The Eggy Stone, by Tessa Hadley

 

SUMMARY, by Begoña Devis

This is a story about two girls who are spending a week in a camp school. The first afternoon, boys and girls go to the beach looking for treasures, like old shells or curious stones. At a certain moment, one of them pick up an eggy stone, just at the same moment that another girl, Madeleine, does too. This fortuitous fact creates a special relationship with them. During the week, they invented different games and challengers to possess the stone, and they took turns to hold it at night in their sleeping bags (they slept in different tends), because whoever possessed the stone felt privileged and safe.

The narrator feels happy, because she thinks that she doesn’t deserve a friend like Madeleine, a girl who, the very first day, has been directed to sit on the table where the charming girls sat. In addition, Madeleine’s usual friends included her tolerantly in her circle.

When the week is over, the narrator wonders what they will do with the stone from that moment: keep the stone for a week each other, and dividing up the holidays, perhaps?  But before she could speak, Madeleine turned and threw the Eggy Stone hard and far. The sound of the stone falling among the pebbles made our protagonist feel that she will never be able to find a stone like that again.

PERSONAL OPINION

I think the author uses the stone as a symbol of the feelings that the protagonist has when, through it, she makes friends with Madeleine.
She is surely a girl who goes unnoticed, she is not in the popular group of girls, and that is why she admires Madeleine. «I’m smart but she’s blonde», she says at one point, feeling adoration for her.
She admires too how Madeleine dances, sings, and even how she cheats her, stealing the Eggy Stone from her pocket. Surely he also admires her courage when she goes out at night to the boys’ tents to kiss them, when she is incapable of doing such a thing. Being friends with Madeleine makes her feel special, deserving of being in the group of the lovely girls.
That is why, when he sees Madeleine throwing the Eggy Stone, his plans to keep their friendship go up in smoke. When she says she’ll never be able to find a stone like that, what she really means is that she’ll never feel again like the special girl that she has been for that one week.

TESSA HADLEY

She was born in 1956 in Bristol, on the East Coast of England.

Her father was a teacher and an amateur jazz trumpeter, and her mother, an amateur artist.

She studied to be a teacher and worked as a teacher until she decided to form a family. Then she had three children.

When she was 37 she decided to study for a Master of Arts at the Bath Spa University, where she dedicated her time specially to the works of Katherine Mansfield, Elisabeth Bowen and Jean Rhys. Then, at 41, she started to teach creative writing at the same university.

Her first novel, Accidents in the Home, written while she was bringing up a family, was published when she was 46.

As a part of her studies, he wrote a book about Henry James. So, James, together with the authoress mentioned above, are her principal influences.

From the issue of her first novel, she has gone on publishing novels and short stories collections. Her last novel is Free Love.

Her stories are usually realistic, situated away from London, and her characters belong to the middle classes. She tends to focus the plots on the family relationships and on women. It’s remarkable her psychological insight.

She has won several awards and she is a Fellow of the Royal Society of Literature.

QUESTIONS

What do you remember of your camps / holiday homes?

The boys began throwing pebbles in the sea; the girls looked for treasures. Is there something biological in our constitutions that make boys to do different things from girls? Or is it sociological?

They touched fingers: Is physical contact always a prelude of something?

Situations can change friendships: do you have a literary or personal example?

When you were at school, where did you use to sit down? Were the ranks in alphabetical order or the teacher gave you your places, or you could choose your desk?

When can an object be a special thing (souvenir, memory, idol, talisman…)?

Do you remember any curious / invented rhyme from your childhood?

What do you know about Gargantua and Pantagruel?

Why do you thing Madeline wouldn’t go on with the narrator’s friendship?

 

VOCABULARY

rim, seaweed, sealed, daintily, felts, plantains, by rote, skipping rhymes, yearned, filching, bond, trailing, tepid, foam, publicity, constipation, netball

Lawrence of Arabia, by Graham Swift

Old Harry Rocks at Studland

SUMMARY, by Adriana Cruz 

This fragment makes us reflect on situations and moments in life that are marked and that we leave our marks. It starts with Hettie who is in the guest bedroom looking at the painting on the wall and thinking how graceful death can be. From then on, several reports of her wedding and honeymoon, then the gratitude for her sister-in-law having received her at Christmas and how they felt more like sisters and all the protection she gave her.

They say that no matter how much we prepare for death, we are never prepared. No one knows the date or the weather. 

