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My train had arrived early, a fact which made me feel unusually competent. I stood with a coffee and watched the cases emerge. A large black one came round twice without being claimed. On its third journey, I decided that somebody should do something. > The case was longer than mine and shaped oddly at one end. I assumed this was an expensive way of packing skis. A man near the exit seemed to be looking for something. I lifted the case from the belt and called to him. He came towards me quickly, which I took as confirmation. Only when he held both hands out, palms downward, did I notice that his expression was not gratitude. > He spoke in a language I understood only in pieces. I recognised a word for careful because it had appeared frequently during my attempts to hire a car. I lowered the case, then stopped when he made a smaller downward gesture. We remained for several seconds in an arrangement which must have looked like a very slow negotiation over the height of a box. > A station worker joined us and explained that the case held a musical instrument. The owner had been waiting for assistance to lift it from a particular point on the belt. He had not abandoned it. He had understood its route and my proposed improvement had interrupted the plan. I apologised, trying to convey that I had meant to help without making intention sound like a reason the instrument should forgive me. > Together, we moved it onto a trolley. The musician checked the fastenings, opened a small section and looked inside. I watched his face with an attention I had not previously given the case. At last he nodded. The station worker said everything appeared to be all right. I was ready to call this a successful conclusion when my own small suitcase passed behind us and disappeared into the belt’s next curve. > I retrieved it on the following circuit. By then, the musician was leaving through a side door, moving at the same measured pace which I had mistaken for inaction. He raised one hand. I could not tell whether it meant farewell or a general wish that I would keep both of mine to myself. I returned the gesture carefully. Outside, I put my coffee down before attempting anything useful. **Source B: From A Game of Polo with a Headless Goat — Emma Levine** [Read Source B in the official Pearson anthology](https://qualifications.pearson.com/content/dam/pdf/International%20GCSE/English%20Language%20A/2016/Teaching%20and%20learning%20materials/9781446931080-int-gcse-eng-ant.pdf#page=20) (printed pages 14–15). Compare how the writers present their ideas and perspectives about the experience of being an uncertain outsider in an unfamiliar situation. Support your answer with detailed examples from both texts, including brief quotations.99:T14a6,**Marking guidance** **AO3: compare ideas, perspectives and their presentation** 22 marks - **Level 1:** Describes ideas or methods with little or no comparison and limited reference to the texts. 1–4 marks - **Level 2:** Makes obvious comparisons and comments on ideas, perspectives or methods; valid references are not developed. 5–8 marks - **Level 3:** Explains a range of comparisons in ideas, perspectives and their presentation, supported by relevant references. 9–13 marks - **Level 4:** Explores a wide range of comparisons in ideas and perspectives, including how language or structure conveys them; detailed, balanced references support the discussion. 14–18 marks - **Level 5:** Analyses varied, comprehensive comparisons perceptively, using discriminating, balanced evidence from both texts to explain how ideas and perspectives are conveyed. 19–22 marks - Nothing rewardable. 0 marks Use best fit. A response considering only one text cannot exceed 8 marks. These are original practice descriptors aligned with Pearson's AO3 levels and ranges. Reward connections and contrasts supported by both texts, including how language, tone, viewpoint or structure conveys the perspectives. Two separate summaries without developed connections are insufficient for the higher levels. **Question-specific comparisons** - Both first-person visitors begin as observers but become implicated in events they do not fully understand. - Source A’s confident identification of a case is undermined by the owner’s specific knowledge. - Levine’s donkey-race narrative uses movement,falling and disputed bets; Source A creates comedy through restrained gestures and a mistaken helpful action. - Both restrict readers to the visitor’s partial understanding and reveal explanations after confusion. - The narrator’s self-deprecating detail prevents local people becoming simply the objects of ridicule. - Both endings retain a degree of discomfort or uncertainty rather than claiming complete mastery of the place. **Model answer** Both writers present the uncertain position of an outsider who becomes involved in events before fully understanding them. Levine’s account follows the visitor into a donkey race and its aftermath, while Source A describes an attempt to help with a case at a station. Both use limited first-person knowledge to create humour at the narrator’s expense rather than presenting local people simply as