddy boys, winkle pickers, drainpipes and beetle-crushers???

1950S PAISLEY/HOUSING SCHEMES

What do you think it would have been like? Noisy High levels of poverty Overcrowded Dirty/unhygienic Rough Smelly Cheap Lots of people in work

1950S HOUSING SCHEMES/ “FEEGIE”

Stoddard’s Carpet Factory, Elderslie

Ferguslie Park “Feegie”

1950S HOUSING SCHEMES/ “FEEGIE” “Feegie” – Ferguslie Park, Paisley.

Built in stages between the 1920s and 1960s (Post WWI “Homes for Heroes” scheme)

Like other housing schemes, intended to lower population congestion and poverty

Outskirts of Paisley Cut off from the rest of the town by a network of

railway lines and disused embankments Lack of amenities and transport By late 60s-early 70s “Feegie” had become a slum to

rival the ones it replaced. By 1970s areas of the scheme had to be demolished –

the only 20th century built estate where this happened.

MENTAL ILLNESS

The Victorian era introduced mental asylums, or psychiatric hospitals.

These were used in the 1950s, though the government wanted to move towards “Care in the Community”

There was a “taboo of silence” around mental illness which did not break down until the 1960s.

Introduction of anti-psychotic medicationElectro shock therapy and sedation were

common treatment methods

St David's Hospital Carmarthen 1956-1958

"I saw the doctor in charge and was foolish enough to tell him about my voices... I was... moved to a ... ward where patients were given insulin. Before moving I had read on the walls of the admission ward, notices about rights of appeal to the local M.P., but decided this would be a waste of time.

... the lady psychiatrist ... tried very hard to persuade me to sign a "voluntary form". This seemed a farce to me and I refused."

"my shouting and yelling disturbed the other patients... I was forcibly stripped (except for a sanitary towel!), fighting and struggling, turned over and injected in the buttocks. The last I remember was someone saying "Sit on her". Then I passed out."

"I was given about 4 E.C.T.s and about 4 to 6 weeks insulin. I said I was not going to physically fight... The (man) doctor said 'Doesn't she think she ought to feel grateful for having treatment?'"

"I expected psychiatrists to talk to their patients". [See Stafford-Clark 1952] "I hardly ever saw (five times in two years) the man in charge of me, except passing in the corridor."

Nurses did far more than they were paid to do, taking patients to their own homes, to the pictures etc. There was much kindness in this hospital, but it has taken me years to get over it, and the fear of going back is strong"

READING THE PLAYOVERVIEW & CHARACTERS

MAIN CHARACTERS

Phil – the leader of the slab boys. He is a bully, a joker and a talented artist. He is determined to break free from his working class life. He is also vulnerable: “d’you think going off your head’s catching?”

Spanky – Phil’s sidekick. He seems a slightly kinder character than Phil.

Hector – The butt of Phil and Spanky’s jokes (small guy)

Alan – the newcomer who is resented because of his social class. He will be working in the design room, not the slab room.

MINOR CHARACTERS

Jack – A designer. He clearly looks down on the slab boys claiming they are lazy and disengaged. He has bad skin much to the delight of Phil and Spanky.

Mr Curry – The boss of the slab room. An ex-military man he despairs at the lack of work commitment from the slab boys.

Sadie – the tea lady. She disapproves of Phil and Spanky and mothers Hector.

Lucille – the office sweetheart. All of the boys want to take her to the staff dance.

It is a Friday in 1957. Phil, Spanky and Hector are young lads working in a Paisley carpet factory as 'slab boys'. They should be grinding up powder for the paint slabs, but they prefer to do as little work as they can and smoke as much as possible.

Young, sharp and bored, they discuss their aspirations. Phil dreams of a place at Glasgow Art School, while Spanky wants to go to America and become the next Elvis. Hector dreams of taking Lucille from the mailroom to the staff dance – which is also on Spanky's agenda. Emotions are high.

ACT ONE – THE EXPOSITION PAGES 1-12

The first 12 pages of the play serve to introduce the characters; create an understanding of the relationships between them; introduce some of the themes of the text.

