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her question her own character and identity."},{"text":"infancy","correct":false,"explanation":"The events do not take place during infancy. The narrator is looking back on adolescence, a transitional period associated with her growing self-awareness and psychological distress."},{"text":"adulthood","correct":false,"explanation":"The narrator has not yet reached adulthood when she experiences this crisis. She recounts a frightening period in her adolescence from a mature adult perspective."},{"text":"childhood","correct":false,"explanation":"Although the narrative is a childhood memory, the more precise life stage is adolescence, when the narrator experiences disturbing thoughts alongside physical and emotional change."}]},{"id":"56ed6f0b-f573-4a84-b38b-eae7172f26f1","cardType":"basic","points":1,"front":"In Night, what happens to the narrator’s thoughts at night?","back":"They become intense and disturbing.","mcqOptions":[{"text":"They become intense and disturbing.","correct":true,"explanation":"At night, ordinary distractions disappear and the narrator’s intrusive thoughts become more powerful and frightening, leaving her alone with her psychological distress."},{"text":"They become calm and reassuring.","correct":false,"explanation":"Night does not soothe or comfort the narrator. Her thoughts become intense and disturbing when darkness and isolation leave her unable to escape them."},{"text":"They become vague and forgettable.","correct":false,"explanation":"The narrator remembers these thoughts precisely because they are forceful and alarming, not indistinct. At night they become intense and disturbing."},{"text":"They become logical and controlled.","correct":false,"explanation":"Her thoughts are intrusive rather than rationally managed. At night they become intense and disturbing, exposing how little control she feels over her own mind."}]},{"id":"523695f8-7e5f-4dab-a0e1-879ec9196f71","cardType":"basic","points":1,"front":"What intrusive impulse shocks the narrator in Night?","back":"An impulse to harm her younger sister.","mcqOptions":[{"text":"An impulse to harm her younger sister.","correct":true,"explanation":"The narrator is shocked by an unwanted impulse to harm her younger sister. Its conflict with her love for her sister makes her fear what the thought suggests about her."},{"text":"An impulse to harm herself deliberately.","correct":false,"explanation":"The disturbing impulse is directed towards her younger sister, not herself. She fears that merely imagining harm to her sister reveals something terrible about her character."},{"text":"An impulse to run away from home.","correct":false,"explanation":"Running away might express unhappiness, but it is not the shocking intrusive thought in the story. The narrator experiences an impulse to harm her younger sister."},{"text":"An impulse to attack her own father.","correct":false,"explanation":"The narrator’s fear is not caused by an urge to challenge her father. She is horrified by an intrusive impulse to harm her younger sister."}]},{"id":"9ce545ea-0885-4374-8f6c-211138d1f8e8","cardType":"cloze","points":null,"front":"The narrator [ ] on the violent impulse; she is horrified by the [ ].","back":"The narrator does not act on the violent impulse; she is horrified by the thought itself.","mcqOptions":[{"text":"The narrator does not act on the violent impulse; she is horrified by the thought itself.","correct":true,"explanation":"The distinction between thought and action is central: the narrator never carries out the impulse, but its mere presence makes her fear her own mind."},{"text":"The narrator does act on the violent impulse; she is horrified by the thought itself.","correct":false,"explanation":"The narrator never carries out the violent impulse. Her distress comes from the thought itself and from mistakenly believing that having it reveals her true character."},{"text":"The narrator does not act on the violent impulse; she is horrified by the physical consequences.","correct":false,"explanation":"There are no physical consequences because the narrator does not carry out the impulse. She is horrified by the thought itself, despite causing no harm."},{"text":"The narrator acts immediately on the violent impulse; she is horrified by the sister’s reaction.","correct":false,"explanation":"The narrator neither acts on the impulse nor witnesses a reaction from her sister. Her horror arises from having the intrusive thought at all."}]},{"id":"97f071eb-37c4-4ea4-82a5-9b154a0d5bc2","cardType":"basic","points":2,"front":"Why is the central fear in Night psychological rather than physical?","back":"The narrator fears the strangeness of her own mind.","mcqOptions":[{"text":"The narrator fears the strangeness of her own mind.","correct":true,"explanation":"The main threat comes from within: the narrator is frightened that her intrusive thought exposes an unfamiliar and potentially dangerous part of her own mind."},{"text":"The narrator fears the violence of an outside attacker.","correct":false,"explanation":"No external attacker creates the story’s central fear. The narrator fears the strangeness of her own mind and what her intrusive impulse might mean."