Bumface Gleitzman Morris

Teachers' Notes for Bumface written by Sarah Mayor Cox Morris Gleitzman's twelfth book, Bumface, carries on the tradition of classic Gleitzman. The plot may seem complicated, the characters quirky, the style fast paced and hilarious - but look deeper and you will find Gleitzman has once again questioned the way things are and asked us to look below the surface to really understand the characters in the book, and through them ourselves. Bumface is the story of a kid who's having to lead a far more adult life than he really wants to. He dreams of being bold, brave, wild and free like the pirates in the stories he tells his younger brother and sister. Instead he has to change nappies and wipe food off walls. It's no wonder that he's so keen to stop his mum from having another baby. And as if that's not enough, he also has to find a way to help his friend Rindi avoid an arranged marriage, not to mention convincing his teacher to let him be in the school play.   Intended Age of Readers The main characters in the story, Angus and Rindi are in the last years of primary school. As such the story is targeted at upper primary and lower secondary school students. However the many layers of plot and sub-plot, theme and sub-text also lend themselves to study with middle secondary school students. This book will have special appeal to teachers working with reluctant readers at an older level, and those working with students learning English as a Second Language. The underlying messages of the story are quite sophisticated, and older readers will not find the content of this novel patronising.   Introducing the Novel Survey the class to find out which of Morris Gleitzman's books they have already read. Collate this into a class list. How would you describe Gleitzman's writing style? Can you categorise Gleitzman's style? Consider aspects such as characters, plots, themes, genre, literary style. This may lead on to a more comprehensive author study (see: After Reading the Novel – Author Study). What do you expect from the title? Why do you think Gleitzman has used such a title? Read the blurb. Does this change your predictions about the book? If so, how?   While Reading the Novel One of the literary devices Gleitzman uses in Bumface is to make readers question their predictions and reactions. The reader is led one way when in fact the plot is going another way thus resulting in a reversal of expectations. To demonstrate this device explain that you are going to read the first page of the novel in three sections. After each part you will stop reading and ask some questions. Reassure your students that you will not spoil the reading by stopping constantly. This activity can be done after the initial reading, especially if your students are reading the novel for themselves. Read section 1. 'Angus Solomon,' sighed Ms Lowry. 'Is that a penis you've drawn in your exercise book?' (page 3) Q. How do you feel after reading this? Why do you think Gleitzman has used this as the opening line for his novel? What is the impact of this sentence on the reader? Section 2. Angus jumped, startled, and remembered where he was. Ms Lowry was standing next to his desk, staring down at the page. Other kids were sniggering. Angus felt his mouth go dry and his heart speed up. For a second he thought about lying. He decided not to. (page3) Q. What are your immediate impressions of Angus? How do you think Angus is feeling? What could he have said to cover up his picture? Why do you think he decided not to lie? What will happen next? Section 3. 'No, Miss,' he admitted, 'it's a submarine.' Ms Lowry nodded grimly. 'I thought as much,' she said. 'Now stop wasting time and draw a penis like I asked you to.' She pointed to the one she'd drawn on the blackboard. (page 3) Q. In this section Gleitzman has reversed the reader's expectations. Why do you think he does this? What is your response as a reader?   Questions While You're Reading These may be answered incidentally as you go, or be written onto task cards for students to think and write about individually or in small groups. Pages 3-14 How does Gleitzman introduce the characters of Ms Lowry, Scott Mayo, Russell Hinch, Stacy Kruger, Leo and Imogen? Pages 19-20 What do you expect to happen at 6.30pm? How do you feel when Angus, Leo and Imogen's mother does not come home? How does this make you feel about their mother? Page 22 Why do you think Gleitzman has cast Angus's mother in the part of a TV soapie mum? Would any aspect of the book change if she was not a soapie star? Page 25 On the screen Mum's beaming husband Max was handing her a spotless TV plate. 'A slice of pizza for Australia's best mum,' he said. How do you think seeing their mother in this scene makes Leo and Angus feel? Page 26 Read from: 'She has to spend more time with them,' said Angus. 'It's her job. It's how she earns the money we need to live on.' to: Little kids, they were too young to understand. What does Angus mean by this last thought? What is Gleitzman trying to say to the reader through this scene? Page 31 While doing some research for his new job Angus's dad asks him, 'What are your favourite fun things? The best things about being a kid? The things that make you glad to be alive?' What would you answer if an adult asked you 'What are the best things about being a kid?' Would your answer change depending on who asked you (i.e. family member, or a friend the same age)? What are the worst things about being a kid? Pages 33-36 Dad grinned.' My Mr Reliable,' he said. Angus glowed. (p. 33) How is Angus feeling? Angus glowed. This was his favourite part of the day...