Make notes under the following headings, with evidence: Initial impressions of each character How is the generation gap portrayed? How does Alan’s character contrast with the other

slab boys? Themes that are emerging

**You will need your notes for next period’s discussion**

REFERENCES AND EXTRACT SOURCES

http://www.bbc.co.uk/scotland/education/hist/employment/carpets/section_b/page01.shtml http://www.bbc.co.uk/scotland/education/hist/employment/carpets/section_a/index.shtml http://www.forbes.com/sites/jeannemeister/2012/08/14/job-hopping-is-the-new-normal-for-

millennials-three-ways-to-prevent-a-human-resource-nightmare/ http://www.bbc.co.uk/education/clips/z749wmn ukhousing.wikia.com/wiki/Paisley http://www2.warwick.ac.uk/fac/cross_fac/iatl/reinvention/issues/volume1issue1/paice/

“Slab Boys” Introduction Textual Analysis – Set Scottish Text

1. By referring closely to lines 1-16, show how the play’s setting in time is established for the audience?

3

2. By referring to two examples of dialogue in this extract, show how the playwright established the character of Willy Curry.

3

3. Analyse the effect of some of the different registers of language in dialogue spoken by the characters that are evident in this extract. 4

4. By referring to this extract and elsewhere in the play, discuss how the theme of bullying is developed in the text. 10

1. By referring closely to lines 1-16, show how the play’s setting in time is established for the audience?

3

Answer• Spanky’s hairstyle and costume (“drainpipe trousers,

“Tony Curtis Hairdo”, “crepe soled shoes”) suggests the ‘uniform[ of a 1950s Teddy Boy.

• The use of the word ‘wireless’.

• The reference to ‘Luxemburg’, the pirate radio station.

• The reference to “Terry Dene” singing “A White Sports Coat”, a popular song of the day. This (originally American) song suggests the influence of American pop culture on Britain at the time.

• These examples all serve to (very economically) establish the action of the play firmly in the 1950s, with the obvious influence of American culture.

2 By referring to two examples of dialogue in this extract, show how

the playwright established the character of Willy Curry. 3

The key point to make is that Willy Curry is presented almost as a caricature or stereotype of the older authority figure, forever bemoaning the behaviour of those younger than him and always harking back to a better time. This is illustrated through dialogue such as:

• “If I’d had you chaps out in Burma” marks him as being of the older generation who served in the war. It suggests he feels less powerful now and is nostalgic for the army discipline he could administer in the past.

• “silly duck’s arse haircut”/”bloody contraption”/”that racket”/ “gadget” suggest his dismissive contempt for current styles and technology.

• “you’re for the high jump” typical of his cliched authoritarian threats.

• “Now get on with it…” typical of the orders he gives.

3. Analyse the effect of some of the different registers of language in dialogue spoken by the characters that are evident in this extract.

4You could refer to• The earthy coarseness of lines such as “Dee-oh-raw-ho… the

skitters” for humorous effect which help to establish Phil’s character.

• The use of Scots idiom/dialect to establish the setting of the play and the working class background of the character.

• “Who belongs to the Juke Box?”

• “…no what you’d cry a spectator sport”

• “could you not’ve brung in”

• “ma maw’s Christmas present”

• Phil and Spanky’s imitation of the language of English public school stories in the lines: “Bless my bloater, did you catch that, Cherry? A yuletide cadeau for the squirt’s mater…” for humorous effect but also as a marker of the theme of class and privilege that is reveal as one of the play’s concerns.

• Words taken from American popular culture such as “vamoose” (Western).

4. By referring to this extract and elsewhere in the play, discuss

how the theme of bullying is developed in the text. 10

2 MARKS FOR COMMONALITY – in this case you could refer to the fact the bullying (of Hector, Alan, Jack ) in the extract is then developed in the treatment Hector receives at the hand of Phil and Spanky later in the play.

2 MARKS FOR REFERRING TO THE EXTRACT - you could discuss the business with the radio and Spanky’s breaking of the aerial callously dismissing the fact that it was supposed to be a present for Hector’s “maw”. The suggestion of “Cufflinks” as a replacement gift for Hector’s mother is another cruel jibe at Hector’s expense (although also one designed to raise a laugh from the audience). Phil and Spanky’s deliberate use of the wrong names for Alan – “Archie”, “Andy”, “Eamonn”, “Alec” – in order to make him feel awkward/unwelcome.ALWAYS COMMENT ON THE EFFECT.