},{"text":"The narrator fears the darkness surrounding the house.","correct":false,"explanation":"Dark surroundings intensify the episode, but darkness is not the fundamental threat. The narrator is primarily frightened by the strangeness of her own mind."},{"text":"The narrator fears the behaviour of her younger sister.","correct":false,"explanation":"Her sister is the potential target of the intrusive impulse, not the source of danger. The narrator fears the unfamiliar workings of her own mind."}]},{"id":"87678bb6-3632-487c-bcea-a06f1bb6f4ec","cardType":"basic","points":2,"front":"How does the father respond when the narrator speaks to him?","back":"He is quiet, practical and non-judgemental.","mcqOptions":[{"text":"He is quiet, practical and non-judgemental.","correct":true,"explanation":"The father listens without dramatizing or condemning the confession. His quiet practicality reassures the narrator that an unwanted thought does not make her morally corrupt."},{"text":"He is angry, alarmed and judgemental.","correct":false,"explanation":"The father does not react with anger or moral condemnation. He remains quiet, practical and non-judgemental, which allows the narrator to feel understood rather than accused."},{"text":"He is amused, dismissive and sarcastic.","correct":false,"explanation":"He does not mock or dismiss his daughter’s distress. His response is quiet, practical and non-judgemental, treating her confession seriously without making it frightening."},{"text":"He is frightened, emotional and suspicious.","correct":false,"explanation":"The father does not panic or respond emotionally. His quiet, practical and non-judgemental manner helps separate the narrator’s involuntary thought from her actual character."}]},{"id":"bb76e586-3a1e-4b79-9b2a-a5e3df659d61","cardType":"basic","points":1,"front":"What does the father help the narrator understand?","back":"Unwanted thoughts do not define a person.","mcqOptions":[{"text":"Unwanted thoughts do not define a person.","correct":true,"explanation":"The father helps separate involuntary mental events from moral identity. A disturbing thought can occur without reflecting someone’s intentions, choices or essential character."},{"text":"Unwanted thoughts always predict future actions.","correct":false,"explanation":"Intrusive thoughts are not reliable predictions of later behaviour. The father helps her understand that unwanted thoughts do not define a person or determine future actions."},{"text":"Unwanted thoughts must be publicly confessed.","correct":false,"explanation":"The father does not suggest that thoughts must be confessed publicly. He shows that unwanted thoughts do not define a person, especially when they are never chosen or acted upon."},{"text":"Unwanted thoughts reveal a person’s true nature.","correct":false,"explanation":"The narrator initially mistakes the impulse for evidence of hidden evil, but her father corrects this fear. Unwanted thoughts do not define a person’s moral identity."}]},{"id":"26d22841-5359-4cd2-9e60-011a3d2fbe61","cardType":"cloze","points":null,"front":"The father reassures the narrator by treating her as [ ], not [ ].","back":"The father reassures the narrator by treating her as human, not abnormal.","mcqOptions":[{"text":"The father reassures the narrator by treating her as human, not abnormal.","correct":true,"explanation":"By treating the narrator as human rather than abnormal, the father normalises the existence of unwanted thoughts without approving of violence or dismissing her distress."},{"text":"The father reassures the narrator by treating her as dangerous, not vulnerable.","correct":false,"explanation":"The father does not portray his daughter as dangerous or deny her vulnerability. He reassures her by treating her as human rather than abnormal."},{"text":"The father reassures the narrator by treating her as abnormal, not human.","correct":false,"explanation":"This reverses the father’s reassuring attitude. He treats the narrator as human, not abnormal, separating an involuntary thought from her identity and moral worth."},{"text":"The father reassures the narrator by treating her as guilty, not innocent.","correct":false,"explanation":"The father does not frame the conversation as a judgement of guilt or innocence. He reassures her by recognising her as human rather than abnormal."}]},{"id":"50e02e2a-1374-4bfc-8000-43787be86def","cardType":"basic","points":2,"front":"What effect does Munro’s first-person narration create?","back":"It creates intimacy with the narrator’s private fear.","mcqOptions":[{"text":"It creates intimacy with the narrator’s private fear.","correct":true,"explanation":"First-person narration gives readers direct access to the narrator’s thoughts and emotions, making her fear feel personal, immediate and emotionally close."},{"text":"It creates distance from the narrator’s private fear.","correct":false,"explanation":"A detached viewpoint would reduce emotional closeness, but Munro uses first-person narration to give direct access to the narrator’s thoughts and create intimacy with her private fear."},{"text":"It creates humour around the narrator’s private fear.","correct":false,"explanation":"The narration does not make the fear comic; the personal viewpoint makes the experience feel immediate and emotionally close, creating intimacy with the narrator’s private fear."