Cambridge IGCSE English - Literature in English 0475 — 2024 May/June Paper 4 · Variant 3

Cambridge IGCSE™ 0475/43 LITERATURE IN ENGLISH May/June 2024 Paper 4 Unseen 1 hour 15 minutes You must answer on the enclosed answer booklet. You will need: Answer booklet (enclosed) INSTRUCTIONS • Answer one question: either Question 1 or Question 2. • Follow the instructions on the front cover of the answer booklet. If you need additional answer paper, ask the invigilator for a continuation booklet. INFORMATION • The total mark for this paper is 25. • All questions are worth equal marks. This document has 8 pages. Any blank pages are indicated. [Turn over 06_0475_43_2024_1.10 © UCLES 2024 *6387614603*

You are advised to spend about 20 minutes reading the question paper and planning your answer. Answer either Question 1 or Question 2. Either Read carefully the following poem. The poet remembers a time when a hurricane hit his community and how the children reacted to it. 1 How does the poet vividly convey the impact of the hurricane? To help you answer this question, you might consider: • how he conveys the force of the hurricane • how he portrays the fears of the children • how he conveys his thoughts and feelings about what has happened to the community. Hurricane A storm roared over the Bay of Bengal, a glass bull charging with its horns. It pounded throughout the long night as we children huddled together inside our fatherless bungalow. We watched our tin roof rip off. First from its tie beams then the ceiling joists. One by one the rest of the house vanished as we covered our heads with our hands and saw our possessions take flight – The Koran, War and Peace, Gitanjali1, the clothes in the alna2, shoes and sandals, sisters’ dolls and brothers’ cricket bats. We children couldn’t understand what sins we’d committed, 06_0475_43_2024_1.10 © UCLES 2024 2

but we asked God’s forgiveness. We thought the worst was over. Then came the giant waves one after the other snatching us from the arms of our mother, tossing us like cheap wood. Trees fell, exposing their great roots. Cats and cattle lay dead on the ground. Our bodies shrivelled with water, shuddered like old engines. Teeth rattled to the point of rapture. The sun came very late that day, found us trapped in a wind-sheared tree. We couldn’t hear the birds singing or the muezzin3 calling for prayer. Silence, the new disease, swept across our land. 1The Koran, War and Peace, Gitanjali: famous texts 2alna: piece of furniture used for hanging and storing clothes 3muezzin: person who calls Muslims to prayer [Turn over 06_0475_43_2024_1.10 © UCLES 2024 3

Or Read carefully the following extract from a short story set in the early twentieth century. It describes a first encounter between Henry, an idealistic young man, and Edna, a young working woman. 2 Henry has boarded the wrong part of the train having left his portfolio and hat in another compartment. How does the writer make this encounter so entertaining? To help you answer this question, you might consider: • how she portrays Henry’s thoughts and how he speaks to the girl • how she portrays the girl’s reactions • how the writing conveys rising tension towards the end of the passage. The train had flung behind the roofs and chimneys. They were swinging into the country, past little black woods and fading fields and pools of water shining under an apricot evening sky. Henry’s heart began to thump and beat to the beat of the train. He couldn’t leave it like that. She sat so quiet, hidden in her fallen hair. He felt that it was absolutely necessary that she should look up and understand him – understand him at least. He leant forward and clasped his hands round his knees. ‘You see I’d just put all my things – a portfolio – into a third-class “smoker1” and was having a look at the book-stall,’ he explained. As he told the story she raised her head. He saw her grey eyes under the shadow of her hat and her eyebrows like two gold feathers. Her lips were faintly parted. Almost unconsciously he seemed to absorb the fact that she was wearing a bunch of primroses and that her throat was white – the shape of her face wonderfully delicate against all that burning hair. ‘How beautiful she is! How simply beautiful she is!’ sang Henry’s heart, and swelled with the words, bigger and bigger and trembling like a marvellous bubble – so that he was afraid to breathe for fear of breaking it. ‘I hope there was nothing valuable in the portfolio,’ said she, very grave. ‘Oh, only some silly drawings that I was taking back from the office,’ answered Henry airily. ‘And – I was rather glad to lose my hat. It had been hurting me all day.’ ‘Yes,’ she said, ‘it’s left a mark,’ and she nearly smiled. Why on earth should those words have made Henry feel so free suddenly and so happy and so madly excited? What was happening between them? They said nothing, but to Henry their silence was alive and warm. It covered him from his head to his feet in a trembling wave. Her marvellous words, ‘It’s made a mark,’ had in some mysterious fashion established a bond between them. They could not be utter strangers to each other if she spoke so simply and so naturally. And now she was really smiling. The smile danced in her eyes, crept over her cheeks to her lips and stayed there. He leant back. The words flew from him – ‘Isn’t life wonderful!’ 06_0475_43_2024_1.10 © UCLES 2024 4