6 MARKS FOR COMMENTS ABOUT HOW OTHER PARTS OF THE TEXT CONVEY THE THEME OF BULLYING. EFFECTIVE AND INSIGHTFUL COMMENTS WILL SCORE WELL.

4. By referring to this extract and elsewhere in the play, discuss

how the theme of bullying is developed in the text. 10

6 MARKS FOR COMMENTS ABOUT HOW OTHER PARTS OF THE TEXT CONVEY THE THEME OF BULLYING. EFFECTIVE AND INSIGHTFUL COMMENTS WILL SCORE WELL.

You could refer to and comment on Phil and Spanky’s treatment of Hector and Alan:“He was going to be a Capucci monk” – they suggest Hector is Catholic.Alan’s Parker pen is taken off him.Phil and Spanky make fun of Hector’s Uncle Bertie.Phil and Spanky make fun of Hector’s intention of taking Lucille to the staff dance.The casual cruelty in their description of Hector “Everything is wrong with you…”The cutting of Hector’s ear.The “new” look created for Hector.

THERE ARE MANY OTHER EPISODES IN THE PLAY YOU COULD REFER TO.

THE SLAB BOYSACT TWO

ACT 2: KEY SCENES

Hector’s makeover concealed and revealed.

Sadie’s chat with Lucille.

Phil’s mother’s escape.

The denouement.

FARCE

farce, a comic dramatic piece that uses highly improbable situations, stereotyped characters, extravagant exaggeration, and violent horseplay.

http://www.britannica. com/EBchecked/topic/201791/farce

FEATURES OF FARCE

Physical humour Violence Speed Many entrances and exits Highly choreographed – precise Absurdity Requires to be ‘set-up’ Multiple characters

KEY SCENE: HECTOR’S MAKEOVER CONCEALED AND REVEALED.

Hector’s appearance at the window up until his exit to go and see Curry.

WHAT MAKES THIS SCENE FARCICAL?

Physical humour – Hector looks ridiculous, Hector appears at the wrong time

Violence –Hector’s cut ear, Hector threatened with a knife, Hector fainting

Speed – characters move on and off stage quickly

Entrances and exits – The window and cupboard act as bizarre entrances and exits. Hector always appears at the wrong time. Other cast members enter and exit quickly so there is always a chance of discovery.

WHAT MAKES THIS SCENE FARCICAL?

Highly choreographed – precise and rapid dialogue and movement

Absurdity – Hector’s ‘makeover’ is ridiculous; Lucille thinks he is a ‘gargoyle’.

Requires to be ‘set-up’ – the set up happened in Act 1 with the talk of the ‘staffie’ and the slab boy’s manipulation of Hector

Multiple characters – all the characters in the play appear at one or more point in this scene.

WHY IS FARCE USED HERE?

For light and shade - a comic moment before and after more serious moments.

To increase dramatic pace. As catharsis – a release of emotion for the

audience. To entertain. To trivialise the serious issue of bullying - do

we like Phil and Spanky more or less here? So Phil and Spanky pay the consequences of

their actions - neither gets a date with Lucille. So Alan can witness and criticise their

behaviour – sets up more conflict with Phil.

CONFLICT

Conflict - a state of opposition. Opposition - a clash of views, beliefs, ideas,

interests, forces, cultures… Inner conflict – a struggle within the self,

often between beliefs and desires.

Class/groups could identify areas of conflict within the play.

Each group could take responsibility for finding examples of each type of conflict.

Does Phil experience inner conflict – what is it?

CONFLICTS WITHIN THE PLAY

Dreams versus reality – Phil’s desire to go to art school versus the slab room, Hector’s dream to take Lucille on a date versus his lonely life.

Rebellion versus conformity – Phil and Spanky’s cheek and opposition to Jack and Curry, Phil’s hatred of Alan, the slab boy’s laziness.

Social inequality/class divisions – Alan’s appearance and education along with his easy access to work and higher wages opposed to the boy’s poverty and lack of opportunity.