comic curiosities. Source A establishes a small, misplaced confidence through the early train and the narrator’s sense of competence. The repeated circuits of the unclaimed case then encourage an assumption that intervention is needed. Levine likewise moves from observation towards participation in an event whose arrangements are not fully clear to the visitor. In both texts, the narrator’s interpretation becomes part of the action, so uncertainty has practical consequences rather than remaining a detached impression. The methods of comedy differ. Source A turns physical restraint into an awkward spectacle: the owner’s hand signals produce a very slow negotiation over the case’s height. The description exposes how little the narrator understands while trying to appear helpful. Levine uses the movement of the convoy, the donkey race and the fall to generate a more energetic sequence. Both make the visitor’s body part of the humour, but one relies on suspended action and the other on rapid, unpredictable movement. Both also delay explanations. The narrator in Source A interprets the owner’s approach as gratitude before discovering that the case contains an instrument and that assistance was already planned. This reversal makes an apparently idle observer more knowledgeable than the active visitor. Levine’s account similarly develops through partial understanding, including confusion surrounding the race and the betting dispute. Readers share the narrator’s incomplete information rather than receiving an authoritative explanation in advance. Self-deprecation limits the danger of making the place itself the joke. Source A’s imagined request for the instrument to forgive good intentions exposes the narrator’s wish to escape embarrassment. Levine’s account likewise places the visitor within the disorder and discomfort rather than above it. Both invite readers to notice the inadequacy of outsider confidence, although neither needs to deny the actual inconvenience or uncertainty experienced. Finally, Source A refuses complete interpretive success. The musician’s raised hand may be farewell or a comic warning to stop helping, and the narrator cannot settle its meaning. Levine’s final revelation about the young driver similarly leaves the visitor’s understanding unsettled rather than neatly complete. Together, the texts suggest that an unfamiliar situation is not mastered simply by participating in it; the visitor may leave with a better sense of the limits of their own judgement. This is one possible response, not a required script. Credit other supported comparisons and judge the response against the assessment criteria.9a:T133e,**Marking guidance** **AO2: language and structure** 12 marks - **Level 1:** Basic identification of language or structural devices, with little explanation of their effects and limited textual reference. 1–2 marks - **Level 2:** Some understanding and comment on language and structure; valid references are selected but their significance is not developed. 3–4 marks - **Level 3:** Clear understanding and explanation of language and structural choices and their effects; relevant evidence supports the points. 5–7 marks - **Level 4:** Thorough exploration of language and structure, supported confidently by detailed, well-selected references. 8–10 marks - **Level 5:** Perceptive, discriminating analysis of language and structural choices, with evidence selected precisely to clarify their effects. 11–12 marks - Nothing rewardable. 0 marks Use best fit across the whole response. These are original practice descriptors aligned to Pearson's AO2 levels and mark ranges. Reward developed analysis of both language and structure in relation to the question. Identifying techniques or retelling events is insufficient on its own; do not require a fixed paragraph structure or a particular interpretation. **Question-specific points** - The attractive shared landscape first draws together people and animals. - Explanations of the narwhal’s importance give the hunters’ actions practical context. - The wives’ concentration supplies a community perspective on success. - The close view of a vulnerable hunter produces admiration and concern. - Parallel movements of the narrator’s heart express opposed wishes at the same moment. - The ending supplies a reasoned judgement without erasing the earlier emotional dilemma. **Model answer** Herbert conveys conflict by giving both the hunters and the narwhals claims on her sympathy. Her account moves between observation, explanation and personal response, so neither admiration for the animals nor understanding of the community is allowed to settle into the only available view. The final judgement explains the necessity of hunting while preserving the difficulty of witnessing it. The opening landscape places humans and animals within the same beautiful scene. Light touches the hunters as well as the whales, and the distant view makes both appear part of an attractive, almost unreal whole. This matters because the hunt does not initially divide the scene into a simple villain and victim. Herbert is drawn towards the entire spectacle before the practical opposition between the participants becomes immediate. The