At that moment the train dashed into a tunnel. He heard her voice raised against the noise. She leant forward. ‘I don’t think so. But then I’ve been a fatalist2 for a long time now’ – a pause – ‘months.’ They were shattering through the dark. ‘Why?’ called Henry. ‘Oh . . .’ Then she shrugged, and smiled and shook her head, meaning she could not speak against the noise. He nodded and leant back. They came out of the tunnel into a sprinkle of lights and houses. He waited for her to explain. But she got up and buttoned her coat and put her hands to her hat, swaying a little. ‘I get out here,’ she said. That seemed quite impossible to Henry. The train slowed down and the lights outside grew brighter. She moved towards his end of the carriage. ‘Look here!’ he stammered. ‘Shan’t I see you again?’ He got up too, and leant against the rack with one hand. ‘I must see you again.’ The train was stopping. She said breathlessly, ‘I come down from London every evening.’ ‘You – you – you do – really?’ His eagerness frightened her. He was quick to curb it. Shall we or shall we not shake hands? raced through his brain. One hand was on the door-handle, the other held the little bag. The train stopped. Without another word or glance she was gone. 1smoker: carriage where smoking was permitted 2fatalist: someone who believes all events are subject to fate 06_0475_43_2024_1.10 © UCLES 2024 5

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BLANK PAGE Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge Assessment International Education Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cambridgeinternational.org after the live examination series. Cambridge Assessment International Education is part of Cambridge Assessment. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which is a department of the University of Cambridge. 06_0475_43_2024_1.10 © UCLES 2024 8

This document consists of 5 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ LITERATURE IN ENGLISH 0475/43 Paper 4 Unseen May/June 2024 MARK SCHEME Maximum Mark: 25 Published This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge International will not enter into discussions about these mark schemes. Cambridge International is publishing the mark schemes for the May/June 2024 series for most Cambridge IGCSE, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 2 of 5 Generic Marking Principles These general marking principles must be applied by all examiners when marking candidate answers. They should be applied alongside the specific content of the mark scheme or generic level descriptions for a question. Each question paper and mark scheme will also comply with these marking principles. GENERIC MARKING PRINCIPLE 1: Marks must be awarded in line with:  the specific content of the mark scheme or the generic level descriptors for the question  the specific skills defined in the mark scheme or in the generic level descriptors for the question  the standard of response required by a candidate as exemplified by the standardisation scripts. GENERIC MARKING PRINCIPLE 2: Marks awarded are always whole marks (not half marks, or other fractions). GENERIC MARKING PRINCIPLE 3: Marks must be awarded positively:  marks are awarded for correct/valid answers, as defined in the mark scheme. However, credit is given for valid answers which go beyond the scope of the syllabus and mark scheme, referring to your Team Leader as appropriate  marks are awarded when candidates clearly demonstrate what they know and can do  marks are not deducted for errors  marks are not deducted for omissions  answers should only be judged on the quality of spelling, punctuation and grammar when these features are specifically assessed by the question as indicated by the mark scheme. The meaning, however, should be unambiguous. GENERIC MARKING PRINCIPLE 4: Rules must be applied consistently, e.g. in situations where candidates have not followed instructions or in the application of generic level descriptors. GENERIC MARKING PRINCIPLE 5: Marks should be awarded using the full range of marks defined in the mark scheme for the question (however, the use of the full mark range may be limited according to the quality of the candidate responses seen). GENERIC MARKING PRINCIPLE 6: Marks awarded are based solely on the requirements as defined in the mark scheme. Marks should not be awarded with grade thresholds or grade descriptors in mind.