Age versus youth – Sadie and Curry hang on to values of the past. Phil, Spanky and Lucille are modern/fashionable.

Treatment of mental illness in the 1950s – Phil’s anger with the way his mother is treated as opposed to how he feels she should be treated.

PHIL’S INNER CONFLICT

Aspires to be part of the educated and privileged classes he despises – stays on for Highers but hits a teacher; doesn’t ask for support and guidance about his folio and application.

Knows he could succeed at work but won’t allow himself to – he gets in his own way by being lazy, disrespectful and confrontational.

Fancies Lucille himself but feels guilty for Hector - asks her out on Hector’s behalf.

Loves and worries about his mum but hates her behaviour and the consequences of it.

Phil’s conflicts result in self-destructive behaviour

CULTURAL CAPITAL

The cultural knowledge you need to fit in with and succeed in social groups.

Each social group has different kinds of shared capital.

You demonstrate your capital and membership of the social group through the way you dress, speak, act, what you consume…

Look at the dialogue between Lucille and Alan – does he have the right cultural capital? What does this reveal about Alan?

Why does Phil lie to Alan about the poster?

JAMES DEAN, AMERICAN ACTOR, FEBRUARY 8, 1931 – SEPTEMBER 30, 1955

HIS MOST FAMOUS FILM IS ‘REBEL WITHOUT A CAUSE’ WHERE HE PLAYED A DISILLUSIONED TEENAGER.

HE ALSO STARRED IN THE LEAD ROLE IN THE FILMS ‘EAST OF EDEN’ AND ‘GIANT’.

HE WAS DEVELOPING A CAREER IN CAR RACING WHEN HE HAD A FATAL CAR CRASH IN HIS PORSCHE.

PHIL’S MOTHER’S ESCAPE: THE CLIMAX OF THE PLAY

Climax• Phil’s frustration and rebellion is at its most

pronounced.

• Phil’s mother has escaped from hospital – he reveals the extent of her illness and its effect on him in his outburst to Alan and Spanky.

• Phil makes clear his resentment of Alan and the class system - tries to assault him but is held back.

• Phil and Spanky square up to each other – Phil thinks Spanky has conformed to the system.

• The phone call about his mother was not the news he expected (anti-climax).

KEY SCENE: PHIL’S MOTHER’S ESCAPE

1. with close reference to Phil’s comments in this extract, discuss how the dramatist reveals Phil’s frustration and/or anxiety on learning of his mother’s escape. 3 marks

Reference to three appropriate contributions from Phil with sensible comment on how each contributes to anxiety/frustration.

Avoid focusing on the description/word choice/imagery/ideas of Phil’s lengthy speech on his upbringing.

Evidence Analysis

‘You mean it really was the hospital?’ Implies disbelief/he is unwilling to accept the problem

‘Christ’ Blasphemy suggest his frustration/anger

‘Not to be alarmed?? What if she turns up here?’

Questions in quick succession suggests his mind is in turmoil

‘She’ll probably put a hatchet…to give me a showing up.’

Black humour and exaggeration indicates anxiety at potential consequences – a dread of what could happen.

‘Jeesus Christ, how come I couldn’t have a sensible maw like you guys eh?’

Repeated blasphemy and tone of regret demonstrate his frustration, self-pity and anger at his mother’s condition.

Repeated use of ‘stupid’ Implies anguish when reflecting on his upbringing with his mother.

‘I bet you his isn’t/ I bet you he doesn’t!’ Parallel sentence and exclamation reveal sense of injustice at his situation

Repetition of ‘what do you know?’ Reveals Phil’s sense of isolation and alienation from Alan.

Use of Alan's correct name plus stage direction ‘with derisive emphasis’.

Phil needs a scapegoat for his anxiety and frustration.

KEY SCENE: PHIL’S MOTHER’S ESCAPE

2. Discuss how language and/ or ideas are used in this extract to rouse sympathy for Phil and his mother. 4 marks

1 mark for each appropriate reference with comment. Reference only= 0

There must be a discussion of both Phil and his mother but this does not have to be an even treatment.

Evidence Analysis

Dramatic device of the phone call.

