2026 Sample response 1 - HL

1. How and to what effect does the playwright explore the challenges of communication in this extract?

In this extract from “Photograph 51” by Anna Ziegler, the conversation in this extract seems like usual colleague conversation, but as the extract continues, an underlying sense of tension is revealed between the characters. This suggests another form of connection between them, and the awkward atmosphere created through dialogue and stage directions implies there may be lots of information being left unsaid, as the atmosphere seems apprehensive as the extract continues.

At the start of the extract there is a fairly dark atmosphere, as conversation between Rosalind and Caspar is superficial and non-emotive. There is foreshadowing from Caspar’s first line, as he states “Rosalind … I have a confession.” This short statement creates tension, as the pause in the middle of his sentence implies a sense of apprehension, indicating he may ask something personal or awkward. However, his confession is something trivial and almost humorous, as he says “I hate tea. I hate it. I mean, I really hate it. I can’t even pretend to like it.” This repetition of “I hate it” in a stream of short sentences depicts a sense of rambling, suggesting Caspar is nervous or hiding another deeper statement to tell Rosalind. However, Rosalind’s sarcastic reply “I  think I’m rethinking everything I ever thought about you” reinforces this superficial interaction as light humour and surface level conversation coneys this normal workplace atmosphere.

However, this uneventful tone changes as Caspar asks, ‘a genuine question’ of “What did you think about me?” The stage directions convey a shift in tone for the actors, to show the audience how their conversation has quickly shifted from being superficial to being more serious. The stage directions support this slightly awkward, serious tone through the use of 'beat' to indicate a pause in which the actor thinks, hence conveying a sense of uncertainty and apprehensiveness. The stage direction says ‘Awkward’ after this question is asked, explicitly telling the actor to create a visibly awkward atmosphere to the audience. The syntax of their conversation consists of short sentences, implying uncertainty and apprehensiveness as the pace is slowed, along with the pauses in stage directions. When Rosalind replies that, “…you seem balanced”, Caspar talks frantically again, trying to discredit himself, suggesting he wants Rosalind to speak highly of him. This suggests he desires Rosalind’s approval, whether this is as his boss, or because he may have romantic feelings for her. However, Rosalind interrupts him, saying, “No … See, I’ve never had a balance.” This suggests Rosalind has thought about this before and comparing Caspar’s balance with her lack of suggests a sense of jealousy. The sense of awkwardness between Caspar and Rosalind is maintained as Caspar says “but you’ve been happy”. The stage directions that follow are ‘A long beat – she is taken aback’. Rosalind is perhaps “taken aback” because she has never had a personal conversation with Caspar before, therefore creating an awkward atmosphere, as she feels apprehensive and scared to open up to Caspar about her feelings. However, her short reply warrants another awkward interaction, as the conversation abruptly ends with Caspar saying, “Right. You wouldn’t have.” And Rosalind replying, “Right”. This repetition and short sentences create a static and abrupt end to the conversation. However, near the end of the extract Caspar begins a rambling speech again, which is interrupted by multiple ellipses to symbolise pauses in speech. It begins by saying, “You know, I have this theory…”, the ellipsis implying a sense of fear as he prepares to describe his theory. In his long exploration to Rosalind, he says “I hope you don’t think it’s completely ridiculous” - this sense of fear supporting the idea that he cares greatly about Rosalind’s opinion, perhaps insinuates he wants to impress her, due to him being romantically attracted to her. This is supported when he concludes that he is talking about “yearning”, when he says this it seems very directed towards Rosalind and their relationship. This apprehensive mood is maintained as Rosalind simply replies “Yearning?” The single worded question implies she is taken aback, repeating Caspar’s words to try to make sense of them. The extract ends with Caspar saying, “I mean… what do you want, Rosalind?” The extract ends on a question, creating suspense but also maintaining the apprehensive mood from throughout the extract. The fact that we don’t hear Rosalind’s reply reflects how many things have been left unsaid throughout the extract, contributing to the apprehensive means of communication.

To conclude, the challenges of communication are created very much by the characters themselves. Their apprehensive nature and failure to speak their true thoughts leads to a broken and static conversation in which both characters’ awkward natures creates a scene in which lots of tension is created through their unspoken true feelings towards one another.

