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S.1 Prose fiction

Practice exam-style IB English A (Lit) questions for Prose fiction, aligned with the syllabus and grouped by topic.

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Question 1
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Pride and Prejudice by Jane Austen (1813), Elizabeth reads Jane’s account of Lydia’s disappearance with Wickham and its effects on their family.

How does the writer use epistolary narration to convey a crisis that Jane struggles to comprehend?

A

Identify three expressions in Jane’s opening sentences, from “By this time” to “it cannot be delayed”, that establish her state of mind. Quote each expression and briefly its significance.

[3]
B

Identify three details in the account from “He did trace them easily to Clapham” to “no such people had been seen to pass through” that suggest the limits of the search. Quote the relevant words and briefly each detail.

[3]
C

Identify three ways Jane’s description of her family, from “My poor mother is really ill” to “one cannot wonder”, reveals her attitude towards them. Quote the words on which you base each explanation.

[3]
D

how reported information creates uncertainty in the section from “Though Lydia’s short letter” to “I know not what to think.”

[6]
E

how Jane’s language in the section from “My father and mother believe the worst” to “W. was not a man to be trusted” presents a conflict between hope and evidence.

[6]
F

on the effect of the apparent ending “Adieu” and the renewed appeal that follows it, through to the end of .

[6]
G

does Jane’s letter, considered as a whole, make her uncertainty more revealing than the factual information she supplies?

[9]
H

how affectionate address and the reporting of other people’s reactions work together across to make the crisis a shared experience.

[9]
I

how effectively the framing account of Elizabeth’s reading and ’s movement from explanation to appeal turn communication into action.

[9]
Question 2
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Great Expectations by Charles Dickens (1860), Pip describes breakfast with Mr. Pumblechook and his arrival at Miss Havisham’s house.

How does the writer use characterization to expose unequal relationships of power?

A

Identify three details of Pip’s breakfast, before the arithmetic questions begin, that characterize the treatment he receives. Quote each detail and its significance briefly.

[3]
B

Identify three features of the young lady’s conduct from the moment she comes across the courtyard to “come in, Pip” that establish her authority. Quote the relevant words and briefly each feature.

[3]
C

Identify three features of the final exchange about the brewery, from “She saw me looking at it” onwards, that distinguish the girl’s manner from Pip’s. Quote the words supporting each explanation.

[3]
D

how the arithmetic questioning and the description of eating work together to characterize Pumblechook during breakfast.

[6]
E

how the exchange from “Mr. Pumblechook was coming in also” to his departure changes the reader’s view of his authority.

[6]
F

on how the description of the house and courtyard, from “Within a quarter of an hour” to the wind’s comparison with a ship at sea, shapes Pip’s position as a newcomer.

[6]
G

does the retrospective narrative voice allow Pip to resist the authority he cannot openly challenge during the events described?

[9]
H

how the breakfast and gate scenes work together to power as something exercised over others but also liable to reversal.

[9]
I

how comic characterization and the unsettling description of Miss Havisham’s premises combine to shape the reader’s response to Pip’s arrival.

[9]
Question 3
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from The Great Gatsby by F. Scott Fitzgerald (1925), Nick encounters Gatsby outside his illuminated house and agrees to invite Daisy to tea.

How does the writer use setting to expose the uncertainty beneath Gatsby’s display of wealth?

A

Identify three details in the opening two paragraphs that make Gatsby’s illuminated house seem strange. Quote each detail and briefly its effect.

[3]
B

Identify three signs of Gatsby’s unease between “He waited, looking at me” and “I suspected that he meant my grass.” Quote the relevant words and briefly each sign.

[3]
C

Identify three expressions in Gatsby’s business proposal, from “I carry on a little business” to “a rather confidential sort of thing”, that make the offer indirect. Quote each expression and its effect briefly.

[3]
D

how the opening description of the house, through Nick’s comparison with the “World’s Fair”, establishes an atmosphere of display without fulfilment.

[6]
E

how the description of the two lawns and Gatsby’s wish to have the grass cut make the setting part of the negotiation over Daisy’s visit.