(p. 34) How is this glow different? Angus glowed through his tiredness. (p. 36) Why does Gleitzman use this verb repeatedly? What is its effect on the structure of the story and on your feelings as a reader? Page 40 This is what always happens, thought Angus gloomily. When a kid has an idea and tells it to a grown-up, the grown-up takes over. Do you agree or disagree with Angus's thoughts? Discuss some examples from your own experiences. Page 45 Angus saw a flicker of concern on her face. A voice inside him suddenly wanted to tell her everything. One of the recurring patterns in the novel is the way Angus doesn't tell people what's really going on and how he is feeling. (i.e. p. 11 – not explaining about Sidney in his bag, or pp. 14 & 36 - not telling that his dad is not doing his job properly. Why doesn't he tell? Why doesn't Gleitzman let him tell? Page 45 Read from: 'I want to see an end to this childish behaviour.' to: 'What you need to do, young man, is grow up.' Why do you think Gleitzman jumps straight to the next scene (pp. 45-46, where Angus is buying broccoli)? Many of the comments Ms Lowry makes about Angus's level of maturity are quite ironic (such as the one above). Ironic comments made by other characters are another pattern throughout the novel. Find some other examples that show how Gleitzman has used irony to get his message about maturity and responsibility across (eg. p. 72 'Darling,' she said. 'Angus. Please. Can I just have one weekend to myself? That's not a lot to ask, is it?'). Page 52 It was Angus's turn to give Number Two a hard look. 'Mum doesn't hire nannies,' he said. 'Not since she hired Priscilla and you ran off with her.' Draw a family tree for Angus. Page 59 Read from: Then, because he was weak from crying, Angus had the thought he'd tried so hard not to have all the way home... to: 'I didn't mean it,' he whispered. This passage shows just how torn Angus is between wanting to be a child and the responsibility he has for Leo and Imogen. How does this passage make you feel? Find some other examples (p. 87 - not swinging like a pirate on a rope for years) that build our sense of empathy with Angus. Page 70 I won't,' yelled Number Two into the phone, his voice getting shrill. He threw his toast on the floor and stamped his foot. 'I won't, I won't, I won't!' Do you think Gleitzman is using the way the adult characters behave in the story to convey a message about adults? Page 79 'Are they a TV family?' asked Leo. 'No,' said Angus. 'Shhhh.' But he was tempted to lean across and ask the family where you could get non-drip ice-creams and marriages that lasted. What does this passage seem to be is saying about family relationships? Is this the author or Angus? Page 89 Why do you think Rindi needs the information on contraception? Page 93 Why is Rindi so upset by Angus's comments about Rindi being good with children? Page 111 How do you feel when you finally find out why Rindi wants contraception? Page 116 He thought of the future, full of babies. All bawling their heads off... His life was over. How would you feel if you were Angus at this moment? How do you feel about your own future? How do you feel when you hear adults saying they feel sorry for the young people of today because of issues such as unemployment and the destruction of the environment? Page 124 Why does Angus feel jealous of Rindi's family? Compare and contrast the ways Rindi and Angus's parents show their responsibility and love for their children. Page 145 Rindi's parents had forgotten she was just a kid. His mum had forgotten how to have a proper marriage that lasted. Are there other adult characters in the novel who seem to have forgotten important issues? Page 161 It was his body's way of telling him that his parents didn't care about him. How does Angus feel at this moment? How do you feel for Angus? Page 167 'Stop,' screamed Angus.'I can't do it on my own.' What does Angus really mean by this? Page 174 How does Angus really feel when his dad gives him the money for baby sitting? What do you think Angus was expecting his father to say or do? What does this scene reveal about Angus's dad? Page 177 Now she'd saved up lots of money, Mum could afford to start being a mum. How do you think the story will end after reading this? Write down your predictions. Compare them to the ending. Pages 175-178 How does Angus feel when his parents call him their Mr Dependable or Mr Reliable? How do you feel when they call him those names? What does the use of these names signal to you? Pages 178-179 Why does Angus's mum really want to give Angus such a special birthday party? Page 182 'Jeez, Angus,' shouted Number Two, scowling. 'Grow up.' 'No,' yelled Angus ... 'Not yet.' How does Angus feel at this moment? How do you feel? What clues about Angus's future are we given in this last scene?   