Level: Year 12 (SACE Stage 2) English Studies, 2013

Task: Individual Study

Draft: Term 3 Week 10
Final Copy: Term 4 Week 6-ish
Topic:

TASK
Choose two texts for individual consideration. These texts may include extended prose texts,
plays, anthologies of verse by single poets, collections of speeches, or film.
The critical essay, in which the two texts must be discussed in relation to each other, allows
students to demonstrate their ability to generate and sustain a critical opinion. When designing
a question, consider how to demonstrate critical understanding in their examination of the
texts.

Length: maximum 2000 words: take-home, edited (please include word count), plus weekly
consultations with the teacher.

Level: Year 12 (SACE Stage 2) English Studies, 2013

Task: Individual Study
Student Name:

Knowledge:
Analysis
Application:
Communication:

A
A
A
A

B
B
B
B

C
C
C
C

D
D
D
D

Final Grade:

Topic:
Assessment Design Criteria / Performance Standards for Stage 2 English Studies

Knowledge and
Understanding

Analysis

Application

Communication

Knowledge and understanding of a wide

range of ways in which authors use
stylistic features and language
techniques to communicate complex and
familiar ideas, and to influence the
readers response.

Analysis of complex connections

between personal experiences, ideas,
values, and beliefs, and those explored
in
familiar and unfamiliar texts.

Use of a wide range of language skills and

techniques to create sophisticated and
coherent texts that address the meaning and
intention of the task.

Fluent and precise writing and speaking,

using appropriate style and structure for
a range of mainly unfamiliar audiences
and contexts.

In comparative exercises, a perceptive

recognition of connections between texts,
through responses that integrate
discussion of texts and move easily between
them.

Appropriate use of form and register to

convey mostly complex meaning in a
range of unfamiliar contexts.

Detailed knowledge and understanding

of
the ideas, values, and beliefs in familiar
and unfamiliar texts.
Knowledge and understanding of the
ways in which creators and readers of
familiar and unfamiliar texts use a range
of textual conventions to make meaning.

Knowledge and understanding of the

ways in which authors use stylistic
features and language techniques to
communicate complex and familiar
ideas,
and to influence the readers response.

In comparative exercises, a perceptive

analysis of connections between texts,
based on analysis and synthesis of
similarities and/or differences.
Perceptive analysis of a range of ways in
which authors use language techniques
to influence opinions and decisions in
familiar and unfamiliar texts.

Analysis of some complex connections

between personal experiences, ideas,
values, and beliefs, and those explored
in
familiar, and some unfamiliar, texts.

Knowledge and understanding of some

ideas, values, and beliefs in familiar, and
some unfamiliar, texts.

In comparative exercises, a clear

analysis of connections between texts,
based on analysis of similarities and/or
differences.

Knowledge and understanding of the

ways in which creators and readers of
mainly familiar texts use some textual
conventions to make meaning.

Analysis of a range of ways in which

authors use language techniques to
influence opinions and decisions in
familiar, and some unfamiliar, texts.

Detailed and appropriate use of evidence

from texts to support responses, with
textual references incorporated fluently in
discussion.
Skills in using the textual, structural, and
conventional features of text types for a
range of familiar and unfamiliar contexts,
audiences, and purposes.
Use of a range of language skills and
techniques to create clear and coherent texts
that address the meaning and intention of the
task.
In comparative exercises, recognition of
connections between texts, through responses
that compare and contrast texts in an
integrated way.
Appropriate use of evidence from texts to
support responses, with textual references
incorporated in discussion.
Skills in using some of the textual, structural,
and conventional features of text types for a
range of mainly familiar, and some unfamiliar,
contexts, audiences, and purposes.

Mostly fluent and precise writing and

speaking, using appropriate style and
structure for a range of mostly familiar
audiences and contexts.
Appropriate use of form and register to
convey complex and simple meaning in
a
range of familiar and unfamiliar contexts.

E
E
E
E

Knowledge and
Understanding

Analysis

Application

Communication

Knowledge and understanding of a

narrow range of ways in which authors
use stylistic features and language
techniques to communicate mainly
familiar ideas, and to influence the
readers response.

