1. Selected Poetry of Norman MacCaig
National 5 - Specified Texts
“Memorial”

2. The Big Picture During the course of this unit we will:
Study a range of poems by the Scottish poet Norman MacCaig.
Look at the poems in detail (both in your group and individually), analyse the techniques used and their effectiveness.
Complete a variety of textual analysis questions on the poems in preparation for the Critical Reading exam.
Compare and contrast the poems.

3. Learning Intentions I will:
Develop my understanding of MacCaig’s work by studying, in detail, the techniques used by the poet and their effectiveness.
Identify how the writer’s main theme or central concerns are revealed and can recognise how they relate to my own and others’ experiences
identify and make a personal evaluation of the effect of aspects of the writer’s style and other features appropriate to genre using some relevant evidence and terminology.

4. Success Criteria I can:
Confidently discuss aspects of MacCaig’s work (such as language and imagery) using supporting evidence with my group.
Confidently answer a variety of questions on the work of Norman MacCaig
Confidently contribute my opinion and encourage others to express themselves

5. Why study these poems?
The national 5 course requires that each student has previously studied one of a selection of Scottish texts before they sit the exam.
The following slides show section 2 of the final National 5 exam

6. Section 2: Critical Reading
This section has two parts.
In each part, one question will be chosen from a range of questions set to cover the genres of drama, prose or poetry.
In each part, you must cover a different genre and cannot use the same text twice.
This Section will have 40 marks. Each Part will have 20 marks.

7. Part A: Critical Essay
You will answer one question from a range of questions.
You will provide an extended written response, based on a previously studied text.

8. Part B: Scottish Texts
You will answer one question from a range of questions, based on a list of specified Scottish texts.
One extract from a previously studied specified Scottish text will be selected.

9. The poems of Norman MacCaig will be our Scottish text.
Part B: Scottish Texts
You will answer one question from a range of questions, based on a list of specified Scottish texts.
One extract from a previously studied specified Scottish text will be selected.
The poems of Norman MacCaig will be our Scottish text.

10. Background to the Poet Born in Edinburgh in 1910.
Although he spent all his childhood and his later life in Edinburgh, his mother's Highland past was a great influence. MacCaig's mother was from Harris and the Gaelic heritage inherited had an enduring effect on MacCaig. 
MacCaig's attended the Royal High School and then Edinburgh University where he studied Classics and then trained to be a primary school teacher.
During the war MacCaig refused to fight because he did not want to kill people who he felt were just the same as him. He therefore spent time in various prisons and doing land work.
In 1967, MacCaig became the first Fellow in Creative Writing at Edinburgh University, and later at the University of Stirling. 

11. Background to the Poet
As he became older, MacCaig's fame spread and he received such honours as the O.B.E. and the Queen's Medal for Poetry, yet it was at home in Edinburgh and Assynt where he was probably most appreciated. This was evident at his 75th, 80th, and 85th birthday parties when the cream of the Scottish literati and musicians came together for readings and musical performances. 
By the time of his death in January 1996, Norman MacCaig was known widely as the grand old man of Scottish poetry.

12. Specified Poems Assisi Visiting Hour Aunt Julia Basking Shark Memorial
Sounds of the Day

13. “Memorial” by Norman MacCaig

14. Learning Intentions I will:
Develop my understanding of MacCaig’s work by studying, in detail, the techniques used by the poet and their effectiveness within the poem “Memorial”.
Identify the writer’s main theme and recognise how it relates to my own and others’ experiences
Identify and make a personal evaluation of the effect of aspects of the writer’s style and other features appropriate to genre using some relevant evidence and terminology.

15. Success Criteria I can:
Confidently discuss aspects of MacCaig’s work (such as language and imagery) using supporting evidence with my group.
Confidently answer a variety of questions on the work of Norman MacCaig
Confidently contribute my opinion and encourage others to express themselves

16. Before Reading Task One
The title of the poem is “Memorial”.
What words do you connect with this title? Write them in the box in your worksheet.
Now take TWO minutes and discuss this with your partner. Be ready to feedback to the class.

