Structure for Text-Based Question-- For both JC and LC

Comprehension B

"Language is the means of getting an idea from my brain to yours without surgery." - Mark Amidon

Comprehension A- Sample Answer

All of the following answers are from the 2014 LC Mock, but are from different questions. This wouldn't be possible in the exam, but I found it necessary to focus on both a factual and fictional piece, and include a question about images.

2014 Mocks - Q A

1) For the entirety of this text, the author tries- and ultimately succeeds- to prove the point that The Avengers was, rightly and justly, a successful film, providing many valid and interesting points in doing so.

Firstly, Jennifer Doll identifies the basic 'wham-bam' appeal of the blockbuster. She mentions the star-studded "celebrity ensemble" of the cast, the "spectacular special effects", and the universally appealing plot, in the first paragraph. As the movie does, Doll tries here to grab our attention instantly with immediate, and, if somewhat superficial, undeniably exciting ideas. The writer justifies the success of this "cartoonish mission" by recognising the human desire to identify famous characters, herself putting the actor's name ("Tony Stark") before the character's ("Ironman"). She also acknowledges the undeniable appeal of a universally understandable plot "that can be comprehended on different levels and by audiences of wide-ranging ages". In displaying the film's thrill appeal, Doll begins to justify its success.

The writer also describes the appealing thread of morality that is stitched throughout the film. She addresses the enjoyment that surrendering "any cynical or indifferent thoughts we might have" to enjoy "basic moral tales" invariably brings. In this case, morality is found in the "giant, potent, special-effects-laden lessons" of human frailty- even the superheroes "(quibble).. Like childish, average people". Equality is cited as prominent- the women are "no less powerful than their male counterparts"- and Doll sells acceptance here, saying that it's "impossible" to be a superhero; that even these "cartoonish" films can "give is something to believe in". The author shows that the didactic aspects of the film are as attractive in their moral appeal as "fables" were long ago, feeding, as they do, the human hunger for leadership and direction.

Ultimately, the author develops the idea that The Avengers indulges in a world of fantasy. This is an almost ideal world, wherein "the heroes win and the alien attackers are pushed back". Unlike in real life, evil is not subtle or lurking, "but comes right at our heroes, talking and spluttering with red-tinged teeth!". The Avengers depicts, as Doll states, "the world the way we wish it could be", where "right overcomes wrong" and the "good guys" succeeds against "evil". The film is portrayed by the author as being an escape from the subtleties of good and bad, of grey areas and 'on-balance-really-quite-ok' guys that reality so often confuses us with. Doll justifies the success of The Avengers by showing its function as an escape from reality- one which all creative works aspire to.

In conclusion, the author makes some very interesting points and provides convincing evidence that justifies the film's success effectively.

14/15

Text B

Q 2

I absolutely agree that the text and accompanying images in this piece combine to effectively create an air of tension and worry in this passage.

A heavy emphasis was put, in bot images and text, on Sherlock's individuality and loneliness, creating an intense, concentrated atmosphere. Sherlock's only "intellectual equal" is his enemy, Moriaty, whose demise is pivotal to Sherlock's career. His patently solitary struggle against Moriaty is echoed in the monologue of Sherlock's speech, and the unyielding focus on the protagonist in images A and B. In image A, Watson is turned towards Sherlock, hanging on his every word. While Watson's face is turned, Sherlock's stares defiantly forward- Watson's face is acting, as his character does in the text, as an almost purely compositional element to alert the audience to Sherlock. In image B, the detective walks down a solitary lane, entirely alone. The intensely personal nature of these texts and images add a human drama to their meaning.

Both the images and text in this piece are very dramatic. Moriaty is not just a clever man- he is a "genius", a "philosopher", an "abstract thinker". Of course, the villain's brilliance is not used for stealing sweets, either- Moriaty is the "deep organising power which forever stands in the way of the law", the creator of "over forty mysteries". Similarly extreme are the images that accompany this text. In image A, Sherlock is not merely smoking a pipe- his knotted brow and raised eyebrow almost suggest that he's using the pipe as a regulator for his thoughts. In image B, a man is not simply going for a stroll- instead he is embarking on a personal journey, on a symbolically straight, single path. He is surrounded by the fog of his thoughts but is undeniably sure of direction. The pure drama of both images and text here provide an extremely tense air in the piece.