Analysis of simple connections between

personal experiences, ideas, values, and
beliefs, and those explored in familiar
texts.

Use of language skills and techniques to

create texts that address the meaning
and intention of the task.

Generally fluent and functional writing

and speaking, using appropriate style
and structure for familiar audiences and
contexts.

Knowledge and understanding of some

ideas, values, and beliefs in mainly
familiar texts.

Knowledge and understanding of some

of the ways in which creators and
readers of a range of familiar texts use
textual conventions to make simple or
factual meaning.

Descriptive analysis of a number of ways

in which authors use language
techniques to influence opinions and
decisions in familiar texts.

Knowledge and restricted understanding

of some simple stylistic features and
language techniques used by authors to
communicate mainly familiar ideas, and
to influence the readers response.

Reference to simple connections

between uncomplicated personal
experiences, ideas, values, and beliefs,
and those explored in familiar texts.

Knowledge and understanding of some

familiar ideas, values, and beliefs in
familiar texts.
Knowledge and understanding of a
restricted number of ways in which
creators and readers of a narrow range
of familiar texts use some textual
conventions to make simple or factual
meaning.

In comparative exercises, analysis of

connections between texts, based on
some understanding of similarities
and/or
differences.

In comparative exercises, answers that

make partial comparisons and contrasts.
Reference to some ways in which
authors use a range of language
techniques to influence opinions and
decisions in familiar texts.

Knowledge and understanding of a

restricted range of simple stylistic
features and language techniques used
by authors to communicate familiar
ideas, and to influence the readers
response.

Recognition of a simple connection

between a straightforward personal,
experience, idea, value, or belief, and
that explored in a highly familiar text.

Identification of an idea, a value, or a

belief in familiar texts.

Reference to the way in which an author

uses language techniques to influence
opinions and decisions in a highly
familiar
text.

Knowledge and understanding of the

ways in which a creator or reader of a
highly familiar text uses textual
conventions to make factual meaning.

In comparative exercises, answers that

make a simple comparison or contrast.

In comparative exercises, recognition of

some connections between texts,
through responses that compare and
contrast texts, usually in a sequential
rather than an integrated way.

Appropriate use of form and register to

convey simple meaning in a narrow
range of familiar and unfamiliar contexts.

Competent use of evidence from texts to

support responses, with some use of
textual references in discussion.
Skills in using some of the textual,
structural, and conventional features of
some text types for familiar contexts,
audiences, and purposes.
Use of some language skills and
techniques to create texts that partly address
the meaning and intention of the task.

Achievement of a level of fluency in

writing and speaking, in a mainly
appropriate style.

In comparative exercises, some

awareness of connections between texts,
through partial responses that mainly
deal with texts separately.

Occasionally appropriate use of form

and/or register to convey simple
meaning
in familiar contexts.

Some use of evidence from texts to

support a response, with use of a narrow
range of textual references.
Skills in using some of the textual,
structural, or conventional features of a
text type for a familiar context, audience,
or purpose.
Attempted use of a restricted range of
language skills and/or techniques to create a
text or texts that attempt to address the
meaning or intention of the task.
In comparative exercises, identification of
limited connections between texts, through
fragmented responses that deal with texts
separately.
Restricted use of evidence from texts to
support a simple response, with limited
textual reference.
Skills in using the textual, structural, or
conventional features of a text type for a
highly familiar context, audience, or
purpose.

Emerging development of fluency in an

occasionally appropriate style.
Occasionally appropriate use of form
and
register to convey literal meaning in
highly familiar contexts.