Her husband Roy had died just before Christmas. She left the hospital, took a bus and didn’t understand why all this was going on, she didn’t want to accept it. She just wanted Roy to be with her. Then, inside the bus, she sees Peter O’Toole all over the newspapers. He, too, had died. She didn’t see the actor, but Lawrence of Arabia in his white robe, it was as if he had died again. 

What she demonstrates at the end, comparing the physical aspects between the two men (who didn’t have any resemblance) is the acceptance of him. Saying that it was just as his younger brother was before, just as Nelson Mandela was too, would change nothing because he is gone too.

QUESTIONS

What do you know about Peter O'Toole and Lawrence of Arabia? (Do some research, please.)

And about Nelson Mandela? (Do some research, please.)

Can you give us some information about Studland and the Scilly Isles?

We couldn’t choose a day to be born, and we won’t be able to choose a day to die. All our life is between two random dates: all our life, is it a product of the chance, or can we really conduct our lives?

What do you think about these couple that wanted to have a baby the 1^st of January 2000 / 2001, that is, the beginning of the 21^st Century?

What do you know about Harold Wilson? (Do some research, please.)

Would you feel better if you die in company of famous people? And in a big accident, with a lot of casualties? Or with someone you loved (suicide by love)?

“Peter O’Toole suddenly came along? And what girl wouldn’t? In her dreams.” Who were your favourite actors/actresses, your idols? Why?

How do you feel when a global event stifles your personal event?

Why do you think the story is in the second person?

 

VOCABULARY

rallies, crows, crones, crumple-faced, tinsel, cracker, amenity, squinty, peek-a-boo

Keys, by Graham Swift

Summary and analysis, by Elisa Sola Ramos

Briefly, the summary of the story is an incident of everyday life: John, a 47-year-old architect, accompanies his wife to the station to catch the train: she has to go to see his brother who is dying. John doesn’t go with her because he can’t stand his brother, and makes a secondary excuse that he has work. She doesn’t mind that he doesn’t accompany her, either. Just after leaving the woman, he realizes that he has left his keys in his zip-up jacket pocket inside the house and finds himself locked out of the house. Then, he notices that the neighbour’s housekeeper is there, and he knocks on the door for her to help him into his house. They make love.

As in many of Graham Swift’s stories, an incident of everyday life (in this case, forgetting the keys) serves to reflect on one’s own life. In our story, being shut out of the house helps John to see his own life from a distance, as if he was a stranger. And this is what John does: a 47-year-old architect, with a comfortable life and married to Clare, shows us a conventional slice of life of a well-to-do middle-aged couple, and we see the loneliness of the characters at every moment. Clare doesn’t count on him when it comes to her family (“He’d be peripheral. He was just a husband.”) and John had an affair with his colleague - or superior - at work and didn’t tell his wife, even though she knew (“she had her inklings”). The couple leads a conventional life, with jobs that are not perfect, and they are burdened with their loneliness.

The other character is the cleaner, a girl no more than 25 years old, foreign, with little command of the language. There is a great distance between John and the cleaner, to highlight the man’s power over the woman: age, purchasing power, culture... It’s a full-fledged league, but both characters are completely alone, they are strangers to their own life. They meet at a given moment and make love, but they make love to themselves because they never break the distance that separates them, at no time do they communicate.

Weather is an essential element in the story. As in many of the stories we have read, time is another character. In fact, it is the element that creates the right atmosphere. With a short story, this is very useful, because a few words create an atmosphere. In this case, the rain draws a curtain between him and his own life. It begins that four drops fall and ends that it rains in torrents and torrents, and that gives the tone and context of the story.

As always, a good image illustrates the entrance of the blog: an old and unpainted heart as a keyring, like the relationship between the two main characters. What really brings people together? Does John need Claire to appease his predatory instincts, his “stray animal inside him”, to get the stability he wants, against his impulse? Does Claire need John for her strength, as opposed to her brother and family? Why do people stay together if they feel lonely? It is the great question of our story.

QUESTIONS

What kind of goodbye do you prefer? A short one? A long one? When it’s you who goes away? When it’s you who stays?

What do you think of families? What is it better for a person, relatives or friends?

“He was just a husband.” Do you think a husband will always be peripheral? They say the first person old widows forget is their husband. Is it true?

“Weak men got ill and die.” Do you think character and constitution decide over life and death?