Lastly, a sense of battle is well-established in this piece, through both written and visual elements. Sherlock's language is strategic and almost aggressive- "if we move at all prematurely, you understand, they may slip out of our hands and evade capture even at the last moment". Sherlock has a rigid, military posture in image A, and the exact diagonal of his hand cupping his pipe echoes a military salute. In image B, his posture is again upright and exact, as he marches down his single, certain path, like a soldier to battle. The elements of an intense cognitive battle is exaggerated and prominent in this piece, and adds a very dramatic and tense air to the piece.

The mixed media of images and text combine perfectly in this piece to create a very tense, foreboding atmosphere.

15/15

"Shows good involvement with the text, but may be too long".
She was right- my section B suffered after all this.

Text 1

3) The author of this text succeeds in simultaneously informing and engaging the reader throughout her article, using both her subject matters and her language effectively to do so.

Doll's article is engagingly fast-paced and quippy, in terms of both substance and style. She uses short, digestible paragraphs (the second paragraph is just 14 lines long) , and easily glides from fact to idea, almost effortlessly gliding from the "tech appeal" of the film to it's- somewhat more substantial-moral lessons. In terms of her language use, Doll is concise. She uses short, snappy terms- "bangs, smashes, and impressive fight scenes"-which grab the reader's attention. Any statistics she provides are presented in a quippy, pleasing manner- "more than $640 million in the first ten days". The reader's enjoyment is enhanced by Doll's informative yet snappy style.

While the writer's style is informative, it manages to maintain an air if drama. Doll does bot focus on small figures or facts- the film takes in "more than $64 million" in its first ten days and has "spectacular" special effects. Doll focuses on the extremes of the film rather than its subtleties- evil "comes right at our heroes, talking and sputtering with red-tinged teeth". Her use of adjectives throughout the piece is similarly dramatic- we see what should be the basic fact of the "special effects" in the film enhanced and exaggerated by Doll's use of the word "jaw-dropping", for example. The content and style of this piece, while informative, succeeds in adding a dramatic enjoyment to its reader's experience.

Another factor that makes the style and content of this piece entertaining is the author's personal, informal tone. We see her personal insights- "maybe they give us something to believe in. Maybe we need that" - and opinions- "That is also why movies work. We want something bigger than us." Even in her most factual moments, the presence of the writer can be felt- a direct quote from the film ("..red on her ledger") is followed immediately by Doll's opinion- "Her flaws only serve to make her a more empowering role model." Stylistically, Doll constantly refers to her audience as "we", automatically drawing the reader in and adding a personal touch to the piece. She uses such personal words as "wish" and "imagine". The presence of the author throughout this informative piece adds an entertaining aspect to its otherwise factual appeal.

Comprehension A

"Be obscure clearly"- E.B. White

If I manage to get this right, you should be able to understand immediately why I bundled Unseen Poetry with the paper 1 stuff. So many of the same techniques and attitudes are required for the comprehension, especially part A. Keep this in mind.

1. Comprehension (Part A).

So here's the thing about comprehensions; you do them every single day. The idea behind this section is to decipher and understand the subtleties and nuances of a story, ie, looking beyond the black and white. Humans do this every. Single. Day, reader. It's how we know that Barack Obama was really digging into George Bush during his acceptance speech, how we can tell our Maths teacher is in a foul mood even though they're speaking politely; how we can tell someone has a debilitating crush on another by the way they ask for a pen. We're genius at it.

It gets tricky, however,  when we lose the "context" of the story- ie, when a story is plonked in front of us with no warm-up. It's harder to decipher text than conversation- you might have noticed this after failed attempts to send a sarcastic text- and it's even harder under the pressures and time constraints of an exam.

The only solution the paper gives you is a little square on the cover of the exam citing the theme of the paper. This is the biggest help paper one offers you- never, ever ignore it. Look for this theme throughout your comprehension- this saves you a lot of time and helps you read between the lines faster.

I said for the Unseen Poetry that it's helpful to read the poem out to get a feel for it. Unless you're unbelievably ballsy, this is not advised for the comprehension, however. Instead, I find it helpful to go absolutely batshit schizo crazy.