2. How is the narrative voice used to evoke a sense of a family living in harmony with the environment? 

This extract from “Braiding Sweetgrass” by Robin Wall Kimmerer describes a retrospective memory of his family living in the wilderness in North America. Although this extract appears to describe just a typical way of life for Kimmerer, his language used as the narrative voice implies the strong sense of connectedness that he and his family feel with nature. Kimmerer depicts an almost humane relationship with a natural landscape, and expands this to discuss his views on nature in general, and how this shapes his perspective.

Firstly, from the beginning of the extract, humanity and nature seem intertwined as one entity, depicting a strong sense of coexistence and even co-dependence. When his father “lifts the coffeepot from the stove the morning bustle stops”. The “morning bustle” references all of nature and its fullness of life, but this all stops by human action. This alone may sound like humans are dominating nature, but the language suggests that nature and humanity actually function side-by-side. The “sunlight catches the flow” of coffee, depicting this coexisting relationship. The verb “catches” implies support and comfort. The “flow” indicates movement and vitality, which is now passed from humans to nature. The coffee “steams in the cool morning”, this contrast of “cool” and “steams” implies how humans have created a sense of warmth in nature, adding to this idea of comfort, which explains Kimmerer’s fondness towards this vivid memory. This idea of movement and vitality as a result of human connection with nature continues through the extract as the “stream runs down over the smooth granite to merge with the lake”. The verb “runs” suggests a sense of continuity, and the image of “smooth granite” support the warm and inviting relationship between humans and nature, as the granite aids the merging of the coffee with the lake water. Humanity and nature have seemed to become intertwined, especially as the lake is described as “clear and brown as the coffee”. This creates the same image in the reader’s mind for both the coffee and the lake, depicting a harmonious relationship and interdependence.

Secondly, narrative voice is used to show how this relationship between humans and nature is described like a human relationship, further providing the closeness and harmonious atmosphere of Kimmerer’s day-to-day life. Kimmerer recalls how his father would say “Here’s to the gods of Tahawus”, when pouring the coffee, this implies a sense of gratitude and praise for nature, making the relationship between humans and nature seem more personal. Kimmerer then goes on to say how all his family would then say “Here we are”. This declaration would evoke a sense of vulnerability, but Kimmerer goes on to say how he imagines the landscape replying “Ohh, here are the ones who know how to say thank you”. Therefore, this otherwise vulnerable phrase instead seems more like a friendly conversation. Kimmerer’s imagined reply indicates how he views his relationship with nature as personal and much more like a human relationship as he imagines conversations. He also describes how this morning ceremony “drew a circle around our family”. Although not explicit, this phrase implies that his “family” includes not only his relatives but also nature, as the morning ritual is between humanity and nature. Therefore overall, Kimmerer explains how his relationship with nature is strong and intimate, further supporting the idea of this life of harmony.

Lastly, narrative voice is used to show the effects of this harmonious relationship on Kimmerer’s way of thinking. Kimmerer explains how “Then and only then does he pour” coffee for himself and his wife. The phrase” then and only then” implies how nature is a priority in their life, depicting how they create this harmonious relationship through their own selflessness. This mentality is proven present in Kimmerer as well, when he explains how the mountain is called “Mount Marcy to commemorate a governor who never set foot on those wild slopes”, but called “the cloud splitter” as its true name, “invoking its essential nature”. The direct contrast of these two definitions conveys how nature should be respected as it is, since Kimmerer is right in saying it is “essential”. Therefore this supports the harmonious relationship between nature and Kimmerer’s family, as he tells the reader how himself and locals view nature, compared to outsiders, referring to the reader. This passage ends with Kimmerer saying how his father “quietly taught us the respect we owed to these other beings and how to show our thanks for summer mornings”. Although Kimmerer is using narrative voice to reflect on his family’s relationship with nature the final sentence seems also aimed at the reader to try to convey a deeper message. Kimmerer vividly describes his own harmonious relationship with nature, and implies in the end to how showing “respect” and “thanks for the summer mornings”, a harmonious relationship with nature can be obtained by anyone.

To conclude, Kimmerer uses narrative voice to convey how vivid memories of his childhood have evolved such strong feelings towards nature, and how his father’s way of life have been passed on through him to create an intimate and close, harmonious relationship with nature. Whilst reflecting on this, Kimmerer also shows the audience how this type of harmonious relationship with nature can be achieved by anyone, by appreciating what is usually taken for granted.