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168 original questions across 27 selected topic areas. No account or payment required to practise.
Cambridge International AS & A Level English Literature (9695), examination year 2027: AI-assisted conceptual alignment to official sources, not teacher or exam-board certification. Syllabus mapping and remaining coverage.
6 questions in this topic
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Original source-led close readings with indicative marking and worked arguments. Public versions are linked, not reproduced; prescribed-edition and independent teacher review remain pending.
Subtopics in this topic (6)
The Black Veil - Charles Dickens: stories-1-opening
The Black Veil - Charles Dickens: stories-1-ending
The Nightmare Room - Arthur Conan Doyle: stories-6
The Woman at the Store - Katherine Mansfield: stories-7
Atrophy - Edith Wharton: stories-9
Staying Behind - Ken Liu: stories-15
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Question 1The Black Veil - Charles Dickens. Reading scope: selected passage. Read only the specified scope for this task. Locator: Chapter VI, The Black Veil, opening winter evening through the surgeon's sleepless night, before The back part of Walworth.
(a) Analyse the interruption of the surgeon's domestic hopes by the visitor's arrival. (b) Explain how the veil, the boy and the delayed visit organise restricted knowledge. (c) Develop and qualify a judgement about professional confidence: does the surgeon's explanation settle the mystery? Confine the answer to the opening interview and sleepless night.
Primary reading: https://www.gutenberg.org/files/882/882-h/882-h.htm6 indicative marks
The Black Veil - Charles Dickens. Reading scope: selected passage. Read only the specified scope for this task. Locator: Chapter VI, The Black Veil, opening winter evening through the surgeon's sleepless night, before The back part of Walworth.
(a) Analyse the interruption of the surgeon's domestic hopes by the visitor's arrival. (b) Explain how the veil, the boy and the delayed visit organise restricted knowledge. (c) Develop and qualify a judgement about professional confidence: does the surgeon's explanation settle the mystery? Confine the answer to the opening interview and sleepless night.
Primary reading: https://www.gutenberg.org/files/882/882-h/882-h.htm
Cambridge 2027: Partial conceptual match
The Black Veil - Charles Dickens: selected passage; original evidence-led practice at https://www.gutenberg.org/files/882/882-h/882-h.htm. Not full-work attainment, collection-parent coverage, prescribed-edition equivalence or teacher certification. Opening interview and overnight speculation directly read: imagined Rose, parish boy Tom, green curtain, untasted water, nine o'clock appointment, and the surgeon's competing explanations. The woman says the man is not in her charge. No supernatural foreknowledge or modern diagnosis inferred.
Thesis: the opening gives the surgeon an emotionally attractive future and then exposes the limits of his control over what enters it. His fire and thoughts of Rose join a wish to marry with a wish for patients. The first unexpected visitor answers the professional wish, but not in the reassuring form he imagines. This double effect makes the arrival more than a conventional frightening entrance.
Evidence and analysis: the hand waking him belongs to the parish boy Tom, not Rose. The substitution punctures the romantic reverie before the tall, motionless visitor unsettles the room. Her wet clothing brings the hostile weather indoors. Contrast makes a familiar private space newly vulnerable without requiring the reader to believe the visitor is a supernatural apparition.
Evidence and analysis: the black veil prevents the surgeon from inspecting expression. Sending Tom out and drawing the green curtain seem to secure privacy, but the boy immediately watches through the keyhole. The reader sees that the surgeon's command cannot fully regulate observation. Meanwhile the request for a morning visit reverses the ordinary urgency of medical aid: she insists that present help cannot be offered, although later help may be useless.
Alternative reading: the surgeon is neither simply foolish nor wholly unfeeling. He offers water, responds to distress and promises to attend. His questions reasonably seek information. Yet the water remains untasted and the patient is not in the woman's charge, so his ordinary interview cannot resolve the case. Overnight he tries several explanations before settling on mental disorder, and the narration retains his doubts.
Conclusion: professional action remains possible without professional certainty. His sleepless return to the veil shows an explanation chosen for manageability rather than demonstrated truth. This passage permits a criticism of premature judgement while retaining sympathy for a young practitioner. It does not establish supernatural foreknowledge or authorise a modern psychiatric diagnosis, and this opening-only task does not borrow the later revelation to erase its uncertainty.
