Year 10–13 / Grades 9–12
Anita and Me — a five-lesson scheme of work
This five-lesson sequence takes students from their first encounter with Meena's unreliable narration in Chapters 1–2, through the allure of Anita's world and the racism woven into Tollington in Chapters 3–9, to Nanima's transformative arrival and the breakdown of the friendship in Chapters 10–12. Students engage in close language analysis, contextual reading, and structured argumentation before crafting an extended essay on how Syal portrays identity as something that is constructed, contested, and ultimately chosen. By the end of the final lesson, the class is prepared to write a well-supported analytical response based on specific passages.
Objectives
- Analyse how Syal constructs Meena as an unreliable first-person narrator and what that unreliability reveals about identity and belonging.
- Analyse how Syal uses language and structural contrast to present Anita Rutter as both attractive and dangerous to Meena.
- Explain how Syal embeds the racism of the early 1970s — including Sam Lowbridge's National Front sympathies and the motorway development — into the texture of everyday Tollington life.
- Analyse how Nanima's arrival in Chapters 10–11 functions as a turning point in Meena's understanding of her Punjabi identity.
- Write a fully evidenced analytical paragraph that moves from quotation to language feature to effect to context, using evidence from at least two chapters.
The sequence
Lesson 1: Meena's Voice: Unreliable Narration and the Opening of Tollington
60 min · ch. 1, 2- Do now
On the board: 'I know that I don’t always tell the full story.' Write down three reasons why a storyteller might leave things out. Consider factors like age, memory, and the desire to impress. You have four minutes — please hold your responses for now.
- Teacher input
Model a close reading of the opening paragraph of Chapter 1, where Meena introduces herself as a future narrator reflecting on her past: pay attention to the phrase 'I told lies' and the humorous self-awareness in 'I was not a popular child.' Discuss how the past-tense perspective creates dramatic irony — the adult Meena has insights that nine-year-old Meena lacks — and illustrate how Syal leverages this difference to make the reader both trust and question everything that comes next.
- Independent task
Students re-read the passage in Chapter 2 where Meena talks about the Tollington yard gang hanging out by the Spar and her wish to fit in with them. They write one analytical paragraph, following the PEEL structure outlined on the board, to answer the question: How does Syal use Meena's narrative voice in this passage to express her longing to belong? They need to include at least two quotes and identify one language or structural technique.
- Exit ticket
Meena's narration reveals her deep longing to belong, but it may also be concealing her insecurities.
Lesson 2: The Pull of Anita: Language of Glamour and Danger
60 min · ch. 3, 4, 5- Do now
On the board is the sentence: 'Anita Rutter was the most glamorous girl I had ever seen.' List five words that come to mind when you think of someone glamorous. Then list five words that fit a description of someone dangerous. Make sure to keep both lists — you'll need them later.
- Teacher input
Model analysis of the passage in Chapter 3 where Meena first observes Anita holding court in the yard — specifically the verb choices Syal uses for Anita ('commanded', 'flicked', 'dismissed') compared to the verbs associated with Meena ('hovered', 'watched', 'waited'). This contrast in agency reflected in the verbs positions Anita as powerful while Meena appears passive, linking to the theme of identity: Meena seeks to adopt Anita's confidence since she has not yet discovered her own.
- Independent task
Students read the scene in Chapter 5 where Anita first invites Meena to join the gang, and Meena expresses that she feels 'chosen.' They annotate the passage, focusing on themes of power and vulnerability. After that, they write two analytical paragraphs: one discussing how Syal portrays Anita's appeal, and the other exploring what Meena's reaction shows about her self-perception. Each paragraph should include a specific technique and a contextual sentence regarding the experiences of second-generation immigrants in their quest for acceptance.
- Exit ticket
Syal gives Anita the verb "endure," while Meena receives the verb "control." This contrast suggests that Anita is expected to withstand challenges, whereas Meena is seen as having the ability to assert dominance, highlighting differing power dynamics between the two characters.
Lesson 3: Racism in Tollington: Sam Lowbridge, the National Front, and Everyday Hostility
60 min · ch. 6, 7, 8, 9- Do now
On the board: three quotes from Chapters 6–8 — (a) Sam Lowbridge insulting Meena at the fete, (b) a neighbor's remark about the Kumars 'keeping themselves to themselves', (c) Meena's parents' poised response to a racial comment. Rank them 1–3: which do you think Syal portrays as the most harmful? Write two sentences explaining your top choice.
- Teacher input
Certainly! Here's the humanized version:
Model a reading of the Chapter 9 scene where Sam Lowbridge openly reveals his National Front sympathies to Anita and Meena. Highlight Syal's decision to have Anita laugh instead of protest — this choice allows us to experience Meena's shock through free indirect discourse without explicitly stating it. Additionally, consider how the silence of bystanders like Fat Sally and Tracey Rutter acts as a form of complicity. Connect this to the context of the National Front's rise in the English Midlands during the 1970s.