Knowledge and
Understanding

Comments:

Analysis

Application

Communication

Year 12 English Studies

Individual Study

General Introduction

Your Individual Study involves reading and critically analysing two texts independent of those
studied as a class.
Texts may include novels, plays, poetry anthologies, films, graphic novels, short story collections
and so on.
My recommendation: DO NOT choose a film as a text to analyse unless you are a student of high
ability (ask your teacher if in doubt). Many who choose films as a text analyse them poorly and
merely treat them as a narrative (story). Film texts are not easy to critically evaluate and require a
great deal of analysis of film technique. It is my view that most schools need to prepare students
better in film analysis before allowing them to study film in their Individual Studies.
If permitted, you may choose a film text as your SECOND text.
Another recommendation is to choose two texts of different format, such as novel/play or perhaps
play/poetry or novel/film, if only to help you focus on the similarities and differences between them.
You may choose texts by authors studied in class.
A further recommendation: do not choose your second text until you have finished your first. This
should widen your options instead of locking you into a certain frame of thinking.
Your FIRST TEXT must be chosen by Term 1 Week 2, in close consultation with your teacher.
Texts must be connected in some way thematically, preferably not by author.
The Individual Study is designed to promote your awareness as a reader and should enhance your
ability to detect and analyse the textual devices employed by the authors. It is much more than
understanding plot, characters and themes.

Timeline

Term 1: Read and annotate TEXT 1.

Term 2: Read and annotate TEXT 2, making comparisons with TEXT 1.
Term 3: Draft your 2000 word Critical Essay, which compares your two texts.
End of Term 3 Week 10: First draft of Critical Essay due.
Term 4: Editing process.
Term 4 Week 7: Final Copy of Critical Essay Due (after exams).
Finally, more details are on the sheet entitled What to take notes on as you read

Outside of a dog, a book is a

mans best friend.
Inside of a dog, its too dark to
read.
Groucho
Marx

A Brief Reading List by THEME

Science & Ethics
Honk if You Are Jesus (Peter Goldsworthy)
Sixth Day (film)
Frankenstein (Mary Shelley)
Do Androids Dream of Electric Sheep? (Philip K. Dick)
Bladerunner (film)
The Island of Dr Moreau (H. G. Wells)
Brave New World (Aldous Huxley)
Gattaca (film)
I Robot (film)
Never Let Me Go (Kashuro Ishiguro)
Solar (Ian McEwan)
The Island (film)
Conflict/Contrast between Technology & Nature
Fly Away Peter (David Malouf)
Brave New World (Aldous Huxley)
1984 (George Orwell)
Avatar (film)
Landscape / Nature
Dirt Music (Tim Winton)
Death of a River Guide (Richard Flannagan)
Blueback (Tim Winton)
Three Dog Night (Peter Goldsworthy)
Poetry (Judith Wright)
Drylands (Thea Astley)
An Imaginary Life (David Malouf)
The Drowner (Robert Drewe)
The Road from Coorain (Jill Kerr Conway)
We of the Never Never (Aneas Gunn)
Surfacing (Margaret Atwood)
The Riders (Tim Winton)
The Shipping News (Annie Proulx)
Personal / Spiritual Journey
Maestro (Peter Goldsworthy)
Radiance (Rachel Perkins)
Hiam (Eva Sallis)
The Poisonwood Bible (Barbara Kingsolver)
The Shipping News (Annie Proulx)
The Piano Tuner (Daniel Mason)
Shirley Valentine (Willy Russell)
The Mosquito Coast (Paul Theroux)
Box the Pony (Leah Purcell and Scott Rankin)
Odyssey (Homer)
Truce (Primo Levi)
Journey to Ithaca (Vicky de Lacy)

Life of Pi (Yann Martel)