For you, what is a feeling? Are feelings logical? Can you control your feelings?

What is your opinion about saying always the raw truth?

Did you lose your keys any time? Do you have a story about this?

What will happen to the residents of Neale Road?

Ugly names: can a name be ugly? Can a name decide if a person is attractive or plain?

What do you know about Moldova?

Do you think we have an “animal inside us”?

Is a paraphilia to need to make love in any other’s house?

What is your opinion about the famous sentence: “No news, good news”?

What do you imagine it is going to happen then? Is Clare going to know about it? If yes, is she going to pardon him? Is their marriage going to last long?

 

VOCABULARY

spared, forecourt, got on with, spared, stifling, spot, inklings, riddle, terraced, manhandling, squirmed, tackle, put up with, unremitting, none-the-wiser, feral, bucketing, proneness, have that one there, sanctuary, knuckle down

England, by Graham Swift

SUMMARY

England is the last story of the collection and it gives the title to the book, so we have to suppose that it is its flagship. But the “spirit” of “England” is in all the stories, because they tell us about ordinary people in their country: their lives, their history, their feelings, their successes and failures. Perhaps, because of the title, someone would think that the author is a bit of a chauvinist, but his stories prove that it is the other way round: he doesn’t boast of his country, but neither scoffs at it.

 

Our story is situated in a remote place in England, in that extreme England border, the ocean, in the geographical sense as in the human sense.

Ken Black, a coastguard in the Bristol Channel, goes to his post very early in the morning, and sees a car stopped on the side of the road with one of its (“her”) wheels in a ditch. He stops to help and finds that the driver is a black man who works as a travelling comedian. For Ken it’s a so extraordinary event (a black man, a comedian, very early in the morning, in this remote part of the country) that he isn’t going to tell anybody about it. The comedian, Johnny Dewhurst, explains that a young deer standing in the middle of the road has caused his little accident. Together they put the car back on the road; then the stranger invites Ken to a coffee from a thermos and explains a bit of his job, that he comes from the north and visits a lot of places doing his show, a kind of entertaining or comical monologue. Even he invites Ken and his wife to go and see him. In the end, the coastguard goes on to his work, not believing what has happened to him and deciding he isn’t going to see his show. The comedian gets into his old car to go on his itinerary.

 

Where is England in the story? Perhaps the comedian (a black man that maybe has ancestors from Jamaica) knows more about England than Ken (a really typical Englishman), because he travels around it. Perhaps he knows more about people because he tries to make them laugh, so he has to know the famous English humour (if that thing does exist), or he knows that one really understands people when one understands their sense of humour. Perhaps the story is a kind of apology for the English people: they do help strangers, they do try to be kind to them, they can accept a cup of coffee from them, but they cannot pay a visit to their performances (that is, as it was their home) … All in all, they are perplexed and shy in front of the alien. Is the English character like this, or is it a topic?

QUESTIONS

Let’s talk about driving. Do you think people drive better or worse than before? Does driving define your personality? Do you think people become aggressive when they sit behind a wheel?

Would you stop to help someone on the road, if you can see they are in trouble?

Did you do hitch-hike when you were young? And now, do you stop your car to take hitch-hikers?

Do you think four-by-four cars should be banned from cities?

According to the narrator, the comedian has “a thick bizarre bonnet of frizzy hair”. Do you know the song Buffalo Soldier by Bob Marley? What does “Buffalo Soldier” stand for? Talking about Bob Marley; what do you know about Rastafari movement?

The narrator thinks the black man could be Caribbean. Why? Where do black people in Great Britain come from?

He says he has a “joke voice”: do you know more examples of “joke voices”?

What can you tell us from Ilfracombe?

“He pronounced the word at full-picth and with declamatory slowness.” Do you know any anecdote relative to the way we people talk to foreigners?

“He felt like a policeman”. When do you try to be civilized, do you feel sometimes like being a policeman? Do you think it’s right to act as a policeman?

What literary symbol could be the deer in the road?

When sailors talk about ships, they mention them as feminine: the nautical “lift her”. Do you think that some things are masculine and others feminine?

They say “close contact breeds affection” (el roce hace el cariño in Spanish). In this story, working together creates a kind of link between them. Can you tell us any similar experience?

“The only cloud was retirement.” Was or would be a cloud for you? Why?

How do you imagine being a travelling comedian?

What type of cities did the comedian visit in his tour?