Self-marking points
View marking points
(a) 1 indicative mark: comfortable warmth and imagined marriage establish a desired domestic and professional future before the interruption.
(a) 1 indicative mark: the boy's physical hand replaces the imagined beloved's, making the transition both comic and unsettling.
(b) 1 indicative mark: the veil obstructs reading a face while the green curtain promises privacy that Tom's keyhole watching undermines.
(b) 1 indicative mark: refusal of immediate help and insistence on nine the next morning create a temporal puzzle rather than confirming a supernatural event.
(c) 1 indicative mark: the surgeon considers presentiment, a crime scenario and mental disorder; his chosen explanation remains accompanied by misgivings.
(c) 1 indicative mark: a reasoned conclusion distinguishes compassion and willingness to attend from proven interpretive authority.
Examiner tip
Indicative self-marking, not official Cambridge marks: two points per part. Credit evidence-supported alternatives. Explain how language, form or structure sustains a thesis; distinguish observation from inference. Independent teacher approval and prescribed-edition checks pending.
Question 2The Black Veil - Charles Dickens. Reading scope: selected passage. Read only the specified scope for this task. Locator: Chapter VI, from Stretched upon the bed through the final paragraph ending The Black Veil.
(a) Analyse the delayed recognition produced by darkness, the body and the opened curtain. (b) Compare the mother's description of the death with the surgeon's discovery and narrator's explanation. (c) Assess the coda's change of emphasis from mystery to care, including a possible reservation about its reassuring ending. Do not infer the precise offence, which is not recounted.
Primary reading: https://www.gutenberg.org/files/882/882-h/882-h.htm6 indicative marks
The Black Veil - Charles Dickens. Reading scope: selected passage. Read only the specified scope for this task. Locator: Chapter VI, from Stretched upon the bed through the final paragraph ending The Black Veil.
(a) Analyse the delayed recognition produced by darkness, the body and the opened curtain. (b) Compare the mother's description of the death with the surgeon's discovery and narrator's explanation. (c) Assess the coda's change of emphasis from mystery to care, including a possible reservation about its reassuring ending. Do not infer the precise offence, which is not recounted.
Primary reading: https://www.gutenberg.org/files/882/882-h/882-h.htm
Cambridge 2027: Partial conceptual match
The Black Veil - Charles Dickens: selected passage; original evidence-led practice at https://www.gutenberg.org/files/882/882-h/882-h.htm. Not full-work attainment, collection-parent coverage, prescribed-edition equivalence or teacher certification. Final bedside scene and retrospective coda read: linen wrapper, opening curtain, throat mark, execution that morning, My son, equally guilty companion acquitted for want of evidence, and years of material help. Narrator does not exonerate the executed man; murder is the mother's evaluative language.
Thesis: the ending turns the problem of saving one life into a longer obligation to another person. The mother's chafing of forehead, breast and hands cannot reverse the body's stillness. Repeated appeals delay acceptance emotionally even after the surgeon recognises death. This difference between knowing and being able to bear knowledge gives the revelation its pathos.
Evidence and analysis: opening the curtain changes what can be read. The throat mark leads the surgeon from a claim of violence to an execution that morning. The woman's removed veil now exposes her grief as the body's marks expose its history. Revelation therefore reorganises visible details rather than arriving through a supernatural explanation.
Evidence and analysis: the mother's description of butchers and murder challenges the death morally; it does not identify a clandestine murderer. Her brief identification of the man as her son explains the personal investment the surgeon could not previously understand. The subsequent narrator says another equally guilty participant escaped conviction for lack of evidence. Unequal outcomes are exposed, but the son's innocence is not asserted and his precise offence remains unreported.
Alternative reading: the providential coda can offer meaningful consolation because the surgeon does more than sympathise for a moment. Daily attendance and money sustain care over years. A more sceptical reader may ask why the last paragraph centres the professional man's honours and heavenly reward rather than extending the mother's own perspective. That reservation should still acknowledge the concrete material assistance.
Conclusion: the mystery is explained, but explanation cannot undo the losses. The narrative resolves its ethical direction through continuing care rather than a successful resurrection. Its reassurance is strongest when read as a valuation of service, less complete if treated as a solution to unequal justice or maternal suffering. Historical language about mental illness belongs to the narrative; it is not a clinical diagnosis supplied by this exercise.