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 3 of 5 English & Media subject specific general marking principles (To be read in conjunction with the Generic Marking Principles (and requiring further guidance on how to place marks within levels)) Components using level descriptors:  We use level descriptors as a guide to broad understanding of the qualities normally expected of, or typical of, work in a level.  Level descriptors are a means of general guidance, and should not be interpreted as hurdle statements.  Where indicative content notes are supplied for a question, these are not a prescription of required content, and must not be treated as such. Alternative correct points and unexpected answers in candidates’ scripts must be given marks that fairly reflect the knowledge and skills demonstrated.  While we may have legitimate expectations as to the ground most answers may occupy, we must at all times be prepared to meet candidates on their chosen ground, provided it is relevant ground (e.g. clearly related to and derived from a relevant passage/text and meeting the mark scheme requirements for the question). Components using point-based marking: Point marking is often used to reward knowledge, understanding and application of skills. We give credit where the candidate’s answer shows relevant knowledge, understanding and application of skills in answering the question. We do not give credit where the answer shows confusion. From this it follows that we: a DO credit answers which are worded differently from the mark scheme if they clearly convey the same meaning (unless the mark scheme requires a specific term). b DO credit alternative answers/examples which are not written in the mark scheme if they are correct. c DO credit answers where candidates give more than one correct answer in one prompt/numbered/scaffolded space where extended writing is required rather than list-type answers. For example, questions that require n reasons (e.g. State two reasons…). d DO NOT credit answers simply for using a ‘key term’ unless that is all that is required. (Check for evidence it is understood and not used incorrectly.) e DO NOT credit answers which are obviously self-contradicting or trying to cover all possibilities. f DO NOT give further credit for what is effectively repetition of a correct point already credited unless the language itself is being tested. This applies equally to ‘mirror statements’ (i.e. polluted/not polluted). g DO NOT require spellings to be correct, unless this is part of the test. However, spellings of syllabus terms must allow for clear and unambiguous separation from other syllabus terms with which they may be confused (e.g. Corrasion/Corrosion).

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 4 of 5 Assessment Objectives The Assessment Objectives are evenly weighted across each question. The assessment objectives for the paper are: AO1 show detailed knowledge of the content of literary texts, supported by reference to the text AO2 understand the meanings of literary texts and their contexts, and explore texts beyond surface meaning to show deeper awareness of ideas and attitudes AO3 recognise and appreciate ways in which writers use language, structure, and form to create and shape meanings and effects AO4 communicate a sensitive and informed personal response. The Band Descriptors cover marks from 0 to 25, and apply to the marking of each question. They guide examiners to an understanding of the qualities normally expected of, or typical of, work in a band. They are a means of general guidance and must not be interpreted as hurdle statements. For the purposes of standardisation of marking, they are to be used in conjunction with the Practice and Standardisation scripts discussed during the coordination meeting and with Team Leaders, as well as the question-specific notes. The supplementary notes for each question are related to the assessment objectives above. Because of the nature of the subject, they are for general guidance; they are not designed as prescriptions of required content and must not be treated as such. The syllabus aims at encouraging candidates to make some personal response to their reading. Whilst there are legitimate expectations of the content of most answers, examiners may see responses that include ideas not covered in the supplementary guidance. For these cases, examiners should credit valid responses fairly and not penalise candidates for including valid points outside the mark scheme.

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 5 of 5 BAND DESCRIPTOR TABLE Band 8 25 24 23  demonstrates knowledge by incorporating well-selected reference to the text skilfully and with flair (AO1)  sustains a critical understanding of the text showing individuality and insight (AO2)  responds sensitively and in considerable detail to the way the writer achieves their effects (AO3)  sustains personal and evaluative engagement with task and text (AO4) Band 7 22 21 20  demonstrates knowledge by integrating much well-selected reference to the text (AO1)  shows a clear critical understanding of the text (AO2)  responds sensitively and in detail to the way the writer achieves their effects (AO3)  sustains a perceptive, convincing and relevant personal response (AO4) Band 6 19 18 17  demonstrates knowledge by supporting with careful and relevant reference to the text (AO1)  shows a clear understanding of the text and some of its deeper implications (AO2)  makes a developed response to the way the writer achieves their effects (AO3)  makes a well-developed, detailed and relevant personal response (AO4) Band 5 16 15 14  demonstrates knowledge by showing some thoroughness in the use of supporting evidence from the text (AO1)  shows understanding of the text and some of its deeper implications (AO2)  makes some response to the way the writer uses language (AO3)  makes a reasonably developed relevant personal response (AO4) Band 4 13 12 11  demonstrates knowledge by using some supporting textual detail (AO1)  shows some understanding of meaning (AO2)  makes a little reference to the language of the text (AO3)  begins to develop a relevant personal response (AO4) Band 3 10 9 8  demonstrates knowledge by making a little supporting reference to the text (AO1)  makes some relevant comments (AO2)  shows a basic understanding of surface meaning of the text and language (AO3)  attempts to communicate a basic personal response (AO4) Band 2 7 6 5  demonstrates knowledge by making a little reference to the text (AO1)  makes a few straightforward comments (AO2)  shows a few signs of understanding the surface meaning of the text and language (AO3)  some evidence of simple personal response (AO4) Band 1 4 3 2 1  demonstrates knowledge by limited textual reference (AO1)  shows some limited understanding of simple/literal meaning (AO2)  a little awareness of surface meaning of text and language (AO3)  limited attempt to respond (AO4) Band 0 0  No answer/Insufficient to meet the criteria for Band 1.