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English Standard

Stage 6 · HSC questions by topic

About this subject

English Standard

Atlas organises human-reviewed questions against the NSW Stage 6 English Standardsyllabus. Every published question retains its exam source and page.

Syllabus: NESA Stage 6 (2017)
Explore the NESA Stage 6 (2017) syllabus topics

Common Module: Texts and Human Experiences

  • Texts and Human Experiences

Module A: Language, Identity and Culture

  • Language, Identity and Culture

Module B: Close Study of Literature

  • Close Study of Literature

Module C: The Craft of Writing

  • The Craft of Writing
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6 questions found

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2025HSC
Q1

Text 1 — Prose fiction extract
How does Pippos portray Lucky’s sense of hope for the future?

Text 1 — Prose fiction extract
Lucky travelled back to Australia with a Dutch-owned shipping company . . . His dark berth smelled of old shoes and had the green metal atmosphere of an office bin. The tempo[1] on board was domestic; some passengers made friends, swapped stories, played songs and crooned[2] together in the lounge. Lucky did not enter into the ship’s everyday life. He shared a cabin with two chatty Scotsmen and each day couldn’t wait for the hour they left, somewhat reluctantly, to spend time with their families. The ship passed tiny islands in the distance, as anonymous as clouds. During the three-week journey, Lucky felt as if he moved inside a huge diorama[3] of the world. He often fell asleep by thinking about the pleasing scenarios that awaited: his wedding to Valia . . . He and Valia on a beach in Sydney . . . From his cabin, inside of which swung his coats and shirts, he felt able to picture her at any time of the day, working or eating or sitting in the closed cafe at night, her hand flicking up to distance a fly. In Australia, things would be simple, things were arranged: they’d marry in December and afterwards, for a few months, Lucky would work with Valia’s father. Then the couple might see about starting their own business. If the economy improved. On the boat he had two gold rings hidden inside a flap he’d cut into the lining of his suitcase. Circular Quay came into view, heavy with activity, the harbour’s northern shore in repose[4]. Little homes lay as if stamped over the bays. Lucky came down the steamship ramp into the frame of a camera shooting for a newsreel. He smiled, waved, and stepped onto the docks.

ANDREW PIPPOS Lucky’s Reprinted with the permission of Pan Macmillan Australia Pty Ltd © Andrew Pippos, 2020
[1] tempo pace
[2] crooned sang
[3] diorama a three-dimensional model
[4] repose a state of peace

4 marks
Short answer
2025HSC
Q2

Text 2 — Magazine article extract
How does Fidge explore the impact of role models in her childhood?

Text 2 — Magazine article extract
An ode[1] to our childhood idols Where I grew up . . . there was a channel desperate to see strong women – or more dedicated to shows for kids – YTV. It was accurately, just women doing anything the go-to station for me and my older sister remotely interesting. The “token female in the early 1990s and we’d always watch our character in a swarm of men” schtick[3] favourite show: She-Ra . . . the eight-foot-tall is still very much around in entertainment; cartoon superhero with long blonde hair and and back then it felt like every woman was a flying unicorn sidekick. She-Ra was made a princess . . . helpless, wearing pink frills and for me and my sister – freakishly blonde desperate to be saved. She-Ra didn’t need kids with unicorn obsessions. And I mean saving; she had a freaking sword! that kinda literally: her character came about in 1985 as a long-lost sister to an existing There wasn’t much she couldn’t do, and if superhero, He-Man, to appeal to young there was, she’d recruit her hero brother, girls. Cynical cash grab? Sure. But for a her sidekick Swift Wind (the unicorn) and preschool-aged little me, it was revolutionary whichever kindly character happened to be seeing a powerful woman get to do all the in the episode at that time. A team of goodies cool stuff reserved for guys, like use swords fighting the forces of evil – a childhood and have a personality. classic for a reason . . . She was the first superhero I remember Tragedy struck when the youth channel airing learning about and her transformation from the show underwent scheduling changes and human Adora into hero She-Ra was the best those crazy bigwigs decided to take She-Ra off part of the show. She’d raise her mighty sword the air. This was devastating. My mother . . . in the air, cry “for the honour of Grayskull, encouraged us to speak truth to power in I am She-Ra” and KABLAMMO! . . . she the only way children in the early ’90s was in superhero mode, ready to fight bad could: we hand-wrote letters to the station guys and talk to animals and SAVE THE to express our disappointment. My sister’s KINGDOM. Or something. I don’t really letter was articulate and polite, arguing for remember much of She-Ra’s lore[2], to be the importance of female role models on TV. honest. But her impact was monumental in Mine was more direct: “Put back She-Ra. my household. Do it . . . NOW!! ” They didn’t change their decision, but another lesson She-Ra taught My sister and I were, like many girls in me was that sometimes the good guys don’t the ’90s (and before then), unconsciously always win.
DEIRDRE FIDGE HOLDING OUT FOR A HERO An excerpt from magazine article HOLDING OUT FOR A HERO © Frankie Press
[1] ode tribute
[2] lore a body of tradition or knowledge
[3] schtick stereotype

5 marks
Short answer
2025HSC
Q3

Text 3 — Memoir extract
Explain how Jansson celebrates the process of creativity.