Self-marking points
View marking points
(a) 1 indicative mark: bodily stillness and the mother's efforts to revive the man create a gap between grief and medical observation.
(a) 1 indicative mark: light discloses a throat mark and changes an apparent private murder mystery into recognition of an execution.
(b) 1 indicative mark: the mother's language of butchery and murder expresses condemnation, not proof of a private killer.
(b) 1 indicative mark: the narrator calls the companion equally guilty but acquitted for want of evidence, not the dead son innocent.
(c) 1 indicative mark: daily visits and financial help extend responsibility beyond the failed possibility of a medical rescue.
(c) 1 indicative mark: a conclusion may value sustained care while questioning whether providential reward shifts attention from suffering to the successful surgeon.
Examiner tip
Indicative self-marking, not official Cambridge marks: two points per part. Credit evidence-supported alternatives. Explain how language, form or structure sustains a thesis; distinguish observation from inference. Independent teacher approval and prescribed-edition checks pending.
Question 3The Nightmare Room - Arthur Conan Doyle. Reading scope: whole underlying story. Read only the specified scope for this task. Locator: The Nightmare Room, final story in Gutenberg Australia 0700561h: opening sitting-room through the final whole-reel remark.
(a) Analyse how the room's uneven furnishing, silence and references to spectators prepare more than one explanation. (b) Examine the hyperbolic moral and gendered language around Mason's apparent self-sacrifice. (c) Develop an argument about how the concealed man's final judgement changes the reader's interpretation. Revisit earlier details and consider whether the story cancels suspense or turns it into an object of comedy.
Primary reading: https://gutenberg.net.au/ebooks07/0700561h.html6 indicative marks
The Nightmare Room - Arthur Conan Doyle. Reading scope: whole underlying story. Read only the specified scope for this task. Locator: The Nightmare Room, final story in Gutenberg Australia 0700561h: opening sitting-room through the final whole-reel remark.
(a) Analyse how the room's uneven furnishing, silence and references to spectators prepare more than one explanation. (b) Examine the hyperbolic moral and gendered language around Mason's apparent self-sacrifice. (c) Develop an argument about how the concealed man's final judgement changes the reader's interpretation. Revisit earlier details and consider whether the story cancels suspense or turns it into an object of comedy.
Primary reading: https://gutenberg.net.au/ebooks07/0700561h.html
Cambridge 2027: Partial conceptual match
The Nightmare Room - Arthur Conan Doyle: whole underlying story; original evidence-led practice at https://gutenberg.net.au/ebooks07/0700561h.html. Not full-work attainment, collection-parent coverage, prescribed-edition equivalence or teacher certification. Whole story read in the Australian collection, which actually includes it; the older Gutenberg537 HTML retrieved in this run omitted it. Uneven room furnishing, spectators/printing hints, letter, antimony certificate, Campbell, cards, concealed third man and final reel checked. The final intervention concerns filming, not a supernatural avenger or a completed poisoning death.
Thesis: Doyle makes the reader's absorption in melodrama part of the joke. The room initially seems to conceal a crime, but its inconsistent furnishing and oddly limited hours of occupation already resist a wholly naturalistic domestic explanation. The story first encourages the reader to seek danger, then makes the same evidence available for thinking about a filmed scene.
Evidence and analysis: luxury faces the apparent street while the far side is bare. The silence makes a fall seem undetectable, yet also gives the room an artificial quality. References to spectators and to the husband's conduct being printed can pass as social commentary on extravagant affection; retrospectively they point towards publicity and performance. Their double availability makes the ending prepared rather than an entirely unrelated surprise.
Evidence and analysis: the antimony certificate and Campbell's letter intensify the supposed crisis. Mason becomes a philosopher and exceptional moral hero while Lucille oscillates between dangerous seducer and helpless child. These inflated, gendered roles invite scrutiny, particularly when his offered choice becomes a bottle of poison and a card game. They are the scene's representations, not reliable general truths about women, Americans or moral superiority.
Alternative reading: the hidden man's snake-like description initially promises another menace. His square case, dark cloth and hand movement are not immediately labelled as equipment operation. The final demand to repeat a reel supplies that explanation. A reader may feel the reversal cheaply dismisses emotion; another can argue that the exaggerated roles have made emotional manipulation visible throughout. Both should account for the planted visual clues.