I have a full-on imaginary conversation with the character/s/ narrator. This lasts approximately two minutes. We drink tea, inject heroin, or visit bee farms together- whatever I think would suit them. Not only does this serve as a welcome break from exam stress- it's hard to have a panic attack when you're listening to blues in 1950s New York- it also helps with your comprehension Part A and B, and maybe even your essay. Making a human connection with the piece gives it that 'context' and makes you understand and truly relate to the character or narrator. It shows that you've got a clear mental picture of the aims of the character or peice, which when you think about it, can only stem from the text. Take down how the character or narrator behaved in your conversation, and look at the text to see what made you think they'd act that way. If it doesn't work, well, at least you've made a potential dialogue for your essay. Plus, you sometimes get free drugs.

As in the Unseen Poetry, make a note of anything that strikes you. Every writer seeks to create a "world" in their text, so anything that you notice while you're there will make a pleasing souvenir for the examiner.

Stories seek to speak to a reader, and writers are generally having a conversation- with you, with themselves, or with their characters.   This means language is more free and less dense, so metaphors and subtleties may be spaced further apart than in poetry- keep an eye out for "matching" images and throughout, as they might mark the beginning and end of an extended metaphor or symbol. Again, do not be afraid to embrace opposites- writers love to explore and observe all types of being.

Devices are important, but writers don't seek to play language like poets do. Instead, the focus is on scrutinizing events and people until their inherent beauty and truth is released- look at the characters and events in relation to the theme. Where sounds would demonstrate mood in poetry, look at how things move, act, sound, think, smell, taste, touch, look; a bowed head could imply the same reverence in a story that assonance could in poetry, for example. Senses are, again, really important- this is how writers transport readers to their Theoretical Mind Caverns, which is exactly where you want to be.

If the question calls for an examination of images, think again of the theme of the paper, then consider the surrounding text. Keep colour in mind- black and white images might suggest age, moodiness, drama, or melancholy. Sepia images me be reminiscent, and colourful, vibrant photographs might suggest abundance, joy, confusion, or variation. Compositionally, look out for uncertain wobbly lines, fulfilled circles, complex concentrics, challenging winding paths, sure straight lines, unifying triangles, or freeing diagonals. Of course, lines can mean different things for different pictures- a horizontal might be a calm sea in one picture and a cage bar in another- but the theme and content of the text should set you straight. Look for the number of people- is the picture overcrowded or solitary? Note lines that draw you in to a point, emphasising the subject of the picture, and pay attention to position- a face in the centre is more prominent than a shoe in a corner, usually. I draw all over my images, doing arrows and marking centres (and yes, occasionally drawing moustaches). This can help you engage with the image.

Lastly- trust that you can understand the comprehension. This is a human writing to another human about a human experience- it is the basis of communication, and we are very, very good at that. Go Simon Cowell on it. Judge every little thing the characters say or do or act or think, and form an opinion; fall in love, plan their murder, sexually fanta.. Well. Point is, we are assholes and we judge people and events all the time. Here we are, being offered marks for doing so. Really, really go to town.

To recap;

> Look at the theme of the paper. This will save you so much time and energy.

> Converse with the story. Stories are, in essence, an admittedly verbose chat- engage with it and you'll get talked through your answer.

> Get lost in the world of the author. You wouldn't be able to tell me about your trip to Madagascar if you'd stayed in your apartment the entire time.

>Look out for subtle metaphors and symbols. These can be sneaky, but can be spotted in repeated images or notions.

> Pay attention to images. These are often the most poorly- answered section of Question A.

>Judge everything. This is how we decipher a world. Plus, you won't hurt anyone's feelings- that is what they're there for.

> Note senses. These constitute the tangible side of the author's world.

>Do not consider the comprehension an alien challenge. We are really, really well practiced in figuring out what words mean. And lastly;

>Do not bring heroin into the exam hall. Characterisation need only go so far.

Thank you for reading; I'll have a sample answer up in a few. As ever, feel free to judge me like I'm a comprehension character- honestly and harshly. It's why I'm here.

Muchos gratitude(os?!),
Amy.

Unseen Poetry Answer

So here's my unseen poetry answer. It's not perfect, but I got 20/20 for it- it just goes to show how easily the examiners mark this question, and how much wiggle room there is for interpretation. I spent 8 minutes too long on this question.