},{"text":"It creates confusion about the narrator’s private fear.","correct":false,"explanation":"Although the narrator may struggle to understand her feelings, the first-person viewpoint clarifies her inner experience rather than confusing it, creating intimacy with her private fear."}]},{"id":"d1d39d45-5cfd-4deb-b1f8-053b74806b7c","cardType":"basic","points":2,"front":"What does the reflective adult narrator add to the teenage experience?","back":"Adult understanding of what the younger self could not grasp.","mcqOptions":[{"text":"Adult understanding of what the younger self could not grasp.","correct":true,"explanation":"The older narrator can look back with greater knowledge and perspective, explaining meanings and emotions that were inaccessible during the teenage experience."},{"text":"Adult judgement of what the younger self did wrong.","correct":false,"explanation":"The adult perspective is reflective rather than simply condemning; it helps explain what the younger self could not grasp, adding adult understanding to the teenage experience."},{"text":"Adult certainty that the younger self was always safe.","correct":false,"explanation":"The adult narrator does not erase the teenager’s fear or guarantee safety; instead, the later perspective adds understanding of what the younger self could not grasp."},{"text":"Adult nostalgia for the freedom of adolescence.","correct":false,"explanation":"The reflection is not mainly sentimental or nostalgic. Its purpose is to interpret the teenage experience through the adult narrator’s fuller understanding."}]},{"id":"0f7fb27a-cfc5-4acc-8a4f-dfd0fe45db3d","cardType":"cloze","points":null,"front":"Night feels like a [ ] because personal experience is shaped into meaningful recollection.","back":"Night feels like a memoir because personal experience is shaped into meaningful recollection.","mcqOptions":[{"text":"memoir","correct":true,"explanation":"Memoir is a reflective account of personal experience. The text transforms an individual memory into a meaningful recollection rather than simply recording events."},{"text":"autobiography","correct":false,"explanation":"Autobiography usually presents a person’s life story more broadly, whereas this passage shapes a specific personal experience into meaningful recollection, making memoir the more precise term."},{"text":"diary","correct":false,"explanation":"A diary usually records experiences as they happen and may be private or immediate. Here, the experience is shaped retrospectively into meaningful recollection, making memoir correct."},{"text":"biography","correct":false,"explanation":"Biography is an account of another person’s life, while this text reflects on the narrator’s own experience and therefore feels like a memoir."}]},{"id":"1b14ebf1-b689-435e-a20e-eebb6a0dc5cd","cardType":"basic","points":2,"front":"How does Munro present adolescence in Night?","back":"As a time when the mind feels unfamiliar, unstable and frightening.","mcqOptions":[{"text":"As a time when the mind feels unfamiliar, unstable and frightening.","correct":true,"explanation":"Munro presents adolescence as psychologically disorientating: the narrator’s own thoughts become strange, unpredictable and frightening to her."},{"text":"As a time when the mind feels familiar, stable and reassuring.","correct":false,"explanation":"This removes the psychological uncertainty central to the passage. Munro presents adolescence as unsettling because the mind feels unfamiliar, unstable and frightening."},{"text":"As a time when the mind feels excited, confident and liberated.","correct":false,"explanation":"Adolescence is not presented mainly as a confident release from childhood. The narrator experiences disturbing uncertainty, with her mind feeling unfamiliar, unstable and frightening."},{"text":"As a time when the mind feels logical, controlled and predictable.","correct":false,"explanation":"The narrator’s thoughts are intrusive and difficult to control, so this interpretation reverses Munro’s presentation of adolescence as unfamiliar, unstable and frightening."}]},{"id":"50e90990-639d-407e-9e97-2784c99d581b","cardType":"basic","points":2,"front":"Why is the verb “strangle” especially shocking?","back":"It is blunt, physical and violent.","mcqOptions":[{"text":"It is blunt, physical and violent.","correct":true,"explanation":"The verb names a brutal act directly and evokes physical force, making the sudden violent thought especially shocking within the restrained narrative."},{"text":"It is euphemistic, delicate and indirect.","correct":false,"explanation":"The verb does not soften or disguise the violence. Its direct physical force makes the threat shocking, so it is blunt, physical and violent."},{"text":"It is figurative, playful and exaggerated.","correct":false,"explanation":"The word is not playful or harmless imagery. Its literal association with physical violence makes the thought disturbing, particularly because the surrounding prose is restrained."},{"text":"It is vague, emotional and uncertain.","correct":false,"explanation":"The verb is precise rather than vague and describes force rather than merely expressing emotion. Its blunt physical violence creates the shock."