Conclusion: the stranger's professional verdict replaces anticipated moral judgement with aesthetic failure. No one is narrated drinking the poison, and the story does not confirm a real murder within this encounter. Suspense has been experienced, not simply erased: the ending redirects it toward the conventions that produced it. The repeated attempt tomorrow turns an apparently unique life-and-death instant into repeatable performance.
Self-marking points
View marking points
(a) 1 indicative mark: luxury on one side and bareness on the other support an ominous room description but retrospectively suggest a constructed set.
(a) 1 indicative mark: references to printed publicity and spectators prepare performance without initially explaining it.
(b) 1 indicative mark: exceptional praise of Mason and infantilisation or demonisation of Lucille inflate the melodrama's moral roles.
(b) 1 indicative mark: poison and card-playing recast an alleged gift of choice as a theatrical and troubling arrangement of risk.
(c) 1 indicative mark: the square case, dark cloth and twitching hand acquire a filming explanation when the stranger orders another reel.
(c) 1 indicative mark: a conclusion connects retrospective rereading and comic deflation without claiming anyone drinks the poison or dies.
Examiner tip
Indicative self-marking, not official Cambridge marks: two points per part. Credit evidence-supported alternatives. Explain how language, form or structure sustains a thesis; distinguish observation from inference. Independent teacher approval and prescribed-edition checks pending.
Question 4The Woman at the Store - Katherine Mansfield. Reading scope: selected passage. Read only the specified scope for this task. Locator: Ending from Jim and I sat on two sacks of potatoes through A bend in the road, and the whole place disappeared.
(a) Analyse how drunken laughter gives way to the child's production of a forbidden drawing. (b) Examine the narrative handling of the drawing and the adults' response: what is described, and what remains unverified? (c) Develop a judgement about the ending's refusal of explanation. Consider the landscape's changed appearance and Jo's decision to remain, without inventing an investigation or treating the child's abuse as comic.
Primary reading: https://gutenberg.net.au/ebooks08/0800221h.html6 indicative marks
The Woman at the Store - Katherine Mansfield. Reading scope: selected passage. Read only the specified scope for this task. Locator: Ending from Jim and I sat on two sacks of potatoes through A bend in the road, and the whole place disappeared.
(a) Analyse how drunken laughter gives way to the child's production of a forbidden drawing. (b) Examine the narrative handling of the drawing and the adults' response: what is described, and what remains unverified? (c) Develop a judgement about the ending's refusal of explanation. Consider the landscape's changed appearance and Jo's decision to remain, without inventing an investigation or treating the child's abuse as comic.
Primary reading: https://gutenberg.net.au/ebooks08/0800221h.html
Cambridge 2027: Partial conceptual match
The Woman at the Store - Katherine Mansfield: selected passage; original evidence-led practice at https://gutenberg.net.au/ebooks08/0800221h.html. Not full-work attainment, collection-parent coverage, prescribed-edition equivalence or teacher certification. Ending directly read: food advertisements, mocking laughter, account-book paper, child's retaliatory disclosure, pictured shooting and burial, silent wait until dawn, Jo staying behind and disappearing view. A drawing is reported, not an independently witnessed murder; no named victim confirmed. Distinct from Mansfield selection2 Something Childish but Very Natural.
Thesis: the ending makes the travellers' amusement collapse without replacing it with secure knowledge or responsible action. On sacks of potatoes they laugh at advertisements and then at the child. The narrator's participation matters: the first-person voice is not an impartial investigator arriving to rescue an innocent witness. Its account includes the adults' cruelty and failure to listen.
Evidence and analysis: Jim provides a pencil and the mother's account book. What begins as a dismissive instruction to keep the child occupied provides the material for a disclosure. She announces that she is making the forbidden drawing to spite her mother for leaving her with them. That motive complicates interpretation but does not automatically invalidate what she depicts; retaliation and disclosure can coexist.
Evidence and analysis: the drawing shows the woman firing a rook rifle at a man and digging a burial hole. The narrative reports an image and a prohibition, not direct observation of a killing. It gives no separately confirmed identity for the depicted man. The travellers sit beside the picture until dawn, and the contrast with their earlier laughter makes their inability or unwillingness to speak consequential.
Alternative reading: the changed air, white clouds and pink sky could suggest relief from the night. Yet there is no narrated investigation, rescue or confession. Jim and the narrator slip away, while Jo stays behind and calls that he will follow. A reading of escape should therefore ask whose escape is being achieved and what responsibility the departing observers leave unaddressed.