2009 Section 3 A

Father's Old Blue Cardigan- Anne Carson

( http://notyourmamasbookshelf2.blogspot.ie/2010/11/poem-of-week-fathers-old-blue-cardigan.html?m=1)

Q2- a) What impression of Anne Carson's father do you get from reading this poem? Support your view by reference to the poem.

A) I get the impression from this poem that the poet's father is a stern, silent, and independent man, whose natural tendencies are being usurped by the extreme nature of his condition.

It is made abundantly clear from the beginning of this poem that this is a firm man, of well- established routine and definite order. The "back of the kitchen chair" was where the poet's father "always" sat; he has "laws", rather than beliefs or habits. The tight, formal structure of this poem- a three line stanza pattern- is repeated consistently throughout. Words like "stamping", with it's immovable and angry "m" and "p" sounds, and the constant reference to cold, suggest a sharp, unwelcoming man. "Snow" and "coldness" are only thawed on a "hot July afternoon", by the man's condition- he is now a "small child", having lost entirely his previous rigidity and sterness.

It is implied that Carson's father is a naturally private man, whose relationship with his daughter strains and buckles under the weight of his silence. The poet states, clearly and abruptly, that "his laws were secret". Again, references to "snow" and "coldness" imply a tension between the two. When trying on her father's cardigan, Carson states chokingly that her father would not have performed this sentimental ritual- "He would not have done this." Sharp, bare "p" and "k" sounds in the line "coldness comes paring" are coupled with the shorn, raw image of a "moonbone" in the 9th line. Perhaps this mimicks the frugal and purely functional nature of their relationship. I feel, therefore, that the poet's father was a somewhat reclusive man.

Ultimately, Carson's father is man absolutely consumed and destroyed by his illness. His steadfast "laws" are disintegrating, as he is, with his condition. The firm man who stamped "the snow from his boots" is now "as a small child.". Time itself is unwound by the poet's father's illness- he is "riding backwards". The last sentence of the poem is ten lines long, the poet's pen perhaps wandering and losing control as her father was.

Overall, I find the poet's father to be a firm, private man, who has had his deeply-rooted ways unpicked by some terrible disease.

10/10

B) Briefly describe the mood or feeling you get from reading this poem and illustrate your answer from the text.

B) I interpreted this poem as being a slightly confused one, where the poet is seeking to come to terms with the loss of her father. It is reflective but not contemplative, as the poet has yet to fully understand her father's demise.

The poet focuses, as a child or an adult in shock would, on concrete objects as a means of understanding abstract issues. She does not discuss her father's personality directly here- instead, she focuses pragmatically on the "stamping" of his "boots". The "cardigan" shrouds her, rather than memories of her father. She focuses on the "haystacks" that shocked her father as a means of coming to terms with his deteriorating faculties. The muffled, echo-like thuds of "stomping" and "sat" suggest the cushioned realisations of an extreme change that cannot yet be fully recognised.

The poem's structure suggests an uncertainty on the poet's behalf. While uniform in format, a rhyming pattern is mot strictly adhered to. Sentence lengths range from five words- "His laws were a secret."- to ten lines (the last sentence of the poem). The rambling lines suggest incomprehension on the poet's behalf- the only thing she is concisely sure about is her living father ("He would not have done this."). I found this a powerful technique that illustrates the poet's confusion.

Perhaps most poignantly, the poet uses comparison to juxtapose the images of her living and dying father. Perhaps she does this to comprehend her loss. At first, her father is stern and rigid- a man who "stamp(s)" his solid, functional "boots"- who perhaps possesses a "coldness" like the snow he shakes off. This is in contrast to the "child who has been dressed by some aunt", for whom life is so overwhelming that "haystacks" shock him. The wobble of a lower lip and the quiver of realisation is suggested in the repeated "w" sounds- "windy", "will", "while". This comparison might ground the poet's understanding in a more familiar reality- it appears to me to be a method of understanding.

I conclude that the poet is struggling to come to terms with the cognitive- and possibly physical- loss of her father, resulting in a slightly confused, lost, and reflective poem.

10/10

Unseen Poetry

"Poetry is language at its most distilled and powerful."

Ok: let's talk poetry.

First and foremost; you probably don't like it. A lot of the time, poetry seems random and irrelevant, confusing and unnecessary. And you know what? Sometimes, it is. It can be hard to find links between the transience of childhood and a frickin' bee, and even nerds and literary snobs find it hard to decode extreme metaphors and buried meaning. This can be because it isn't there- Bob Dylan gave that awesome rant, if you saw it, about how all the people who analyse him are idiots because most of the time he's just throwing in whatever rhymes with "nnnnmmmmyyyyhhh".