17. Task One - Class Ideas

18. Memorial
A memorial is an object which serves as a focus for the memory of something, usually a person (who has died) or an event.
Popular forms of memorials include landmark objects or art objects such as sculptures, statues or fountains, and even entire parks.
The most common type of memorial is the gravestone or the memorial plaque. Also common are war memorials commemorating those who have died in wars.

19. “Memorial” by Norman MacCaig
We are going to listen to Norman MacCaig introduce the poem “Memorial”.
(lowest clip on page, 1min 50 into clip)
As you listen, answer the questions on the following slide.

20. Listening Exercise - Questions
What event, according to MacCaig changed ‘death’ from more than just a concept? (1)
What examples does MacCaig use to show he has not really experienced death or grief until later in life? (2)
Why do you think MacCaig has written this poem? (1)

21. Listening Exercise - Answers
What event, according to MacCaig changed ‘death’ from more than just a concept? (1)
The death of his friends.
3. What examples does MacCaig use to show he has not really experienced death or grief until later in life? (2)
He has survived two wars and his parents both died in old age.
4. Why do you think MacCaig has written this poem? (1)
He has written this poem in memory of his wife.

22. “Memorial”
We will now listen closely to Norman MacCaig reading his poem.
Listen carefully to the poem and follow it in your workbook.
Now that we have heard the poem through once, you will re-read it yourself and answer the questions in your workbook.

23. “Memorial” Everywhere she dies. Everywhere I go she dies.
No sunrise, no city square, no lurking beautiful mountain
but has her death in it.
The silence of her dying sounds through
the carousel of language. It’s a web
on which laughter stitches itself. How can my hand
clasp another’s when between them
is that thick death, that intolerable distance?

24. “Memorial” She grieves for my grief. Dying, she tells me
that bird dives from the sun, that fish
leaps into it. No crocus is carved more gently
than the way her dying
shapes my mind. – But I hear, too,
the other words,
black words that make the sound
of soundlessness, that name the nowhere
she is continuously going into.

25. “Memorial” Ever since she died she can’t stop dying. She makes me
her elegy. I am a walking masterpiece,
a true fiction
of the ugliness of death.
I am her sad music.

26. A closer look at “Memorial”

27. Group Activity
We will now look at different areas of the poem in groups.
Each group will be looking at either imagery, structure or word choice.
In your group, discuss each question carefully and answer as fully as you can.

28. Group Activity
When each group has completed their questions, we will create posters displaying what we have learned.
These posters will be used to complete the analysis grids on the following pages of your workbook.

29. Poster Activity
We will now share our understanding on imagery, structure and word choice between groups.
Each group will leave their completed poster on the table and move to a different group.
At this new table, you will annotate your own poem OR use the Quotation/Analysis table at the back of your workbook.
You will have 8 minutes at each table- so do not waste this time!
If you have any questions about the quotes, ask the teacher.
It does not matter if ideas are duplicated or repeated, they will be sifted out in the next step.

30. Class Discussion
On the next few slides is some additional information about your areas of study.
As we discuss these points, make notes in your workbook of any information you think is relevant.

31. Structure Everywhere she dies. Everywhere I go she dies.
No sunrise, no city square, no lurking beautiful mountain
but has her death in it.

32. Structure Short sentences add dramatic emphasis to opening.
Everywhere she dies. Everywhere I go she dies.
No sunrise, no city square, no lurking beautiful mountain
but has her death in it.
Short sentences add dramatic emphasis to opening.
Repetition of “Everywhere” highlights how much the death has affected the speaker. This idea is continued with repetition of “No” in following line.

33. Structure How can my hand clasp another’s when between them
is that thick death, that intolerable distance?

34. Structure How can my hand clasp another’s when between them
is that thick death, that intolerable distance?
Poet uses enjambment to highlight the distance between himself and his wife.