Where is the joke here: “Johnny Dewhurst, it no joker’s name, it a butcher’s name”?

What can you tell about Dewsbury?

Do you usually give money to street artists? Why?

How does anybody decide what to be in the future?

Is the narrator going to tell the story to his mates and to his family? Why?

What is the meaning of that: “would that risk having his roadside encounter hurled outrageously back at him”?

What do you think it’s the relation between the title and the story?

 

VOCABULARY

brow, pulled up, gullies, tarmac, seldom, starkly, scoops, overcast, dashboard, plush, four-by-four, dinky, cowering, dip, dodgy, Fookin' 'ell, I is, screechy, hissy, I no, weirdly, de, joost, beguiling, lee-tal, dapples, reversing, manic, swerved, strutting, her, spin, skipper, looped stripe, arse, bumber, wrestler, We don't wahnt you messin' de natty tailorin', dents, fleetingly, skip, log, boot, elated, wizardly, skittering, yanking on, clock on, Tain't, yielding chuckle, glued, huddle, dishes, decommissioned, cackled, personas, topiary, gig, inured, shuddered, hee-hawed, bubbled out, corn exchanges, billing, stranded, dregs, forlorn, yen, buckled, head-in-the-sand, whisked away, SUVs

Do you remember how Jim speaks in Huckleberry Finn?:

You can't learn a nigger to argue 

I never see such a nigger. If he got a notion in his head once, there warn't no getting it out again. He was the most down on Solomon of any nigger I ever see. So I went to talking about other kings, and let Solomon slide. I told about Louis XVI that got his head cut off in France long time ago; and about his little boy the dolphin, that would ’a’ been a king, but they took and shut him up in jail, and some say he died there.

“Po’ little chap.”

“But some says he got out and got away, and come to America.”

“Dat’s good! But he'll be pooty lonesome—dey ain’ no kings here, is dey, Huck?”

“No.”

“Den he cain’t git no situation. What he gwyne to do?”

“Well, I don’t know. Some of them gets on the police, and some of them learns people how to talk French.”

“Why, Huck, doan’ de French people talk de same way we does?”

“No, Jim; you couldn’t understand a word they said—not a single word.”

“Well, now, I be ding-busted! How do dat come?”

“I don’t know; but it’s so. I got some of their jabber out of a book. S’pose a man was to come to you and say Polly-voo-franzy—what would you think?”

“I wouldn’ think nuffn; I’d take en bust him over de head—dat is, if he warn’t white. I wouldn’t ‘low no nigger to call me dat.”

“Shucks, it ain’t calling you anything. It’s only saying, do you know how to talk French?”

“Well, den, why couldn’t he say it?”

“Why, he is a-saying it. That’s a Frenchman’s way of saying it.”

“Well, it’s a blame ridicklous way, en I doan’ want to hear no mo’ ‘bout it. Dey ain’ no sense in it.”

“Looky here, Jim; does a cat talk like we do?”

“No, a cat don’t.”

“Well, does a cow?”

“No, a cow don’t, nuther.”

“Does a cat talk like a cow, or a cow talk like a cat?”

“No, dey don’t.”

“It’s natural and right for ‘em to talk different from each other, ain’t it?”

“Course.”

“And ain’t it natural and right for a cat and a cow to talk different from us?”

“Why, mos’ sholy it is.”

“Well, then, why ain’t it natural and right for a Frenchman to talk different from us? You answer me that.”

“Is a cat a man, Huck?”

“No.”

“Well, den, dey ain’t no sense in a cat talkin’ like a man. Is a cow a man?—er is a cow a cat?”

“No, she ain’t either of them.”

“Well, den, she ain’t got no business to talk like either one er the yuther of ‘em. Is a Frenchman a man?”

“Yes.”

“Well, den! Dad blame it, why doan’ he talk like a man? You answer me dat!”

I see it warn’t no use wasting words—you can’t learn a nigger to argue. So I quit.

 

A bit of dialogue between Jim and Huck (from Huckleberry Finn, by Mark Twain)

Holly and Polly, by Graham Swift

Holly and Polly, by Begoña Devis

SUMMARY

Holly and Polly are two young girls who work in an assisted reproductive clinic. Holly is cheeky with men, she likes saying that they work in an introduction business and teasing them, making them guess what they do.