- Independent task
Students should craft a structured response of three paragraphs to the question: How does Syal depict racism as an integral part of daily life in Tollington in Chapters 6–9? They need to reference at least two of the three quotations provided in the do-now, mention Sam Lowbridge and at least one other character, and include a sentence offering historical context regarding the National Front in 1970s Britain.
- Exit ticket
Anita's laughter at Sam's comment in Chapter 9 holds more weight for Meena because it reflects their shared understanding and connection, highlighting the deeper bond between the two women. This moment resonates with Meena, showing her that their friendship is built on genuine camaraderie and shared experiences, making it more impactful than the comment itself.
Lesson 4: Nanima Arrives: Identity, Heritage, and the Turning Point
60 min · ch. 10, 11- Do now
On the board: 'She smelled of cardamom and old saris and something I couldn't quite identify, but felt familiar.' Without glancing at the novel, jot down what you think Meena means by 'recognized'. What can you feel familiar with even if you can't name it? Take three minutes, then discuss your thoughts with a partner.
- Teacher input
Model a close reading of the passage in Chapter 10 where Nanima arrives at the Kumar house and Meena describes her for the first time. Pay special attention to the sensory language—such as smell, texture, and the sound of Punjabi—and analyze how Syal organizes the paragraph. Each sense that Meena registers gradually brings her closer to an identity she has been holding back. Notice how the syntax here slows down in contrast to the rapid, comedic pace found in the Anita chapters. Argue that Syal's manipulation of pace serves as a structural signal of emotional significance.
- Independent task
Students read the Chapter 11 scene where Nanima shares a story from the Partition, and for the first time in the novel, Meena listens intently without fidgeting. They will write an analytical paragraph focusing on how Syal uses Nanima's storytelling in this chapter to show that Meena's Punjabi heritage is a source of strength rather than something to be embarrassed about. They should quote the relevant passage, identify a technique, and explain how this scene contrasts with an earlier scene featuring Anita (they can choose which one).
- Exit ticket
The pace of the Nanima arrival passage in Chapter 10 is notably slower compared to the Anita chapters, suggesting a moment of reflection and significance that contrasts with the more hurried tone of Anita's experiences.
Lesson 5: Farewell to Tollington: The Final Goodbye and Meena's Chosen Self
60 min · ch. 12- Do now
On the board: two final images from Chapter 12 — Meena watching Anita fade away in the rear-view mirror, and Meena waving goodbye to Nanima at the airport. Write one word to express how Meena feels in each image. Then write one sentence: do these two goodbyes represent the same kind of loss?
- Teacher input
Model a comparative reading of the two farewell moments in Chapter 12: Anita left behind as the car pulls away, and Nanima's departure to India. Syal's use of verb tenses shifts here — Anita is described in the continuous present ('was standing', 'was watching'), suggesting she is frozen in time, while Nanima's farewell employs the simple past ('she turned', 'she walked'), indicating completed, purposeful action. This contrast in tense reveals Syal's thematic judgement: Anita represents stasis, while Nanima embodies movement and growth.
- Independent task
Students are required to write a complete essay response consisting of four to five paragraphs addressing the question: How does Syal use the relationship between Meena and Anita to explore the theme of identity in Anita and Me? They should reference at least three chapters by their numbers, incorporate a minimum of four quotations that identify specific techniques, include one paragraph discussing the context of the 1970s British-Asian experience and the National Front, and conclude with a paragraph reflecting on the farewell in Chapter 12 as a moment of resolution.
- Exit ticket
Syal uses continuous-tense verbs for Anita and simple-past verbs for Nanima in Chapter 12's farewells to highlight the ongoing nature of Anita's evolving identity in contrast to Nanima's fixed past, suggesting that identity is fluid and shaped by experiences over time.
Activities
Verb Audit: Anita vs. Meena in Chapter 3 20 min · pairs
Each pair gets a printed excerpt from Chapter 3 — the yard scene where Anita is in charge. Students highlight all the verbs associated with Anita in one color and those linked to Meena in another. Next, they fill out a two-column table: Anita's verbs / Meena's verbs, and write a summary sentence under each column explaining what the verb choices indicate about power dynamics. Finally, pairs return the annotated excerpt along with the completed table.
Racism Spectrum: Ranking Incidents from Chapters 6–9 25 min · groups
Groups of four are dealt six cards, each featuring a different instance of racial hostility or microaggression from Chapters 6–9 (for example, Sam Lowbridge's slur at the fete, a neighbor's backhanded compliment to Mama, or Anita's silence in Chapter 9). The groups arrange the cards along a spectrum from 'most visible' to 'most insidious' and write two sentences explaining their reasoning for the placement they found most controversial. Each group returns their ordered strip with the justification noted on the back.
Sensory Language Annotation: Nanima's Arrival in Chapter 10 15 min · individual
Students get a printed copy of the Nanima arrival passage from Chapter 10. Working independently, they annotate it for the five senses, labeling each piece of sensory language with the sense it relates to and a one-word effect (e.g. 'smell — cardamom — belonging'). Next, they write an analytical sentence that connects the richness of sensory language to Meena's emotional reconnection with her Punjabi identity. Students return the annotated passage with their sentence written at the bottom.