After Reading the Novel Based on Aidan Chambers' activity 'The Three Sharings' (described in Tell Me: Children, Reading and Talk, 1994, PETA, NSW) ask students to think about the book under the following headings: Sharing enthusiasms: students list likes and dislikes about the book. Sharing puzzles: students list aspects about the book that they didn't understand. If Gleitzman were there, what would they ask about the book? Sharing connections: students list recurring patterns in the book, i.e. patterns in the plot (e.g. Angus's plans to save Rindi, pp. 125, 133, 142, 161), patterns in relationships between characters, recurring phrases (Mr Reliable, Mr Dependable) or themes. After students have done this by themselves or in small groups, share these responses as a whole class. You may like to scribe the responses onto a class chart.   Author Study Conduct an author study on Gleitzman's writing. Consider issues such as similarities and differences between his characters, settings, themes, plots, literary style, sub-texts. Can you categorise Gleitzman's work? Does this impact on his popularity as a writer? Choose another author and compare and contrast their work. Literary Devices: One of the patterns in this book is Gleitzman's use of complications to the plot. Make a list of complications. You may like to put them into a flow-chart format, to show how they impact on the plot. Why does Gleitzman use them? (e.g. Imogen's nappy needing to be changed, p. 15; Leo getting stuck in the toilet, p. 21; play rehearsals being changed to after school, p. 43.) How would the book be different if these complications were not there? Characterisation: Because Angus doesn't explain himself to others they build up perceptions about what he's like (e.g. page 45 – when Angus doesn't give a truthful reason for missing play rehearsals). By writing in the third person, Gleitzman is able to give us a behind-the-scenes understanding of the characters' perceptions of each other. How does this contribute to the way we feel about the main characters (i.e. Ms Lowry, Angus's mother, Numbers One, Two, Three and Four)? Make a list of the names of all the characters in the novel. Which characters have their first names revealed? Which don't? Do you think this is a deliberate decision on Gleitzman's part or is it just a coincidence? What is the effect of this on the way we feel about the characters? Write a character reference for Angus from the point of view of one of the adult characters in the novel. Leo seems to be a very mature and sensitive child for his age (e.g. pp. 46, 54, 97). How realistic is this maturity and how believable is his relationship with Angus? What is the role of a character like Leo in this novel? Consider also Angus and Rindi's maturity. How does this contrast with some of the other characters? Which characters change throughout the book? List specific incidents which show how characters have and have not changed? Gleitzman seems to deliberately use a number of stereotypes in his characterisation. Why do you think he does this? What is the effect of these stereotypes on the novel's appeal? Make a character mobile - include specific incidents to show the true nature of the character you have chosen. Good writers are able to create characters that we believe in and care about. One of the ways they do this is by building characteristics that are universal to us all. What are the similarities and differences between you and Angus? How do these similarities and differences affect the way you relate to Angus?   Extending Readers Bumface is a book that contains many layers. It can be read simply as a fast-paced comedy, laced with sad and confronting elements, or the reader can take up Gleitzman's challenge to read between the lines and so explore the sub-text at a deeper level. In small groups or pairs, discuss plot, sub-plots, characterisation, literary style, themes, sub-text. Use a chart, time-line or semantic web to record discussions. Discuss the difference between theme and sub-text. How does Gleitzman use humour to camouflage the underlying themes and sub-text of the novel? Are there any specific messages Gleitzman is conveying through the underlying themes and sub-text of the book? Do you think that has been a deliberate decision on Gleitzman's part, or can readers and critics see things in a book that the author may not have realised were there? How do you think Gleitzman feels about Angus? Do all authors give away their feelings about their characters? Do authors try to manipulate their readers, or do they just present a story and let the reader make up his or her own mind? Role-play a discussion between Gleitzman and an interviewer about this topic. Create a concept map or semantic web linking the following words - responsibility, perceptions, power, maturity, misunderstanding, irony, contrast, humour (refer directly to elements such as the plot, characters and themes). Stage a debate concerning the issue of arranged marriages vs. love matches. Imagine you have been asked to film Bumface. Who would you cast in the main roles? Why? Consider issues such as: what characteristics you would want the actors to draw out for each character; setting; costume design. A member of your school community has demanded that the book Bumface be taken off the shelves of the school library. A public meeting has been called and you have been chosen to give your views about the use of this book. What would you say?