For the sake of the Leaving Cert, however, we have to find meaning and depth in whatever poem is shoved in front of us that day, even if it just looks to us like some hippie chick got high while looking at her pen. Readers, I have two pieces of advice; do not fear and do not fake it. There is always method to their madness, reason behind their randomness, and intent behind the incoherency. And actually, whatever the poem leads you to think- even if it's "THIS IS GOING TO MAKE ME PHYSICALLY VOMIT"- is its meaning. Whatever you feel is inherently viable. Just  think about it a few seconds longer and phrase it nicely, and dang, man, you got yourself an undeniably viable point.

So there's my first piece of advice; make a note of whatever you think about the poem while you're reading it, come back to it afterwards, and see if it seems reasonable and significant enough afterwards to make a decent point out of. (An encouraging note- I made a reasonable and decent point out of the note "it's like stuff's all wobbly" in my mocks. Seriously.)

Secondly, look out for techniques and musical devices. Poems are like music for people who can only play their language. Just as a long, low note signifies solemnity in songs, so word sounds and patterns indicate meaning in poems. One tip I always use is to read the poem (under my breath, obviously), and find out how it sounds. Of course, devices can mean different things in different poems (ie siblance [repetition of 's' sound] can be sinister in one poem, but soothing in another.) However, content should give you a clue here; if it's a poem about someone falling in love, assonance (repetition of a vowel) could signify awe, whereas the same technique used in a mourning poem might signify howls of pain. We can usually pick this up ourselves, though, and noticing language as well as content is always very impressive. If you're totally stuck, paying attention to these devices can help you get a sense of the mood of a poem, at least.(List of devices at bottom). The physical layout of a poem speaks volumes as well- usually tight, rigid poems that follow a distinct pattern (ie ones that look nice and neat on the page) are called "formal" poems, and can be used to show respect, restraint, and/or a need for structure and a desire for order. Poems that are structurally messy can indicate a similar state of mind; the poet might feel disorganised, fragmented, or uncontrollably emotional. Or they might not have been arsed making a freakin sestina out of a fly they saw on their curtains. But let's pretend.

Poetry is all about the senses, so look (heh) out for these. A lot of the time, poets use solid, real objects and sensations to explore abstract ideas. This is what makes poetry so confusing- the buzzing of a bee might signify happiness to me ,because I think it's a summery, sweet sound-but you might find it a symbol of danger and evil, because you just got stung by four of those futhermuckers before entering the exam hall. My advice? If you notice it, go with it. This is how the poet is expressing their idea, and if you want good marks, getting the idea of a poem is essential. Even if what you notice seems to be against the rest of the poem, go with it regardless. As I've said before, poetry is all interpretation, and poets- and novelists, playwrights, lyricists and journalists- contradict themselves all the time. It's called complexity, and it's literary catnip. If you notice three things, and they seem totally unrelated- go with it. After all, there's so many sides to any situation that you'd actually be giving the poet a compliment by suggesting they've looked at more than one of them.

In terms of content; look out for word play (ie lines with two meanings) and subject matter. I've said that poets explore abstract notions through real objects- it couldn't be more important, by that logic, to look at what they focus on. Mirrors, birds, and children are so common in poetry that they've become almost cheesy, but they're very handy if they come up in the LC because they have such universal meanings. If something more obscure comes up, try to think what the object might mean to the poet, as well as what it feels, smells, tastes, looks, or sounds like- a stinky pile of dog poo is an extreme example of something that signifies distaste, for example. It's awesome if you can work this with your language or imagery point, too- ie "The subject matter in this poem seems distasteful to the poet. The already repulsive connotations the reader instinctively has with dog poo is reinforced by the poet's use of sharp, displeased constanants- 'the vile pile of decomposing poop'- and reference to related senses- 'Made my assailed nostrils/ Shrink a size or two.'" This leads to meaning and interpretation; examiner catnip. Now for yeh.