Anti-climax as Phil’s eagerness for news from art school is deflated when he hears of his mother

Description of mother’s violent nature ‘hatchet’, ‘open wrists’, ‘bopped’, ‘razor blades’ etc.

The shocking descriptions of violence create sympathy for Phil as he has directly witnessed them

The wide range of things that worry the mother ‘money’, ‘mass’ etc.

Sympathy as the mother has high levels of anxiety and can’t cope with raising her family

Phil’s long speech about his upbringing

Harrowing long list of bizarre behaviour evoke sympathy in the reader

KEY SCENE: PHIL’S MOTHER’S ESCAPE

3a Identify the tone used by Phil following Alan and Spanky’s attempts to calm him down. 1 mark

Possible answers: Bitter, resentful, mocking, ironic, derisive, scathing, vitriolic.

KEY SCENE PHIL’S MOTHER’S ESCAPE 3bReferring closely to the text, discuss how this

tone is created. 2 marks

SUMMARY OF RESOLUTION/DENOUEMENT P39-46

Phil is free to go but still waiting for his phone call from the art school.

Curry and Phil discuss his mother’s illness – Curry is sympathetic.

Phil and Spanky pity Hector as they believe he’s been sacked – they put together a collection to present him with.

Spanky asks Lucille out but she rejects him – ‘I’m booked’ Phil asks Lucille out – she considers it when she thinks it

might be with Phil but rejects it when she hears it’s Hector. Hector reveals he has been promoted to the design room. Alan reveals he has a job in the slab room. Lucille reveals she has a date with Alan. Alan reveals Phil didn’t get into art school. Curry comes in with a rush job but Phil refuses to work. Phil has harsh words with Curry. Phil leaves after an impassioned speech about class.

DENOUEMENT

Loose ends are tied together Conflicts and questions are resolved The central character has changed A sense of closure

WHAT CONFLICTS AND QUESTIONS HAVE BEEN RESOLVED?

Conflict/question Resolution

Has Phil’s rebellion succeeded? Yes – he is free and leaving the factory. No, he does not have a job or a place at art school.

Have Phil’s dreams come true? No, but he still dreams ‘Giotto used to be a slab boy.’

Have Hector’s dreams come true? No, he’s going to the ‘staffie’ with Curry but he has a surprise promotion.

Has Phil overcome his conflict with Alan (class)?

No, Alan has triumphed (superficially) and Phil is still angry about the class divide.

Has Phil overcome his conflict with Curry (authority)?

No, he still rebels – leaving with some final cheeky comments.

Is Phil’s mum safe? Yes, for the time being, she’s back in hospital.

Who does Lucille go to the staffie with? Alan - but is this who she really wanted?

ALAN’S ROLE Dreams versus reality – Alan represents the reality

that life is unfair - some people will have a better chance to get on.

Rebellion versus conformity – Alan represents conformity - he mimics the older generation and doesn’t know about youth culture.

Social inequality/class divisions – Alan represents the middle/upper classes. His way through life is easy due to ‘connections’. He has an air of entitlement.

Age versus youth – Though Alan is young he represents more old-fashioned values.

Treatment of mental illness in the 1950s – Alan is sympathetic but has not experience of this. Phil asks ‘what do you know?’

QUESTIONING ALAN’S ROLE

Alan could be described as the antagonist to Phil but does he really stand in his way?

In what way does Alan act as a mirror held up to Phil’s bad behaviour?

Why does Phil vent his anger on Alan? Why does Lucille pick Alan? In what way is Alan a winner? In what way is Alan a loser?

CURRY’S ROLE

Dreams versus reality – Curry represents the reality of hard work and discipline.

Rebellion versus conformity – Curry is a symbol of conformity. He hankers after the past discipline and ethos of his military career. He acts as a focus for Phil’s rebellion

Social inequality/class divisions – Curry is working class but respects and looks up to the upper classes. He fawns over Alan.

Age versus youth – Curry’s age means he is horrified by youth culture and attitudes.

Treatment of mental illness in the 1950s – Curry is sympathetic about Phil’s mother – not judgemental.