Tense Detective: Tracking Verb Tenses in the Chapter 12 Farewells 20 min · pairs
Pairs get the two farewell paragraphs from Chapter 12 (Anita's and Nanima's) printed side by side. They underline each finite verb and identify it as simple past, continuous, or present. Next, they write two sentences: one explaining what Anita's tenses imply about her future, and another explaining what Nanima's tenses indicate about Meena's growth. Pairs then return the marked-up sheet along with both sentences.
Hot-Seat: Meena at the End of Chapter 12 25 min · whole class
One student takes on the role of Meena right after the Chapter 12 farewell to Anita. Meanwhile, the rest of the class comes up with three questions ahead of time — one focused on Anita, another on Nanima, and the last on Tollington — and poses them in order. The student in the hot seat is required to answer as if Meena is reflecting on the past. Observers point out a specific quotation from the novel that the student could have referenced but chose not to. At the end, all observers return a sticky note indicating the missed quotation and the chapter it appears in.
Context Card Match: 1970s Britain and the Novel 20 min · groups
Groups of three receive eight context cards (National Front marches in the Midlands, Ugandan Asian expulsions 1972, Enoch Powell's 'Rivers of Blood' speech, the decline of mining communities, Commonwealth Immigrants Act, Betty Trask Prize 1996, Meera Syal's Essington childhood, second-generation immigrant identity) and eight passage cards from throughout the novel. Each group pairs the context cards with the passages they feel best relate to and writes one sentence for each match that explains the connection. Finally, groups return the matched pairs along with their sentences.
Assessment
- Exit ticket Lesson 1 — checks whether students can distinguish what Meena's narration reveals from what it conceals, using a word from the Chapter 1–2 passage.
- Exit ticket Lesson 2 — checks whether students can name specific verbs from the Chapter 3 yard scene and articulate what the contrast between Anita's and Meena's verbs suggests about power.
- Exit ticket Lesson 3 — checks whether students understand why Anita's complicit laughter in Chapter 9 is structurally more significant to Meena's development than Sam Lowbridge's overt racism.
- Exit ticket Lesson 4 — checks whether students can connect Syal's use of pace and syntax in the Chapter 10 Nanima arrival to the theme of identity.
- Lesson 2 independent task — two paragraphs on Chapters 3 and 5 marked for: accurate quotation, named technique, explained effect, and one contextual sentence.
- Lesson 3 three-paragraph response — marked for: use of at least two named characters, two quotations from Chapters 6–9, and one historically grounded contextual sentence about the National Front.
Summative task
How does Syal use the relationship between Meena and Anita to explore the theme of identity in Anita and Me? Write a response of four to five paragraphs. Refer to at least three numbered chapters, include at least four quotations with a named technique for each, write one paragraph discussing the 1970s British-Asian context, and conclude with a paragraph on the farewell in Chapter 12 as a moment of resolution. Your assessment will focus on the strength of your argument, the clarity of your language analysis, and your incorporation of contextual elements.
Marking notes
Top band: a well-developed argument that identity is both constructed and chosen, rather than solely experienced; detailed examination of Syal's specific language choices (for instance, the use of verb tenses in Chapter 12 farewells, sensory language in Chapter 10 during Nanima's arrival, and free indirect discourse in the Chapter 9 Sam Lowbridge scene); context is integrated into the analysis instead of being treated as an afterthought. Mid band: effectively follows the Meena–Anita relationship through the chapters with some analysis of language. Lower band: summarizes the plot with occasional quotes; context is mentioned but not effectively utilized.
Standards covered
- Common Core 11 12
- RL.11-12.1 — cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text
- RL.11-12.3 — analyse the impact of the author's choices regarding how to develop and relate elements of a story (e.g. where a story is set, how the action is ordered, how the characters are introduced and developed)
- RL.11-12.4 — determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone
- RL.11-12.6 — analyse a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g. satire, irony, understatement)
- W.11-12.9 — draw evidence from literary texts to support analysis, reflection, and research
- AP Literature
- Literary Argumentation (LAN-1) — develop a thesis that interprets a literary text and requires defence with evidence
- Figurative Language (FIG-1) — explain the function of specific word choices, imagery, and comparisons in a literary text
- Narration (NAR-1) — explain the function of point of view and the reliability of the narrator in a literary text
- Structure (STR-1) — explain the function of structure and pacing in a literary text and how these contribute to meaning
- Character (CHR-1) — explain the function of contrasting characters and how they illuminate theme
- AQA
- AO1 — read, understand and respond to texts; maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations
- AO2 — analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate
- AO3 — show understanding of the relationships between texts and the contexts in which they were written and received
- AO4 — use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation
- Edexcel
- AO1 — read, understand and respond to texts; develop and sustain interpretations of writers' ideas and perspectives; support interpretations with references to texts
- AO2 — explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology
- AO3 — demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received
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