following explanation of the narwhal's importance changes the kind of attention required. Her account lists uses connected with food, warmth, materials and ordinary survival. The cumulative movement makes hunting part of a way of living rather than an isolated act performed for excitement. Readers are given reasons to understand why success matters before they are asked to share her response to a particular attack. The women watching from shore add a further perspective. Their concentration on individual hunters makes the distant figures husbands and relatives, rather than anonymous pursuers. Small movements and reactions expose the emotional investment in what is happening on the water. The narrator therefore sees that her wish for an animal to escape would have consequences for people beside her. When the focus narrows to one hunter near two narwhals, the abstract conflict becomes immediate. His small kayak and distance from land make him vulnerable. The possibility of being overturned gives courage a material basis rather than presenting bravery as a flattering label. At the same time, the animals' size and awareness do not make them merely obstacles to his achievement. They remain living creatures for whose survival she also hopes. The repeated movement of her heart towards both sides gives the contradiction a physical form. Opposing wishes arise together rather than replacing each other as new information arrives. Structurally, the shift between urging the hunter on and wishing the whales away makes the reader experience a reversal without receiving a solution that cancels either response. The ending turns towards the limits of imported supplies and the use made of hunted animals. This gives her eventual judgement a practical basis, but she explicitly carries the dilemma beyond the instant of the hunt. Understanding necessity is not represented as emotional indifference. The passage's changing forms of attention allow a reasoned conclusion and an unresolved feeling to coexist. This is one possible response, not a required script. Credit other interpretations supported by the prescribed extract and judge the analysis against the criteria.9b:Tc8f,**Source A: The mountains through the headphones** **An original contemporary non-fiction-style practice text, written for this question.** > From the bus window, the mountains looked silent. Their pale faces rose above the town in layers, and the highest ridge seemed too far from ordinary life to contain a sound. I had come to make a short radio feature about the landscape. In my notes, I had written an opening built around quietness. The view appeared to approve it. > At the guesthouse, I put on the headphones and switched on the recorder. The room changed. A pipe clicked behind the wall. Someone dragged a chair across a floor below. Beyond the window, a delivery van reversed with three electronic notes which belonged, in my imagination, to a supermarket car park. I lowered the headphones and looked at the mountain again. It remained enormous and apparently soundless. The machine was refusing to record the place I could see. > The next morning, I walked to a terrace above the houses. I expected a clearer recording there. Instead, the town reached me in separate layers: a hammer, a dog, a burst of music, a motor climbing slowly through a bend. A woman shaking a rug from a balcony paused to ask what I was doing. I explained that I was looking for the sound of the mountains. She listened for a moment, then pointed towards the road and said that the bread delivery was late. > I felt briefly disappointed. I had wanted a sentence which would help the audience imagine distance from everyday demands. She had given me breakfast. Yet the road was part of the slope I was recording, and the delivery had to climb it. The hammer belonged to a roof beneath the ridge. The balcony stood where people had found a way to live in the view. I had been asking the settlement to stop sounding like a settlement so that the landscape could perform its grandeur more clearly. > That afternoon, I recorded from the same terrace without trying to find an interval between all the other noises. The mountains did not supply a single identifiable voice. They shaped where the road went, how the houses stood and how long the van’s engine remained audible. Listening made their scale feel different from looking. It brought the effort of inhabiting them into the frame. > The feature still began with the view from the bus. Then I let the reversing notes interrupt the description. They were less elegant than the silence I had planned. They were also part of the morning I had actually encountered. Before leaving, I bought bread from the driver when he finally stopped below the guesthouse. I kept that small exchange in the recording too. **Source B: From Beyond the Sky and the Earth: A Journey into Bhutan — Jamie Zeppa** [Read Source B in the official Pearson anthology](https://qualifications.pearson.com/content/dam/pdf/International%20GCSE/English%20Language%20A/2016/Teaching%20and%20learning%20materials/9781446931080-int-gcse-eng-ant.pdf#page=22) (printed pages 16–18). Compare how the writers present their ideas and perspectives about first impressions of an unfamiliar landscape and its people. Support your answer with detailed examples from both texts, including brief quotations.9c:T14c0,**Marking guidance** **AO3: compare ideas, perspectives and their presentation** 22 marks - **Level 1:** Describes ideas or methods with little or no comparison and limited reference to the texts. 