Dirt Music (Tim Winton)
The Riders (Tim Winton)
A Place Like This (Steven Herrick)
Salt of Broken Tears (Michael Meehan)
The Death of a River Guide (Richard Flannigan)
The Accidental Tourist (Anne Tyler)
Keep It Simple Stupid (Peter Goldsworthy)
Portrait in Sepia (Isabel Allende)
Atonement (Ian McEwan)
Fury (Salman Rushdie)
An Equal Music (Vikram Seth)
Navigating (Katherine Thomson)
The Bell Jar (Sylvia Plath)
Sweet Road (Debra Oswald)
The Portrait of Dorian Gray (Oscar Wilde)
Oscar & Lucinda (Peter Carey)
Disgrace (J. M. Coetzee)
Rabbit Proof Fence (film)
Heart of Darkness (Joseph Conrad)
Night Letters (Robert Dessaix)
The Good Thief (Hannah Tinti)
The Kite Runner (Khaled Hosseini)
Maos Last Dancer (film)
Slumdog Millionaire (film)
The Sea (John Banville)
Batman Begins (film)
The Road (Cormac McCarthy)
Away (Michael Gow)
Educating Rita (Willy Russell)
Life As a House (film)
Metro 2033 (Dmitry Glukhovsky)
Meaning of Life
The Meaning of Life (film)
Animal Dreams (Barbara Kingsolver)
East of the Mountains (David Guterson)
Hitchhikers Guide to the Galaxy (Douglas Adams)
The Loved One (Evelyn Waugh)
Veronika Decides to Die (Paulo Coelho)
Sophies World (Jostein Gaarder)
Heart of Darkness (Joseph Conrad)
Life Is Beautiful (film)
Rhinoceros (Eugene Ionescu)
Disintegration/Destruction of Culture/Humanity
Things Fall Apart (Chinua Achebe)
The Poisonwood Bible (Barbara Kingsolver)
The Death of a River Guide (Richard Flannigan)
Vinegar Hill (A. Manette Ansay)
The Great Gatsby (F. Scott Fitzgerald)
The Bell Jar (Sylvia Plath)
Whos Afraid of Virginia Woolf? (Edward Albee)
Lord of the Flies (William Golding)
The Power and the Glory (Graham Greene)

Avatar (film)
Future
Fahrenheit 451 (Ray Bradbury)
1984 (George Orwell)
Brave New World (Aldous Huxley)
The Handmaids Tale (Margaret Atwood)
Utopia (Thomas Moore)
We (Yevgeny Zamyatin)
The Chrysalids (John Wyndham)
Fools Errand (Robin Hobb)
2001: A Space Odyssey (Arthur C. Clarke)
Gattaca (film)
A.I. (film)
I Robot (film)
Never Let Me Go (Kashuro Ishiguro)
Children of Men (film)
Wall.E (film)
The Island (film)
The Road (Cormac McCarthy)
Metro 2033 (Dmitry Glukhovsky)
Discrimination
The Elephant Man (Ashley Montagu)
The Seven Stages of Grieving (Deborah Mailman & Wesley Enoch)
Philadelphia (filmscript)
Stolen (Jane Harrison)
The Power of One (Bryce Courtenay)
An Instant in the Wind (Andre Brink)
A Lesson Before Dying (Ernest J. Gaines)
Once Were Warriors (Alan Duff)
The Chant of Jimmy Blacksmith (Thomas Keneally)
Rabbit Proof Fence (Doris Pilkington Garimata or Phillip Noyce))
Merchant of Venice (William of Shakespeare)
Disgrace (J. M. Coetzee)
Animal Dreams (Barbara Kingsolver)
To Kill a Mockingbird (Harper Lee)
The Adventures of Huckleberry Finn (Mark Twain)
Snow Falling on Cedars (David Guterson)
Ballad of the Sad Caf (Carson McCullers)
Cry Freedom (J. Briley)
I Know Why the Caged Bird Sings (Maya Angelou)
The Color of Water (James McBride)
Cry Freedom (J. Briley)
Merchant of Venice (William Shakespeare)
The Boy in the Striped Pyjamas (John Boyne)
War / Morality
All Quiet on the Western Front (Erich Maria Remarque)
Selected Poems (Wilfred Owen)
Captain Corellis Mandolin (Louis de Berniere)
The English Patient (Michael Ondaatje)
Miracle at St Annas (James McBride)

Cold Mountain (Charles Frazier)

Paths of Glory (Stanley Kubricks filmscript or novel by Humphrey Cobb)
Private Wars (James McLure)
Regeneration (Pat Barker)
The Hand that Signed the Paper (Helen Demidenko)
Schindlers Ark (Thomas Keneally)
The Reader (Bernard Schlink)
Cabaret (film)
Life is Beautiful (film)
Johnno (David Malouf)
Maus (Art Spiegelmann : COMIC)
My Brother Jack (George Jonhston)
Catch 22 (Joseph Heller)
Slaughterhouse Five (Kurt Vonnegut Jr)
Reading in the Dark (Seamus Deane)
If This Is a Man (Primo Levi)
The Dark Room (Rachel Seiffert)
Night (Elie Wiesel)
Apocalypse Now (film)
War Horse (Michael Morpurgo) (or film)