Holly is also irreverent, she likes making jokes, like creating Latin phrases to describe the sexual act, such as “penis in vagina intro-duxit”, and answering “et semen e-mi-sit”, as if it were a chorus of monks.

Polly is amazed at Holly’s nerve. She’s also shocked at his blasphemous behaviour, despite having been raised as a Catholic. But at the same time, Polly is attracted to her. It is the attraction of opposites, as Polly is shy and quiet, meek and mild.

One day, Holly asks Polly out, who realizes that she is also a lesbian, and that makes her very happy, because she has fallen in love with her.

Polly thinks about how unlikely it is that they ever met. It is as difficult as both, the sperm and the egg, meeting at the right time in a pot at the clinic, which they enter the next day as a couple. And she is also thinking about how ironic it is that the fact of playing God creating a new life is in the hands of two lesbians, who never mixed eggs with sperm in their private lives.

Nonetheless, they’ve found each other, and Polly thinks they don’t need to be ashamed of being a couple. How can they be ashamed of anything in a place where eggs and sperm pass through their hands all day? They have met in the right place. They are happy there, wearing green, like two peas in a pod.

 

PERSONAL OPINION

My personal opinion is that it is a difficult story to read, because it uses a large amount of colloquial language and expressions unknown to me.

As for the story itself, the author is ironic all the time about the fact that two lesbians have in their hands the ability to create new lives using spermatozoa and ovules.

Deep down, he is ironic about how things happen in life, how unlikely it is that the things that happen to us really happen to us, or that we meet the right person at the right time. Actually, everything is amazing in life.

It is also a reflection on the fact that everyone can lead the life they want, where they want, without being ashamed of it.

QUESTIONS

What can it be, the relation between the title and the story?

What do you think of artificial insemination? And what about being a mother without a father? Or about surrogate mothers? Would you prefer one of these methods, or adopting?

What are the two different meanings of the word “date”, or what is the pun between “dating agency” and “getting the date right” at the beginning of the story?

“How things come together in this world”: what do you think is best, design or random? (Think about deciding sex, eyes colour, skin colour…)

Why is it a joke to come from Kildare and have to wear green?

Why is their job similar to being God?

What can it be, the “touch of red in her black hair”?

Do you believe everyone has their “type”? Is there a different type for every different person?

Why does Polly mention Northern Ireland?

Do you trust in young people for important jobs?

For a couple in love, what is it better, to be opposites or to be similar?

Who can give a better piece of advice, a person that is “in” or a person that is “out”? For example, a catholic priest to a marriage, or an out looker to a player.

What do you know about Wilmslow?

Can you guess at a first sight if someone is in love, or if a pair of friends are “friends with a benefit” or lovers?

Are you able to know someone’s sexual preferences at first sight?

 

VOCABULARY

home in on, edge, give up, fellers, youse, turn-off, turn-on, mucky, comprehensive, B.Sc, scrubs, teasing, brashness, being up for it, plainsong, had me in stitches, shred, smoothie, buck passer, lark, detachment, gash, tilt, toss, scrub cap, pod, bumped, coy, canny

Saving Grace, by Graham Swift

Saving Grace, by Carme Sanz

 Dr Shah, an eminent cardiologist, was born in Battersea, a famous neighbourhood in London. He was a very peculiar man or, better to say, a peculiar doctor, because while he treats his patients, he likes to relate them the history of his own family.

Although he has never been to India, he has the appearance of an Indian man, because his father came from this country.  In those times, India was ruled by the British, that means, before its independence in 1952.

His father was very fond of British culture, because his family was one of the few that really revered the British, and was educated as any boy in Britain. So, when the Second World War started, he fought for the British and, in the D-Day, he was badly wounded in his leg. It was then when he met Dr Chaudhry and, thanks to him, he could save not only his leg, but probably also his life.

Dr Chaudhry came from India too, and, in those times, not many people wanted to be treated by an Asian doctor, no matter how good he or she was. At this point, Dr Shah liked to say that his father was really lucky also because, thanks to his being in hospital, he met his future wife, Nurse Rosie.

Dr Chaudhry became as a family member, and Dr Shah thought he probably became a physician because of his mentorship.

To end up the story, he explained that his father had been a hospital porter for ten years, and then a clerk, in spite of his poor education. And this, thanks to his wife and probably to Dr Chaudhry.