[6]
F

on how Nick’s retrospective reflections, from “I realize now” to Gatsby’s departure, direct the reader’s interpretation of the business offer.

[6]
G

do the illuminated house and the divided lawns Gatsby’s wealth as a source of control rather than a sign of insecurity?

[9]
H

how the movement from the spectacular house to the awkward business conversation complicates the relationship between generosity and self-interest.

[9]
I

how the final paragraph and telephone exchange reshape the reader’s understanding of the night-time setting and the anticipated visit.

[9]
Question 4
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from The Yellow Wallpaper by Charlotte Perkins Gilman (1892), the narrator tears away wallpaper while resisting other people’s access to her room.

How does the writer use the narrator’s conflicts with others and with the wallpaper to complicate her claims of freedom?

A

Identify three expressions, from “Hurrah!” to “That was clever”, that establish ’s attitude towards being left alone. Quote each expression and briefly its significance.

[3]
B

Identify three expressions, from “that awful pattern began to laugh” to “no person touches this paper but me—not alive!”, that turn the wallpaper or its removal into a struggle. Quote each expression and briefly its effect.

[3]
C

Identify three physical restrictions in the section from “I have locked the door” to “the bars are too strong even to try”. Quote the relevant words and briefly what each restriction suggests.

[3]
D

how ’s account of working with “that poor thing”, from “really I wasn’t alone a bit” to “half around the room”, presents cooperation while unsettling the distinction between the two figures.

[6]
E

how interprets Jennie’s behaviour, from “Jennie looked at the wall in amazement” to “I would call when I woke”, to excluding her.

[6]
F

on how personification and bodily imagery intensify the narrator’s confrontation with the wallpaper in from “Then I peeled off all the paper” to “might be misconstrued.”

[6]
G

does the final section, from “I don’t like to look out of the windows even” to the end, confinement as something freely chooses?

[9]
H

how ’s changing relationship with the woman in the wallpaper, from helping her to imagining tying her and finally speaking of emergence “as I did”, complicates the idea of liberation.

[9]
I

how the narrator’s triumphant tone and the room’s resistant physical features work together across to shape the reader’s response to her apparent victory.

[9]

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Question 5
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Frankenstein; or, The Modern Prometheus by Mary Shelley (1818), Victor climbs Montanvert alone in the hope that the mountain landscape will relieve his melancholy.

How does the writer use imagery and descriptive language to the power and limits of nature’s consolation?

A

Identify three details in the opening paragraph, from “The following morning” to “feelings that overpowered me”, that connect Victor’s surroundings with his emotional condition. Quote each detail and it briefly.

[3]
B

Identify three details in the ascent, from “The ascent is precipitous” to “an air of severity to ”, that make the landscape threatening. Quote each detail and briefly its effect.

[3]
C

Identify three details in the glacier description, from “The surface is very uneven” to “sunlight over the clouds”, that combine grandeur with instability. Quote each detail and briefly its significance.

[3]
D

how Victor’s recollection of the glacier, from “I remembered the effect” to the end of the first paragraph, establishes his expectations of nature.

[6]
E

how the reflection beginning “Alas! why does man boast” and the embedded verse human feelings as vulnerable to change.

[6]
F

on the effects of the qualified emotional change and the appeal to “Wandering spirits” in ’s final sentence.

[6]
G

does the mountain landscape act as a source of consolation rather than a reminder of Victor’s vulnerability?

[9]
H

how shifts from Victor’s personal recollection to generalized address and collective reflection make the landscape more than a record of one person’s journey.

[9]
I

how the sequence of obscurity, destructive grandeur and sunlight prepares for ’s unresolved ending.

[9]
Question 6
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Frankenstein; or, The Modern Prometheus by Mary Shelley (1818), Victor recalls his mother’s death before his departure for university and Elizabeth’s assumption of household responsibilities.

How does the writer use structure and to the relationship between bereavement and continuing duty?