Culture Clash
Angelas Ashes (Frank McCourt)
A Passage to India (E.M.Forster)
Poor Mans Orange (Ruth Park)
The God of Small Things (Arundhati Roy)
A Clockwork Orange (Anthony Burgess)
The Sound of One Hand Clapping (Richard Flannigan)
Six Degrees of Separation (John Guare)
Our Countrys Good (Timberlake Wertenbaker)
No Sugar (Jack Davis)
Stolen (Jane Harrison)
Snow Falling on Cedars (David Guterson)
The Colour of Water (James McBride)
Disgrace (J. M. Coetzee)
Animal Dreams (Barbara Kingsolver)
The Poisonwood Bible (Barbara Kingsolver)
The Death of a River Guide (Richard Flannigan)
Once Were Warriors (Alan Duff)
The Piano Tuner (Daniel Mason)
Heat and Dust (Ruth Prawer Jhabvala)
Deadly Unna? (Phillip Gwynne)
The Chant of Jimmy Blacksmith (Thomas Keneally)
Dangerous Love (Ben Okri)
Fight Club (film)
Monsoon Wedding (film)
The Chosen (Chaim Potok)
Avatar (film)
Billy Elliot (film)
Pride and Prejudice (Jane Austen) (or film)
The Secret River (Kate Grenville)
The Catcher in the Rye (J.D. Salinger)

Abuse
The Colour Purple (Alice Walker)
Black Rock (Nick Enright)
A Property of the Clan (Nick Enright)
Candelo (Georgia Blain)
Willow Tree and Olive (Irini Savvides)
Sleepers (film)
Property (Valerie Martin)
Redemption
Shawshank Redemption (Steven King)
Magnificent Obsession (Lloyd C. Douglas)
The Picture of Dorian Gray (Oscar Wilde)
Atonement (Ian McEwan)
Pilgrims Progress (John Bunyan)
Doctor Faustus (Christopher Marlowe)
The Divine Comedy (Dante)
Paradise Lost (John Milton)
That Eye the Sky (Tim Winton)
The Power and the Glory (Graham Greene)
The Riders (Tim Winton)
Fly Away Peter (David Malouf)
The Inferno (Dante)
The Crucible (Arthur Miller)
The Kite Runner (Khaled Hosseini)
Away (Michael Gow)
One Flew over the Cuckoos Nest (Ken Kesey)
The Road (Cormac McCarthy)
I Am Legend (film)
Metro 2033 (Dmitry Glukhovsky)
Family / Childhood
Angelas Ashes (Frank McCourt)
The God of Small Things (Arundhati Roy)
The Small Poppies (David Holman)
Our Town (Thornton Wilder)
Away (Michael Gow)
Equus (Peter Schaffer)
The Colour of Water (James McBride)
That Eye the Sky (Tim Winton)
The Poisonwood Bible (Barbara Kingsolver)
Billy Elliot (film)
American Beauty (film)
The Gathering (Anne Enright)
Good and Evil
The Devil and Miss Prym (Paul Coelho)
Sophies World (Jostein Gaarder)
Doctor Faustus (Christopher Marlowe)

The Picture of Dorian Gray (Oscar Wilde)