 

As far as I am concerned, this story is easy to understand. The author presents his main character, Dr Shah, as an honest and calm man who likes to explain what happened to his family with all the issues of the immigrant people, but without any anger or resentment, just with the reality of facts. Things such as prejudice against foreigners were very strong in the past and have changed nowadays, although probably less than we’d like to. And eventually, how a man can feel a longing for his country and at the same time be able to start a new life.

QUESTIONS

What do you know about the English rule in India?

“He was born into one of those families who revered the British”. Is it possible friendship between owner and slave, between colonizer and colonized?

Where is Poona? Can you point Birmingham, Bradford or Battersea on a map?

Why sometimes a foreigner speaks the language better than natives?

According to your opinion, which position had to be the Indian position in the WW2, pro or against Nazis, pro or against British? Remember that Gandhi said that the British should not offer resistance to the Nazis, even when he knew about the genocide.

Do you think our lives are directed by the chance, or that we can decide our destiny?

What do you know about the D-Day?

He had an injured leg, and then he couldn’t go back to fight. Is that good luck? What do you know about SIW?

What can you tell us about amputations?

“If they let him do, he could save them”, being “he” a foreigner. What would you do in your case?

What does “Krupp” refer to?

“His home was in England now”. If you don’t live where you’ve been born, how do you know where is “your country”?

What do you think about following one's parents' trade? Is it a good idea?

He said cardiology was the glamour field. What is it now the glamour field in medicine?

Do you trust in foreigners when it’s an important job? Why? Did you have any experience with them?

 

VOCABULARY

awash, cut up rough, consultant, chapter and verse, on the mend, slot, overtook, mishap, whizzed, saving grace, stump, disadvantaged, pinstriped, against all the odds, disclaimingly, beam, dexterous, worked up, puny, plumply

Tragedy, Tragedy, by Graham Swift

Tragedy, Tragedy, by Lídia Gàllego

 

In the morning break, Mick talks about the improper use of the word “tragedy” in newspapers. As an example, he gives the case of Ronnie Meadow, who died of a heart attack. Concerning this, Bob also has doubts about the use of this word. Ronnie was a colleague who had a heart-attack driving a fork-lift at work. Mick thinks that newspapers use the word “tragedy” when they don’t know what to say.

Bob remembers the moment when the ambulance came and Ronnie’s wife came too. Mercer was there and said to Mrs Meadow that it was tragic, unknowing what else to say.

Mick begins a reflexion around the term “tragedy” and tries to imagine how to describe the death of a mountaineer while trying to climb. He thinks the better term to define the situation would be “heroic”, while Bob thinks the adjective could be “mad”. Mick thinks that all mountaineers dream to die climbing a mountain, but, in the other hand, he thinks it’s tragic when a mountaineer dies climbing up some easy-peasy little mountain. Bob can’t understand Mick’s reasoning and decides to ask him the killer question, “why?” Mick give him a quick answer with whom Bob disagrees. But all the discussion causes Bob beginning to think about what can be considered tragic or not. Finally, he realizes that all the thoughts that Mick express were only the expression of his fear.

The discussion ends, and Mick believes his argument has won. But Bob finally understands that people use the word tragic because they can’t use the word they ought to say: comic.

QUESTIONS

-Talk about the characters

Mick

Bob

Ronnie

-The place somebody dies: Do you feel a kind of awe or respect passing by it? (Remember the bouquets of flowers by the roads)

-Do you think there are “glasses’ faces”, that is faces where glasses (or earrings or a tattoo, or a haircut, or a lipstick colour) suit perfectly?

-Do you think that a change in your style of dressing or in the complements you wear can change your life?

-What is the best way, according to your opinion, to “quit the fags”? Were you a smoker? How did you quit it?

-What can you tell us about Hamlet? Have you read or seen the play?

-What do you know about the Lake District?

-What is for you the “killer question” when you want to decide about a film, a friend, some clothes, a lover, a dish…?

-What do you know about Beano and Dandy? Did you use to read comics? What was your favourite comic / comic character? Why?

-Are / Were you a newspaper reader? What is your favourite newspaper?

-Could you really say “comic”, or even think, about somebody’s death?

 

VOCABULARY

canteen, half-rims, fork-lift, headline, drumming, lawn-mower, gasping, mouth off, quit, pallet cover, skirting round, dawdling, fags, nipping off, daft, wipe, easy-peasy, hankering, killer question, search me, keel over, slumps, dotted, zonker, talking cobblers, score, scrunched