Text 3 — Memoir extract
I love rock – sheer cliffs that drop straight into the ocean, unscalable mountain peaks, pebbles in my pocket. I love prising stones out of the ground, heaving them aside and letting the biggest ones roll down the granite slope into the water. As they rumble away, they leave behind an acrid[1] whiff of sulphur. Searching for building stones or just for pretty rocks to make mosaics, bulwarks[2], terraces, supports, smoke ovens, strange unusable structures made just for the sake of constructing, and for making piers which the sea will carry away next autumn and which I’ll rebuild better for the sea to carry away all over again. I am a sculptor’s daughter, but Tooti’s papa was a carpenter, so she loves wood, whether she’s working with beautiful, heavy lumber or playing with featherweight balsa. We searched for juniper in the woods. Along the shore we managed to find unfamiliar hardwoods with unknown names. From these, Tooti carved the kinds of tiny objects that take time and infinite patience – for example, the smallest salt spoon ever made. But, says Tooti, when you’re building big, that’s completely different. You need determination and total confidence in your ability to estimate and measure and get things right, down to the centimetre. No, to the millimetre. Sometimes we build things to be solid and lasting, and sometimes to be beautiful, sometimes both.

TOVE JANSSON Notes from an Island © Tove Jansson (1996), Moomin CharactersTM
[1] acrid unpleasantly bitter
[2] bulwarks defensive walls

3 marks
Short answer
2025HSC
Q4

Text 4 — Prose fiction extract
How does Ferrante portray the ways that family relationships shape identity?

Text 4 — Prose fiction extract
We traveled through Naples in the green Fiat 500, going first to Cavone,[1] where Aunt Anna lived, then to the Campi Flegrei, where Uncle Nicola lived, then to Pozzuoli, to Aunt Rosetta. I realized that I barely remembered these relatives, maybe I had never actually known their names. I tried to hide it, but Vittoria noticed and immediately started saying mean things about my father, who had deprived me of the affection of people certainly without education, not smooth talkers, but warmhearted. How important to her the heart was . . . which she struck with her broad hand and gnarled fingers. It was in those situations that she began to suggest to me: look at what we’re like and what your father and mother are like, then tell me. She insisted forcefully on that matter of looking. She said I had blinders[2] like a horse, I looked but didn’t see the things that could disturb me. Look, look, look, she hammered into me. In fact, I let nothing escape me. Those relatives, their children a little older than me or my age, were a pleasant novelty. Vittoria flung me into their houses without warning, and yet aunts and uncles, nieces and nephews welcomed me with great familiarity, as if they knew me well and had been simply waiting, over the years, for my visit. The apartments were small, drab, furnished with objects that I had been brought up to judge crude if not vulgar. No books, only at Aunt Anna’s house did I see some mysteries. They all spoke to me in a cordial[3] dialect mixed with Italian, and I made an effort to do the same, or at least I made room in my hypercorrect Italian for some Neapolitan cadences.[4] No one mentioned my father, no one asked how he was, no one charged me with saying hello to him . . . but they tried in every way to make me understand that they weren’t angry with me. They called me Giannina, as Vittoria did and as my parents never had. I loved them all, I had never felt so open to affection. And I was so relaxed and funny that I began to think that that name assigned to me by Vittoria – Giannina – had miraculously brought forth from my same body another person, more pleasant or anyway different from the Giovanna by which I was known to my parents.

ELENA FERRANTE The Lying Life of Adults © Europa Editions
[1] Cavone, Campi Flegrei, Italian place names Pozzuoli
[2] blinders covers that restrict side vision
[3] cordial friendly
[4] Neapolitan cadences rhythms of speech in Naples, Italy

4 marks
Short answer
2025HSC
Q5

Text 5 — Poem
Analyse how Kooser shares insights about the experience of change.

Text 5 — Poem
A Letter in October
Dawn comes later and later now,
and I, who only a month ago
could sit with coffee every morning
watching the light walk down the hill
to the edge of the pond and place
a doe there, shyly drinking,
then see the light step out upon
the water, sowing reflections
to either side — a garden
of trees that grew as if by magic —
now see no more than my face,
mirrored by darkness, pale and odd,
startled by time. While I slept,
night in its thick winter jacket
bridled the doe with a twist
of wet leaves and led her away,
then brought its black horse with harness
that creaked like a cricket, and turned
the water garden under. I woke,
and at the waiting window found
the curtains open to my face;
beyond me, darkness. And I,
who only wished to keep looking out,
must now keep looking in.
TED KOOSER
Republished with permission of University Pittsburgh Press

4 marks
Short answer
2025HSC
Q6

Analyse how the representation of particular lives in your prescribed text enriches your understanding of the endurance of the human spirit.
In your response, make close reference to your prescribed text.

20 marks
Extended response