A

Identify three expressions in the opening paragraph that establish expectations about Victor’s future. Quote each expression and briefly its significance.

[3]
B

Identify three features of the mother’s deathbed speech that connect affection with expectations of others. Quote the words and briefly each connection.

[3]
C

Identify three expressions in the final paragraph that characterize Elizabeth’s response to the mother’s death. Quote each expression and its significance briefly.

[3]
D

how the movement from Elizabeth’s illness to the mother’s direct speech, in the second paragraph, changes the pace and emotional focus of the account.

[6]
E

how the long sentence beginning “It is so long before the mind” uses accumulated losses and delayed closure to represent the difficulty of accepting death.

[6]
F

on the structural effect of returning to Victor’s postponed journey in the final paragraph and then shifting attention to Elizabeth.

[6]
G

does ’s progression from deathbed scene to general reflection and renewed plans mourning as a process that can be completed?

[9]
H

how the mother’s final instructions and the account of Elizabeth in the final paragraph work together to shape the meaning of family duty.

[9]
I

how Victor’s retrospective foreshadowing and his appeal to a shared experience of grief influence the reader’s response to the return of ordinary responsibilities.

[9]
Question 7
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Wuthering Heights by Emily Brontë (1847), Nelly recounts Edgar’s care for the recovering Catherine and the household’s hopes for her future.

How does the writer use characterization to reveal the limits of the household’s understanding of Catherine?

A

Identify three features of the opening paragraph that characterize Edgar’s care for Catherine. Quote each feature and briefly what it suggests.

[3]
B

Identify three details, from the gift of “golden crocuses” to Catherine’s question about the snow, that characterize her response to the flowers. Quote each detail and it briefly.

[3]
C

Identify three expressions in the final paragraph that reveal the household’s assumptions about Catherine’s improvement. Quote each expression and briefly what it implies.

[3]
D

how the extended opening sentence presents Edgar’s devotion while qualifying his hopes for Catherine.

[6]
E

how Edgar’s speech beginning “The snow is quite gone” and Catherine’s reply use contrasting temporal perspectives to reveal different understandings of her condition.

[6]
F

on how Catherine’s responses to the change of rooms, from “The master told me to light a fire” to “leaning on Edgar’s arm”, complicate the household’s account of recovery.

[6]
G

does Edgar’s devotion as enabling him to understand Catherine?

[9]
H

how Nelly’s confident collective statements and her more qualified observations shape the reader’s judgement of Catherine’s apparent recovery.

[9]
I

how the spring imagery and the final reference to an heir work together to complicate the household’s hopes for Catherine’s future.

[9]
Question 8
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Heart of Darkness by Joseph Conrad (1899), Marlow recalls visiting Kurtz’s mourning Intended and discussing the dead man with her.

How does the writer use restricted narration to expose the difficulty of communicating incompatible understandings of Kurtz?

A

Identify three details in the opening paragraph that make the drawing-room resemble a place of mourning. Quote each detail and its effect briefly.

[3]
B

Identify three expressions, from “Their glance was guileless” to the imagined words “as he deserves”, through which Marlow interprets the Intended’s character. Quote each expression and briefly the interpretation.

[3]
C

Identify three signs of Marlow’s difficulty in speaking during beginning “And you admired him”. Quote the words and briefly each sign.

[3]
D

how repetition and disrupted chronology, from “It was more than a year” to “I heard them together”, make the past intrude upon Marlow’s account of the visit.

[6]
E

how the interruption “Love him” and Marlow’s responses, through “And perhaps she did”, reveal competing understandings beneath apparent agreement.

[6]
F

on the changing light around the Intended, from “The room seemed to have grown darker” to ’s final image.

[6]
G

does Marlow’s narration establish him as a reliable interpreter of the Intended’s inner life?

[9]
H

how the drawing-room’s funereal imagery and the Intended’s luminous certainty work together to make the meeting disturbing rather than consoling.

[9]
I

how Marlow’s appeal “Do you understand?” and the unfinished or qualified statements in the limits of communication.

[9]

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S.2 Prose non-fiction