Conclusion: the road's bend ends visibility, not uncertainty. The final disappearance can be read as a sharply limited first-person ending: the travellers can leave a disturbing place but cannot convert their departure into proof that its suffering is resolved. Equally, uncertainty need not mean that nothing happened. The task preserves the force of the child's image without upgrading it into a verified account of murder.
Self-marking points
View marking points
(a) 1 indicative mark: advertisements and hiccupping laughter initially make the store a site of grotesque adult amusement.
(a) 1 indicative mark: the child's anger and stated wish to spite her mother give the disclosure an immediate motive without proving it false.
(b) 1 indicative mark: the narrated image shows a woman shooting a man and burying him, not a separately narrated eyewitness murder.
(b) 1 indicative mark: the contrast between prolonged silence beside the drawing and departure without questions refuses a confident explanatory voice.
(c) 1 indicative mark: fresh dawn weather changes sensation but does not establish moral cleansing or rescue for the child.
(c) 1 indicative mark: Jo remains and promises to catch up; the bend removes the scene from sight, not from unresolved significance.
Examiner tip
Indicative self-marking, not official Cambridge marks: two points per part. Credit evidence-supported alternatives. Explain how language, form or structure sustains a thesis; distinguish observation from inference. Independent teacher approval and prescribed-edition checks pending.
Question 5Atrophy - Edith Wharton. Reading scope: selected passage. Read only the specified scope for this task. Locator: Section 2 in Gutenberg Australia 0200091h, It began exactly as she had expected through the final promise to thank Mr. Frenway.
(a) Analyse how rooms and objects turn Nora's expected intimacy into exclusion. (b) Examine interruptions, apparently polite conversation and the watch as means of controlling access and time. (c) Develop an argument about whether Jane's intentions are certain. Test Nora's changing interpretations against the observable dismissal, and conclude within section2 rather than inventing Christopher's subsequent fate.
Primary reading: https://gutenberg.net.au/ebooks02/0200091h.html6 indicative marks
Atrophy - Edith Wharton. Reading scope: selected passage. Read only the specified scope for this task. Locator: Section 2 in Gutenberg Australia 0200091h, It began exactly as she had expected through the final promise to thank Mr. Frenway.
(a) Analyse how rooms and objects turn Nora's expected intimacy into exclusion. (b) Examine interruptions, apparently polite conversation and the watch as means of controlling access and time. (c) Develop an argument about whether Jane's intentions are certain. Test Nora's changing interpretations against the observable dismissal, and conclude within section2 rather than inventing Christopher's subsequent fate.
Primary reading: https://gutenberg.net.au/ebooks02/0200091h.html
Cambridge 2027: Partial conceptual match
Atrophy - Edith Wharton: selected passage; original evidence-led practice at https://gutenberg.net.au/ebooks02/0200091h.html. Not full-work attainment, collection-parent coverage, prescribed-edition equivalence or teacher certification. Entire section2 read in primary transcription: terrier/books/pipes, wrong room, personified furniture, tree-moving talk, Nora's changing guesses, fly, interrupted speech, watch/train and final husband-addressed thanks. Library of America PDF also directly read in the corresponding middle passage, printed pp440-444. No verified death of Christopher or direct access to Jane's motives claimed.
Thesis: the visit dramatises powerless intimacy through a woman who can recognise a lover's belongings but cannot gain access to him. Books, pipes and the terrier make Christopher materially present in the first room. Nora's anticipated ascent is replaced by movement across the hall into a drawing-room she experiences as lifeless. Physical proximity intensifies exclusion instead of satisfying attachment.
Evidence and analysis: chairs appear hostile and the sunlight fails to warm the room. Such personification turns Nora's experience into an atmosphere; furniture cannot literally testify to Jane's purpose. The fly grows insistently audible as time runs out. The narration makes sensory details register Nora's inward pressure, so effects are strongest when connected to her focalised perception rather than treated as objective proof of conspiracy.
Evidence and analysis: talk of transplanting trees produces an elaborate social surface around the inaccessible sickroom. References to Mr. Frenway keep Nora's married public identity in circulation, while her broken attempts to state the real purpose are politely completed or redirected by Jane. The watch and train schedule convert departure into a duty of considerate hospitality. Courtesy therefore achieves an exclusion that an openly hostile refusal might expose.