The Crucible (Arthur Miller)
Midnight in the Garden of Good and Evil (John Berendt)
Lord of the Rings (J. R. R. Tolkien)
Doctor Jekyll and Mr Hyde (Robert Louis Stevenson)
Catch 22 (Joseph Heller)
Third Man (Graham Greene)
High Fidelity (Nick Hornby)
How to Be Good (Nick Hornby)
High Noon (film)
Lord of the Flies (William Golding)
Elizabeth [The Golden Age] (film)
Metro 2033 (Dmitry Glukhovsky)
The Past
Candelo (Georgia Blain)
Three Dog Night (Peter Goldsworthy)
The Great Gatsby (F. Scott Fitzgerald)
The Kitchen Gods Wife (Amy Tan)
Navigating (Katherine Thomson)
The Glass Menagerie (Tennessee Williams)
The Sea (John Banville)
The Gathering (Anne Enright)
The Finkler Question (Howard Jacobsen)
Role of Women
Jane Eyre (Charlotte Bronte)
The Edible Woman (Margaret Atwood)
My Place (Sally Morgan)
The Poet and the Women (Aristophanes)
Lysistrata (Aristophanes)
The Joy Luck Club (Amy Tan)
Lilians Story (Kate Grenville)
A Dolls House (Henrik Ibsen)
The Piano (film)
Shirley Valentine (Willy Russell)
The Handmaids Tale (Margaret Atwood)
Pride and Prejudice (Jane Austen)
Tess of the DUrbervilles (Thomas Hardy)
Brilliant Lies (David Williamson)
Fortunes Rock (Anita Shreve)
Wild Swans (Jung Chang)
Taming of the Shrew (William Shakespeare)
The Bell Jar (Sylvia Plath)
Veronika Decides to Die (Paul Coelho)
The Wife of Martin Guerre (Janet Lewis)
Emma (Jane Austen)
Bridget Jones Diary (film)
Mona Lisa Smile (film)
Property (Valerie Martin)
Girl with a Pearl Earring (Tracy Chevalier)
The Yellow Wallpaper (Charlotte Perkins Gilman)
A Thousand Splendid Suns (Khaled Hosseini)
Elizabeth [The Golden Age] (film)
Miss Julia (August Strindberg)

Stories about Stories (Meta-Narrative?)

The Piano Tuner (Daniel Mason)
Atonement (Ian McEwan)
Eva Luna (Isabel Allende)
Veronika Decides to Die (Paulo Coelho)
The Devil & Miss Prym (Paulo Coelho)
The Alchemist (Paulo Coelho)
Passion/Obsession/Desire
The Collector (John Knowles)
Three Dog Night (Peter Goldsworthy)
Oscar & Lucinda (Peter Carey)
Enduring Love (Ian McEwan)
Perfume (Patrick Suskind)
Hannibal (Thomas Harris)
Wuthering Heights (Emily Bronte)
A Streetcar Named Desire (Tennessee Williams)
Fever Pitch (Nick Hornby)
Chocolat (Joanne Harris)
Sons and Lovers (D. H. Lawrence)
Oedipus Rex (Sophocles)
Equus (Peter Schaffer)
Of Human Bondage (W. Somerset Maugham)
Macbeth (William Shakespeare)
Wanting (Richard Flanagan)
West Side Story (film/musical)
Frankenstein (Mary Shelley)
Secrets / Lies /Deception
A Dolls House (Henrik Ibsen)
Secrets and Lies (film)
Pack of Lies (Hugh Whitemore)
Brilliant Lies (David Williamson or film)
Reading in the Dark (Seamus Deane)
Hamlet (William Shakespeare)
Twelfth Night (William Shakespeare)
The Taming of the Shrew (William Shakespeare)
A Catcher in the Rye (J.D. Salinger)
The Crucible (Arthur Miller)
Othello (William Shakespeare)
Lantana (film)
Power / Conformity
Equus (Peter Schaffer)
One Flew Over the Cuckoos Nest (Ken Kesey)
1984 (George Orwell)
The Removalists (David Williamson)
Sons and Lovers (D. H. Lawrence)
A Streetcar Named Desire (Tennessee Williams)
Lord of the Flies (William Golding)

The Promise (Chaim Potok)