JACK’S ROLE

Dreams versus reality – Jack represents reality ‘some of us have to live in the real world’

Rebellion versus conformity – Jack conforms, follows orders, is a company man. Phil resents his conformity

Social inequality/class divisions – Jack is working class, looks up to his ‘superiors’

Age versus youth – Jack is young but is teased about his appearance

Treatment of mental illness in the 1950s –

LUCILLE’S ROLE

Dreams versus reality – Lucille is the object of many dreams but does she have dreams of her own?

Rebellion versus conformity – Lucille conforms by dating Alan but does she dream of rebellion with Phil?

Social inequality/class divisions – Lucille is working class but attracted to Alan’s middle class qualities.

Age versus youth – Lucille represents youth. Her love of James Dean suggests a hint of rebellion.

Treatment of mental illness in the 1950s –

SADIE’S ROLE

Dreams versus reality – Sadie dreams to save enough in her bank book to be independent from her husband and throw him out.

Rebellion versus conformity – Sadie conforms to the work environment and plays her roll. She chastises rebellious behaviour in the slab boys.

Social inequality/class divisions – Sadie represents the working class woman. She works hard but has little to show for her efforts. She is stoical in the face of difficulties.

Age versus youth – Sadie represents the older aspects of society - her disillusionment with love and relationships conflicts with Lucille’s positive outlook.

Treatment of mental illness in the 1950s – though not mentally ill, Sadie has faced physical illness and is not self-pitying.

SPANKY’S ROLE

Dreams versus reality – Spanky’s dreams are less ambitious than Phil’s – he knows his limitations.

Rebellion versus conformity – Spanky rebels up to a point but knows when to put the work in and avoid the sack.

Social inequality/class divisions – Spanky is working class and mocks the upper classes – to an extent.

Age versus youth – Spanky represents youth and youth culture.

Treatment of mental illness in the 1950s – Spanky is sympathetic and protective of Phil over this situation.

PHIL’S ROLE

Dreams versus reality – Phil has big dreams that surpass the walls of the factory.

Rebellion versus conformity – Phil’s disrespect, lack of work ethic, bullying and anger all stand for his rebellion.

Social inequality/class divisions – Phil is conflicted over class. He despises the upper classes but resents the limitations of the working class.

Age versus youth – Phil represents youth and youth culture.

Treatment of mental illness in the 1950s – Phil is highly resentful of his mother’s treatment.

QUESTIONING PHIL’S ROLE

Does madness run in Phil’s family or is it self-destruction?

Is Phil an admirable character? When and why do we admire him?

Is Phil an disagreeable character? When and why do we find him disagreeable?

Is Phil justified in his hatred of Alan? Is Phil justified in turning against Spanky? Would you like to work with Phil? Justify your

reason?

ANSWERING THE 10 MARK QUESTION

Candidates must analyse the given extract in some detail referring to at least two examples of dialogue/stage directions.

They should then relate the given extract to at least two other scenes in the play where we can see evidence of the chosen theme/relationship. Candidates should quote/refer to specific points in the play.

PHIL’S MOTHER’S ESCAPE 10 MARK QUESTION

Phil’s description of his family circumstances and his hostility to Alan are used to highlight the theme of social inequality.

Discuss how this theme is explored in the text as a whole. 10 marks

EXPLORING THE THEME OF SOCIAL INEQUALITY Jack/Curry’s differing attitudes to Alan and the slab boys. Phil’s frequent use of upper class imagery and language to

mock Alan The contrast in the boy’s perception between the work in

the slab room and the privileged world of university and art school.

Phil’s mother as an example of how poverty and hardship can ruin lives.

The fact that Spanky and Phil see the slab room as a dead end.

The slab boy’s precarious financial situation compared to Alan’s (Parker pen, different dress code, wallet, dad’s MG).

Alan ‘winning’ in the pursuit of Lucille. Alan’s rapid appointment to the slab room and wages

compared to the slab boys waiting for a desk. Sadie’s problems show the negative side of a working class

life.

THE 10 MARK QUESTION – WHAT YOU MAY BE ASKED ABOUT

Social Class Mental Illness Dreams and escape Rebellion Generation gap Bullying Relationship between Phil and Spanky, the

slab boys and Alan, Phil and Curry Sympathetic characters Whether or not Phil is a likeable/unlikeable

character