1. Example- A reading response question Explain how either characterization or narrative perspective helps to communicate a theme in Bessie Head’s short story “Snapshots of a Wedding.” You can use ‘the balance between tradition vs. modernization’ or one of the other themes we discussed in class. Be sure to consider the story’s various contexts.

2. “Snapshots of a Wedding”: Tradition vs. Modernization and Bessie Head’s Life short story “Snapshots of a Wedding” ( Botswana) South African author Bessie Head I. tradition vs. modernization: narrative voice  ironic (Head’s life), in a world that is progressing and becoming more modern, traditions can be problematic and even stifling. A. Neo, educated (like Head), shunned by family & narrator  “an impossible girl with haughty, arrogant ways” (l. 36-37) i. Narrator=Neo’s traditional family (Western education ruined her) ii. Head’s biographical connections to Neo  narrator created as ironic contrast to Head’s personal feelings B. life has “treated Neo rather nicely” (narrator) (l. 53) i. combination of “rather nicely”  ironic ii. Head (teacher, journalist, progressive) iii. Neo (& Head’s?) strains  modern woman as outsider in traditional society close reading + Head’s personal life = irony of narrative voice & Head: restrictions traditional societies put on modern & young

3. “Snapshots of a Wedding”: Tradition vs. Modernization and Bessie Head’s Life In her short story “Snapshots of a Wedding” set in Botswana, South African author Bessie Head illustrates the tenuous conflict between tradition and modernization in the Setswana culture. While the changes that result from modernization can have both positive and negative effects, the narrative voice in the story could be considered ironic in consideration of Head’s life, implying the possibility that Head indeed feels that in a world that is progressing and becoming more modern, traditions can be problematic and even stifling. The female character Neo, who is educated through her ‘O’ levels much like Head herself, is shunned by her family and even by the third person narrator, who notes that she is “an impossible girl with haughty, arrogant ways” (l. 36-37). The narrator is much aligned with Neo’s traditional family in believing that a Western education has in some way ruined her, yet it seems strange given Head’s biographical connections to Neo, suggesting that the narrator has been created as an ironic contrast to Head’s personal feelings. Moreover, the narrator claims that life has “treated Neo rather nicely” when she essentially forces Kegoletile into a marriage born of her own anxiety and a pregnancy she planned without his consent (l. 53). In addition to the understated combination of “rather nicely,” one must consider Neo’s situation in contrast to the literal meaning of these words. A progressive woman like Head, who was both a teacher and journalist, might not consider this a “nice” predicament in reality. The fact that Neo pushes herself into this situation combined with the traditional narrator’s feelings that this is a positive outcome demonstrates the strains that Neo, and possibly even Head, feels as a modern woman who has become an outsider in her once-familiar society. A close reading of the text and knowledge of Head’s personal life lead the reader to recognizing the irony of the narrative voice and thus the subtle comment Head makes about the restrictions traditional societies may inadvertently put on their increasingly modern, young generations.

4. What evidence is there of context being used? In her short story “Snapshots of a Wedding” set in Botswana, South African author Bessie Head illustrates the tenuous conflict between tradition and modernization in the Setswana culture. While the changes that result from modernization can have both positive and negative effects, the narrative voice in the story could be considered ironic in consideration of Head’s life, implying the possibility that Head indeed feels that in a world that is progressing and becoming more modern, traditions can be problematic and even stifling. The female character Neo, who is educated through her ‘O’ levels much like Head herself, is shunned by her family and even by the third person narrator, who notes that she is “an impossible girl with haughty, arrogant ways” (l. 36-37). The narrator is much aligned with Neo’s traditional family in believing that a Western education has in some way ruined her, yet it seems strange given Head’s biographical connections to Neo, suggesting that the narrator has been created as an ironic contrast to Head’s personal feelings. Moreover, the narrator claims that life has “treated Neo rather nicely” when she essentially forces Kegoletile into a marriage born of her own anxiety and a pregnancy she planned without his consent (l. 53). In addition to the understated combination of “rather nicely,” one must consider Neo’s situation in contrast to the literal meaning of these words. A progressive woman like Head, who was both a teacher and journalist, might not consider this a “nice” predicament in reality. The fact that Neo pushes herself into this situation combined with the traditional narrator’s feelings that this is a positive outcome demonstrates the strains that Neo, and possibly even Head, feels as a modern woman who has become an outsider in her once-familiar society. A close reading of the text and knowledge of Head’s personal life lead the reader to recognizing the irony of the narrative voice and thus the subtle comment Head makes about the restrictions traditional societies may inadvertently put on their increasingly modern, young generations.

5. TERMINOLOGY? In her short story “Snapshots of a Wedding” set in Botswana, South African author Bessie Head illustrates the tenuous conflict between tradition and modernization in the Setswana culture. While the changes that result from modernization can have both positive and negative effects, the narrative voice in the story could be considered ironic in consideration of Head’s life, implying the possibility that Head indeed feels that in a world that is progressing and becoming more modern, traditions can be problematic and even stifling. The female character Neo, who is educated through her ‘O’ levels much like Head herself, is shunned by her family and even by the third person narrator, who notes that she is “an impossible girl with haughty, arrogant ways” (l. 36-37). The narrator is much aligned with Neo’s traditional family in believing that a Western education has in some way ruined her, yet it seems strange given Head’s biographical connections to Neo, suggesting that the narrator has been created as an ironic contrast to Head’s personal feelings. Moreover, the narrator claims that life has “treated Neo rather nicely” when she essentially forces Kegoletile into a marriage born of her own anxiety and a pregnancy she planned without his consent (l. 53). In addition to the understated combination of “rather nicely,” one must consider Neo’s situation in contrast to the literal meaning of these words. A progressive woman like Head, who was both a teacher and journalist, might not consider this a “nice” predicament in reality. The fact that Neo pushes herself into this situation combined with the traditional narrator’s feelings that this is a positive outcome demonstrates the strains that Neo, and possibly even Head, feels as a modern woman who has become an outsider in her once-familiar society. A close reading of the text and knowledge of Head’s personal life lead the reader to recognizing the irony of the narrative voice and thus the subtle comment Head makes about the restrictions traditional societies may inadvertently put on their increasingly modern, young generations.