Lastly; don't lose the ceann over this question. It hurts to say it, because I actually think it's one of the most practical, vital, and realistic questions on the paper- but it's only twenty marks. That's the lowest on the whole course. Pick one image /sense, one technique, and one idea that stands out to you, say it nicely, and you should do fine, even if you leave the exam hall still befuddled as to what bees have to do with anything.

To Recap;

> Write down EVERYTHING you think of or notice during the poem. Any personal response is intrinsically viable and important. Go over these after reading the poem a few more times, and decide which ones are LC friendly.

> Recognise techniques and think about them. Poets have an irrepressible boner for musicality, and it says so much about their mood.

> Do not be afraid to embrace opposing notions. Poets who wrote from one point of view aren't usually worth their second-grade gin.

> Read the poem out loud. That's how they're meant to be read, and it usually gives it a whole new dimension.

>Look at the layout. This can be hard to decipher, because it can mean so many things, but you probably have a fair enough idea, and it looks really impressive if you mention it.

>Feel it, man (literally). Senses are the unit of poetic expression.

>Look at subject matter. The literal side of the poem- which you need to pay attention to as well- is all bout this, and this is where the theme stems from.

> Make it true to you. Nothing looks worse than making up meanings that you don't see; the examiner will recognise the stink of bullshit straight away. Trust your real reaction. Poetry is as poetry does.

Techniques

Siblance- Repetition of the letter 's'.
Assonance- Repetition of a vowel.
Repetition- Saying the same thing many times for emphasis.
End rhyme- words that make similar sounds at the end of different lines. Can be for emphasis, structure, or to signify rushed-ness.
Internal rhyme- rhyme within a line. Can emphasise line.
Comparison- putting two dissimilar things next to each other to highlight the traits of each.
Simile- comparing two things using the link words 'like' or 'as'.
Metaphor- Comparing things such as an abstract idea and a physical thing as though there is not difference between them, ie without using "like" or "as".

There are more, but these are the biggies. I'll post my unseen answer soon.

Thanks for reading, and I hope it helps- call me up on something you feel I missed/ got wrong/ phrased badly. Muchos graçias :)

Informal Introductions

Dear Reader(s?!);
My name is Amy. I am a Leaving Cert student, and I'm writing this blog with the aim of helping you and/or me to do the best you/I/we possibly can in the English exams. The plan of action is to systematically go through the English course, writing down and sharing almost every thought I've had in class and hoping it's in some way helpful. Ambitious? Yes. Unrealistic? Possibly. Presumptuous? Yes, completely and utterly, but dagnabbit, a girl's gotta try.

As I've said already, I'm a pupil myself, so this blog can only be helpful insofar as a peer's opinion can be. I am not an expert. If I am being irritating, confusing, or just plain wrong, please feel free to comment and tell me. This is meant to help me too; all of your opinions (excluding trollish ones calling me an acne- ridden prostitute) are welcome.

So, here's the plan of action;

1. I will provide my ramblings on our English course following a specific, certain, and structured plan (see below). This way, I can pretend to be organised.

2. I will sum up my ramblings into less verbose, more to-the-point bullet points, which will hopefully be useful to readers looking for a quick fix.

3. I'll provide a sample of answers I've written on that topic, giving you the mark I recieved and the comment my teacher gave me for it.

The Leaving Cert English Papers 1 and 2 are arranged as follows:

PAPER 1

> Comprehension- part A (50 marks), and part B (50 marks).

>Essay (100 marks).

PAPER 2

> Single Text- (60 marks) (Here Macbeth)

> Comparative Studies- (70 marks) (Here How Many Miles To Babylon, Sive, and I'm Not Scared)

> Unseen Poetry (20 marks), and finally

> Prescribed Poetry - (50 marks) (Thomas Kinsella, W.B. Yeats, Derek Mahon, and Elizabeth Bishop.)

I'll try to stick as close to this as possible, but I'm going to stick Unseen Poetry with the Paper 1 stuff- just because I think it's more of a composition answer than a studied one, and while techniques need to be learned, it's no more specific that the rules of speech writing, letter writing, or comprehending that we associate with paper 1.

Seven weeks. Around a million topics and sub-topics. Five other subjects to juggle. Zero qualifications. Readers, embrace yourself for the crashiest of all crash courses. It should be interesting, at least.

Thanks for reading, and please please PLEASE don't be afraid to comment. The first installment should be due in about half an hour, which will cover Unseen Poetry.

Yours,
Amy.