35. Structure No crocus is carved more gently than the way her dying
shapes my mind. – But I hear, too,
the other words,
black words that make the sound
of soundlessness, that name the nowhere
she is continuously going into.

36. Structure
No crocus is carved more gently
than the way her dying
shapes my mind. – But I hear, too,
the other words,
black words that make the sound
of soundlessness, that name the nowhere
she is continuously going into.
Poet shows a change of tone here, suggesting a growing fear of death.

37. Structure I am a walking masterpiece, a true fiction
of the ugliness of death.
I am her sad music.

38. Structure Final line is simple and short to give it more emphasis.
I am a walking masterpiece,
a true fiction
of the ugliness of death.
I am her sad music.
Final line is simple and short to give it more emphasis.
He compares himself to being the ‘sad music’ of her funeral.
Free verse is used throughout, which reflects the poet’s confused feelings on her death.

39. Imagery The silence of her dying sounds through
the carousel of language. It’s a web
on which laughter stitches itself.

40. Imagery The silence of her dying sounds through
the carousel of language. It’s a web
on which laughter stitches itself.
As a poet, words are hugely important to him.
What he saw as a fun, bright, colourful and musical ride is now silenced by her death.
Her death is now a web- he is unable to free himself from its hold. The word “stitches” suggests this hold is very strong.

41. Imagery No crocus is carved more gently than the way her dying
shapes my mind. – But I hear, too,
the other words,
black words that make the sound
of soundlessness, that name the nowhere
she is continuously going into.

42. Imagery
No crocus is carved more gently
than the way her dying
shapes my mind. – But I hear, too,
the other words,
black words that make the sound
of soundlessness, that name the nowhere
she is continuously going into.
Compares her death to a crocus flower- beautiful, natural and fragile.

43. Imagery
No crocus is carved more gently
than the way her dying
shapes my mind. – But I hear, too,
the other words,
black words that make the sound
of soundlessness, that name the nowhere
she is continuously going into.
Compares her death to a crocus flower- beautiful, natural and fragile.
Later in the stanza the imagery becomes much darker- these black words suggest a nothingness- the poet believes there is nothing after death.

44. Word Choice
“is that thick death, that intolerable distance?”

45. Word Choice
“is that thick death, that intolerable distance?”
The poet uses the word thick, which is a strange word to use to describe death. It suggests it is surrounding him, like a fog perhaps. It also emphasises the distance that keeps him apart from others.

46. Word Choice “She grieves for my grief.” “the sound of soundlessness”
“Ever since she died she can’t stop dying.”

47. Word Choice “She grieves for my grief.” “the sound of soundlessness”
She is sorry that he will be grieving for her.
“She grieves for my grief.”
“the sound of soundlessness”
“Ever since she died she can’t stop dying.”

48. Word Choice Absolute silence. “She grieves for my grief.”
She is sorry that he will be grieving for her.
“She grieves for my grief.”
“the sound of soundlessness”
“Ever since she died she can’t stop dying.”
Absolute silence.

49. Word Choice Absolute silence. He is always thinking about her.
She is sorry that he will be grieving for her.
“She grieves for my grief.”
“the sound of soundlessness”
“Ever since she died she can’t stop dying.”
Absolute silence.
He is always thinking about her.

50. Word Choice The poet uses paradoxes within the poem.
These suggest that he cannot make sense of his wife’s death.
She is sorry that he will be grieving for her.
“She grieves for my grief.”
“the sound of soundlessness”
“Ever since she died she can’t stop dying.”
Absolute silence.

51. Themes
Thinking about the poem as a whole, what do you consider the main ideas or themes of the poem?

52. Key Themes Facing Death (either the dying person, or the relative)
Isolation surrounding death/emotion

53. Class Discussion Think about…
Is it less of an ordeal for the dying person than the one left behind?
Dying is something we have to do alone, despite being surrounded by loved ones?
How realistic do you find the poet’s feelings?