1–4 marks - **Level 2:** Makes obvious comparisons and comments on ideas, perspectives or methods; valid references are not developed. 5–8 marks - **Level 3:** Explains a range of comparisons in ideas, perspectives and their presentation, supported by relevant references. 9–13 marks - **Level 4:** Explores a wide range of comparisons in ideas and perspectives, including how language or structure conveys them; detailed, balanced references support the discussion. 14–18 marks - **Level 5:** Analyses varied, comprehensive comparisons perceptively, using discriminating, balanced evidence from both texts to explain how ideas and perspectives are conveyed. 19–22 marks - Nothing rewardable. 0 marks Use best fit. A response considering only one text cannot exceed 8 marks. These are original practice descriptors aligned with Pearson's AO3 levels and ranges. Reward connections and contrasts supported by both texts, including how language, tone, viewpoint or structure conveys the perspectives. Two separate summaries without developed connections are insufficient for the higher levels. **Question-specific comparisons** - Both arrivals foreground an imposing mountain landscape which unsettles expectations. - Source A’s producer initially treats visible grandeur as a promise of silence; Zeppa’s mountain descriptions convey overwhelming physical scale. - Detailed sounds reveal a working settlement rather than an empty view. - A resident’s response challenges the producer’s wish to remove ordinary life from the recording. - Source A’s contrast between headphones and unaided listening structures the change; Zeppa ranges through first uncertainty,gracious encounters and historical context. - Both move towards a more complex appreciation without claiming immediate complete understanding. **Model answer** Both writers present an unfamiliar mountain landscape as an experience which changes the visitor’s expectations. Zeppa communicates the overwhelming scale of the terrain while developing a fuller impression of the place. Source A follows a radio producer who discovers that visual grandeur does not require an absence of ordinary human sound. Both move beyond a first response dominated by an impressive view. Source A begins with an assumption made through sight. The mountains look silent because they seem distant from everyday life, and the narrator treats the view as approval of a prepared opening. This personification exposes how readily an observer can make scenery confirm an existing idea. Zeppa’s mountain descriptions likewise give the landscape a powerful presence, but her arrival account develops through uncertainty rather than claiming complete knowledge. Both make first impressions significant while leaving room for revision. The producer’s headphones then create a contrast between ways of encountering the place. Pipes, a chair and reversing notes interrupt the apparently silent scene. The statement that the machine refuses to record the visible place reveals that the problem lies in the narrator’s expectation, not in a defective recording. Zeppa similarly combines striking scenery with details and encounters which complicate an initial sense of unfamiliarity. In each account, the destination exceeds the frame through which the visitor first approaches it. Their descriptive methods differ. Source A uses a layered list of sounds, moving from a guesthouse room to a terrace where work and movement remain audible. The landscape’s scale is eventually understood through the road, roofs and duration of an engine’s climb. Zeppa places greater emphasis on visual and physical impressions of the mountains, then ranges into people and historical context. Both connect setting with lived experience, although one does so through listening and the other through a broader reflective travel narrative. A local encounter also challenges the prepared interpretation. The woman’s comment about late bread seems disappointing because it does not provide the lyrical statement the producer wants. Recognising the usefulness of that ordinary observation makes the narrator’s self-correction concrete. Zeppa’s gracious encounters likewise help complicate strangeness, but neither account needs to turn residents into a welcoming performance for the visitor. People already have purposes within the landscape. Finally, Source A keeps the grand bus view but allows reversing notes to interrupt it. The revised feature does not deny beauty; it refuses to make beauty depend on silencing the settlement. Zeppa similarly retains wonder while developing a more complex understanding. Together, the texts suggest that appreciation grows when visitors allow a place’s ordinary life to challenge the polished introduction they had intended to give it. This is one possible response, not a required script. 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