Alternative reading: Jane's tired appearance, hesitating manner and concern about a journey could partly reflect ordinary anxiety around illness. Nora repeatedly revises her belief about how much Jane knows. Yet ambiguity of intention does not cancel the observable result: Nora does not reach Christopher, and the promised thanks to her husband restore the socially acceptable account of her call. A strategic reading is persuasive without being omniscient.
Conclusion: the apparent weakness of a conventional hostess can coexist with practical authority over rooms, speech and time. The final return to thanking Mr. Frenway closes off Nora's intended private declaration. This establishes frustrated access, not a narrated death of Christopher, and the passage does not grant direct access to Jane's mind. The title can illuminate inhibited action without becoming a medical diagnosis of either woman.
Self-marking points
View marking points
(a) 1 indicative mark: intimate books, pipes and terrier give way to a lifeless drawing-room, frustrating the expected movement upstairs.
(a) 1 indicative mark: hostile furniture and the intrusive fly externalise Nora's felt exclusion without independently proving Jane's inner state.
(b) 1 indicative mark: tree-moving and references to Mr. Frenway maintain respectable social forms while delaying the urgent purpose.
(b) 1 indicative mark: interrupted requests and the train timetable let apparent hospitality function as a dismissal.
(c) 1 indicative mark: Nora alternates between thinking Jane knows and knows nothing; the reader has no unmediated confession from Jane.
(c) 1 indicative mark: a conclusion can identify effective gatekeeping while distinguishing it from certain knowledge of motives or Christopher's death.
Examiner tip
Indicative self-marking, not official Cambridge marks: two points per part. Credit evidence-supported alternatives. Explain how language, form or structure sustains a thesis; distinguish observation from inference. Independent teacher approval and prescribed-edition checks pending.
Question 6Staying Behind - Ken Liu. Reading scope: selected passage. Read only the specified scope for this task. Locator: Opening four prose paragraphs only, from After the Singularity through Now we can, before the Buy the Book insert.
(a) Analyse the opening paradox. (b) Compare the narrator's rescue imagery with Adam Ever's promise. (c) Defend a provisional judgement about narrative authority, testing an alternative. Use only the first four paragraphs.
Primary reading: https://reactormag.com/read-ken-lius-staying-behind-from-the-new-collection-the-hidden-girl-and-other-stories/3 indicative marks
Staying Behind - Ken Liu. Reading scope: selected passage. Read only the specified scope for this task. Locator: Opening four prose paragraphs only, from After the Singularity through Now we can, before the Buy the Book insert.
(a) Analyse the opening paradox. (b) Compare the narrator's rescue imagery with Adam Ever's promise. (c) Defend a provisional judgement about narrative authority, testing an alternative. Use only the first four paragraphs.
Primary reading: https://reactormag.com/read-ken-lius-staying-behind-from-the-new-collection-the-hidden-girl-and-other-stories/
Cambridge 2027: Partial conceptual match
Staying Behind - Ken Liu: selected passage; original evidence-led practice at https://reactormag.com/read-ken-lius-staying-behind-from-the-new-collection-the-hidden-girl-and-other-stories/. Not full-work attainment, collection-parent coverage, prescribed-edition equivalence or teacher certification. Four opening paragraphs directly read in Reactor's publisher-hosted reprint. Voice and competing labels checked; no whole-story review or anthology collation claimed.
Thesis: the opening makes naming survival a struggle for authority, rather than neutrally explaining technology.
Evidence analysis: the narrator's life-raft comparison attributes condescension to opponents; the accusation about children intensifies fear and communal division.
Alternative: Adam Ever's recorded promise may offer hope, but his company and repeated first-person assurances also invite scrutiny of persuasion.
Conclusion: both voices claim to preserve life. Their competing vocabularies establish conflict, not proof of either account; this opening cannot settle later events.
Self-marking points
View marking points
(a) Death is a disputed label, not an agreed definition.
(b) Rescue imagery competes with a corporate immortality claim.
(c) A judgement distinguishes conviction from demonstrated truth.
Examiner tip
Indicative self-marking, not official Cambridge marks: one point per part. Credit evidence-supported alternatives. Explain how language, form or structure sustains a thesis; distinguish observation from inference. Independent teacher approval and prescribed-edition checks pending.