The Handmaids Tale (Margaret Atwood)
Dead Poets Society (film)
The Matrix (film)
High Noon (film)
We (Yevgeny Zamyatin)
No Sugar (Jack Davis)
Rhinoceros (Eugene Ionesco)
The Crucible (Arthur Miller)
A Dolls House (Henrik Ibsen)
The Joy Luck Club (Amy Tan)
Chocolat (Joanne Harris)
Like Water for Chocolate (Laura Esquival)
A Clockwork Orange (Anthony Burgess)
American Psycho (Bret Easton Ellis)
Animal Farm (George Orwell)
Mona Lisa Smile (film)
Property (Valerie Martin)
The Yellow Wallpaper (Charlotte Perkins Gilman)
Chocolat (film)
Healing
Away (Michael Gow)
Dirt Music (Tim Winton)
The God of Small Things (Arundhati Roy)
The Messenger (Markus Zusack)
Three Dog Night (Peter Goldsworthy)
Sweet Road (Debra Oswald)
Change / Human Nature
Pygmalion (George Bernard Shaw)
Frankenstein (Mary Shelley)
Educating Rita (Willy Russell)
Bladerunner (film)
Do Androids Dream of Electric Sheep? (Philip K. Dick)
Positronic Man (Isaac Asimov and Robert Silverberg)
Sixth Day (film)
Perfume (Patrick Suskind)
Heart of Darkness (Joseph Conrad)
Dogville (film)
Confessions of Zeno (Italo Svevo)
Waiting for Godot (Samuel Beckett)
The Power and the Glory (Graham Greene)
If This Is a Man (Primo Levi)
Lord of the Flies (William Golding)
Metro 2033 (Dmitry Glukhovsky)

Illusion / Reality
Rosencrantz and Guildenstern are Dead (Tom Stoppard)
The Real Inspector Hound (Tom Stoppard)
Hamlet (William Shakespeare)
King Lear (William Shakespeare)
Twelfth Night (William Shakespeare)
The Matrix (film)
The Glass Menagerie (Tennessee Williams)
The Great Gatsby (F. Scott Fitzgerald)
Inception (film)
Atonement (film)
Satire / Criticism
Catch 22 (Joseph Heller)
The Great Gatsby (F. Scott Fitzgerald)
American Beauty (film)
The Plague (Albert Camus)
The Poisonwood Bible (Barbara Kingsolver)
Animal Farm (George Orwell)
One Flew Over the Cuckoos Nest (Ken Kesey)
1984 (George Orwell)
Private Wars (James McLure)
Ubu Roi (Alfred Jarry)
Lord of the Flies (William Golding)
The Handmaids Tale (Margaret Atwood)
Dead Poets Society (film)
We (Yevgeny Zamyatin)
No Sugar (Jack Davis)
The Crucible (Arthur Miller)
The Loved One (Evelyn Waugh)
Pride and Prejudice (Jane Austen)
Crime and Punishment (Fyodor Dostoevsky)
Fahrenheit 451 (Ray Bradbury)
Whos Afraid of Virginia Woolf? (Edward Albee)
Brave New World (Aldous Huxley)
A Clockwork Orange (Anthony Burgess)
The Chrysalids (John Wyndham)
The Meaning of Life (film)
Equus (Peter Schaffer)
Death of a Salesman (Arthur Miller)
The Crucible (Arthur Miller)
The Catcher in the Rye (J.D.Salinger)
Vernon God Little (D.B.C. Pierre)
If This Is a Man (Primo Levi)
Avatar (film)
Chocolat (film)
I Robot (film)
Metro 2033 (Dmitry Glukhovsky)
Alienation / Isolation
The Sound of One Hand Clapping (Richard Flannagan)
The Chant of Jimmy Blacksmith (Thomas Keneally)

An Imaginary Life (David Malouf)

Dances with Wolves (film)
The English Patient (Michael Oondatje)
Cold Mountain (Charles Frazier)
Snow Falling on Cedars (David Guterson)
Once Were Warriors (Alan Duff or film)
The Piano (film)
Dirt Music (Tim Winton)
The Poisonwood Bible (Barbara Kingsolver)
Vinegar Hill (A. Manette Ansay)
A Dolls House (Henrik Ibsen)
The Outsider (Albert Camus)
Oscar and Lucinda (Peter Carey)
Things Fall Apart (Chinua Achebe)
Drugs
Junk (Melvin Burgess)
Trainspotting (film)
28 Days (film)