}]},{"id":"04bba8f8-b90d-4f32-a643-e4bb7df046eb","cardType":"cloze","points":null,"front":"The violent verb [ ] stands out because the surrounding prose is usually [ ].","back":"The violent verb “strangle” stands out because the surrounding prose is usually controlled.","mcqOptions":[{"text":"The violent verb “strangle” stands out because the surrounding prose is usually controlled.","correct":true,"explanation":"“Strangle” is a blunt, physical verb, while the surrounding writing remains controlled. This sharp contrast makes the intrusive violence stand out."},{"text":"The violent verb “attack” stands out because the surrounding prose is usually controlled.","correct":false,"explanation":"The surrounding prose is controlled, but the key verb is more specific and physically brutal than this alternative. Munro uses “strangle” to make the violence especially shocking."},{"text":"The violent verb “strangle” stands out because the surrounding prose is usually emotional.","correct":false,"explanation":"The verb is correct, but the surrounding prose is not presented as openly emotional. Its controlled restraint creates the contrast that makes the violence stand out."},{"text":"The violent verb “choke” stands out because the surrounding prose is usually descriptive.","correct":false,"explanation":"The surrounding writing is controlled, and Munro chooses the harsher, more explicit verb “strangle” rather than “choke” to make the violent thought more disturbing."}]},{"id":"37435485-1308-400f-a0a5-40bc2bbbf3ac","cardType":"basic","points":2,"front":"Why does Munro’s restrained prose make the intrusive thought more unsettling?","back":"The calm style makes the sudden violence stand out.","mcqOptions":[{"text":"The calm style makes the sudden violence stand out.","correct":true,"explanation":"The restrained, calm prose gives readers no dramatic warning, so the intrusive violent thought arrives sharply and feels more unsettling by contrast."},{"text":"The dramatic style makes the sudden violence blend into the passage.","correct":false,"explanation":"A dramatic style would make violent language less surprising by preparing readers for intensity. The calm style instead contrasts with the thought and makes the violence stand out."},{"text":"The humorous style makes the sudden violence seem harmless.","correct":false,"explanation":"Humour would reduce the threat’s seriousness, but Munro’s calm restraint does the opposite: it makes the sudden violence appear stark and disturbing."},{"text":"The confused style makes the sudden violence difficult to notice.","correct":false,"explanation":"The prose is controlled rather than confused. That control draws attention to the abrupt violent thought and increases its unsettling effect."}]},{"id":"07f24568-06e8-45f2-a545-7e44a39bc88a","cardType":"basic","points":1,"front":"Why does secrecy intensify the narrator’s suffering?","back":"She fears being judged.","mcqOptions":[{"text":"She fears being judged.","correct":true,"explanation":"Keeping the thought secret prevents reassurance or discussion, while fear of other people’s moral judgement increases the narrator’s isolation and suffering."},{"text":"She fears being ignored.","correct":false,"explanation":"The narrator’s secrecy is painful because she worries about how others would respond to what she thinks, especially the possibility of being judged rather than merely ignored."},{"text":"She fears being praised.","correct":false,"explanation":"Praise is not the threatening response implied by the secrecy. The narrator is troubled by the possibility that others would judge her for the disturbing thought."},{"text":"She fears being forgotten.","correct":false,"explanation":"The central anxiety concerns how others might evaluate her hidden thoughts, not whether they will remember her. She fears being judged."}]},{"id":"6f9dff61-f889-4535-8797-c01f931dd863","cardType":"basic","points":1,"front":"What causes the narrator’s guilt in Night?","back":"What she imagines she might be capable of.","mcqOptions":[{"text":"What she imagines she might be capable of.","correct":true,"explanation":"The narrator feels guilty not because she has acted violently, but because her disturbing thoughts make her fear what she might be capable of doing."},{"text":"What she remembers she has already done.","correct":false,"explanation":"No violent act is actually committed against her sister. Her guilt comes from imagining what she might be capable of, which causes her to question her own character."},{"text":"What she knows she has kept secret.","correct":false,"explanation":"The narrator’s guilt is not caused by breaking a family rule. It arises from her frightening thoughts and what they suggest she might be capable of."},{"text":"What she fails to do for her sister.","correct":false,"explanation":"Although the narrator is troubled by thoughts involving her sister, her guilt is not about failing to protect her. She fears what she herself might be capable of."}]},{"id":"b0c6f1f0-c03b-42f9-951d-e97361731047","cardType":"basic","points":3,"front":"What gap between outer and inner life does Munro explore?","back":"

Outside: family routine.
Inside: terrifying self-questioning.

","mcqOptions":[{"text":"

Outside: family routine.
Inside: terrifying self-questioning.

","correct":true,"explanation":"Munro contrasts the family’s outwardly normal daily life with the narrator’s hidden, disturbing examination of her thoughts and moral nature."},{"text":"

Outside: family conflict.
Inside: complete self-confidence.

","correct":false,"explanation":"The family’s outward life is not presented as openly hostile, nor is the narrator inwardly confident. Normal family routine conceals her terrifying self-questioning."},{"text":"

Outside: social excitement.
Inside: peaceful self-reflection.

","correct":false,"explanation":"The narrator’s external world remains ordinary rather than socially exciting, while her inner life is disturbing rather than calmly reflective. Munro contrasts family routine with terrifying self-questioning."},{"text":"

Outside: personal freedom.
Inside: ordinary boredom.

","correct":false,"explanation":"The contrast is not between visible independence and concealed boredom. Munro places ordinary family routine outside against the narrator’s hidden terrifying self-questioning."}]},{"id":"0d5da8f0-b526-4dab-9608-ac9110e14a0a","cardType":"cloze","points":null,"front":"In Night, night suggests [ ] and isolation; daytime suggests ordinary [ ].","back":"In Night, night suggests secrecy and isolation; daytime suggests ordinary routine.","mcqOptions":[{"text":"In Night, night suggests secrecy and isolation; daytime suggests ordinary routine.","correct":true,"explanation":"Night provides secrecy and separation in which the narrator’s disturbing thoughts intensify, whereas daytime restores the familiar routine of ordinary family life."},{"text":"In Night, night suggests openness and isolation; daytime suggests ordinary routine.","correct":false,"explanation":"Night does not represent openness; it conceals the narrator’s thoughts and separates her from others. The correct contrast is between nighttime secrecy and daytime routine."},{"text":"In Night, night suggests secrecy and isolation; daytime suggests ordinary rebellion.","correct":false,"explanation":"Daytime does not suggest rebellion, because it returns the narrator to normal family life. Night signifies secrecy, while daytime signifies ordinary routine."},{"text":"In Night, night suggests community and isolation; daytime suggests ordinary secrecy.","correct":false,"explanation":"This reverses the symbolism: night hides and isolates the narrator rather than creating community, while daytime brings the ordinary routine of shared family life."}]},{"id":"31f5815e-ca6a-4938-a8e5-682b6808467a","cardType":"basic","points":2,"front":"What movement does the night/day contrast suggest?","back":"A movement from isolation towards relief.","mcqOptions":[{"text":"A movement from isolation towards relief.","correct":true,"explanation":"The nighttime scenes emphasise the narrator’s lonely fear, while her later conversation with her father offers comfort and moves the narrative towards relief."},{"text":"A movement from relief towards isolation.","correct":false,"explanation":"This reverses the story’s emotional direction. The narrator begins in nighttime isolation, but her father’s understanding helps move her towards relief."},{"text":"A movement from isolation towards conflict.","correct":false,"explanation":"The night/day contrast does not show growing hostility. It traces a movement from the narrator’s private isolation towards the relief created by reassurance."},{"text":"A movement from confusion towards isolation.","correct":false,"explanation":"Although the narrator initially feels confused, the contrast chiefly links night with isolation and the later daylight world with emotional relief."}]},{"id":"f77a3d0d-6a35-48a7-826a-64f9b4a51882","cardType":"basic","points":1,"front":"What is the structural movement of Night?","back":"From private terror to late reassurance.","mcqOptions":[{"text":"From private terror to late reassurance.","correct":true,"explanation":"The narrative begins with the girl’s private fear about her violent thoughts and ends with her father’s belated but comforting reassurance that such thoughts are human."},{"text":"From private reassurance to late terror.","correct":false,"explanation":"This reverses the story’s structure. The narrator moves from private terror about her thoughts to late reassurance through her father’s response."},{"text":"From private terror to late condemnation.","correct":false,"explanation":"The ending does not condemn the narrator. Her father normalises the existence of disturbing thoughts, so the story moves from private terror to late reassurance."},{"text":"From private reflection to late panic.","correct":false,"explanation":"The narrator does not begin in calm reflection or end in panic. Structurally, her concealed terror is eventually answered by her father’s reassurance."}]}]}],"examCountdown":{"examDate":"2027-05-24","paperLabel":"Paper 1"},"heading":"Night – Alice Munro","title":"Night – Alice Munro Flashcards","topbar":{"backHref":"/igcse/english-language/edexcel/a/flashcards"},"topicSidebar":"$L38"}]}],"topicId":"2dd66c4f-b038-5494-98e9-2e4124c670f5","walled":"$L39"}],"$L3a","$L3b"]