In this story “From Passage to Africa”, George Alagiah creates sense of pity by using emotive language. In the extract you can see that he uses extract when he says “hungry”, “scared”. This shows that he is using emotive language to engage with his readers. George Alagiah creates also creates pity when he uses words such as “hut”, “dirt floor”. This shows the difference between our normal world and the one affected by the famine. The fact that he writes about the terrible things in Somalia and there are people who don’t care what is happening increases the pity. If he was embarrassed to be found weakened by hunger and ground down by conflict, how should I feel to be standing there so strong and confident?” The writer also creates pity by describing the old woman “the smell of decaying flesh”. With this quote George Alight is able to engage the reader as they are imagining the smell of the decaying flesh. One way the writer creates horror is by describing the “ghost village” as if people are dead; however they are alive (barely). Also he creates horror by using words such as “festering wound the size of my hand”. In paragraph 3 the writer tells us that they have seen so much horror that they can't appreciate it any longer. The writer gives the names and ages of the children to emphasize their youth at the time of death, and to drive the circumstances home to the reader.

Alagiah finishes his testimony on a note of optimism, which sadly seems somewhat unfounded when one looks at the present situation in almost all of these countries. From a personal perspective, as one living in South Africa these past ten years, it's especially saddening to see that his hope for the future of this beautiful country, put on a positive and inclusive road by Nelson Mandela, has since succumbed to the twin blights of corruption and governmental mismanagement. like a ghost village’- simile suggests its almost soulless and depressing and barely alive emphasises poverty The height of pity is reached in the eighth paragraph when Alagiah describes how the people, defeated by death, crushed by its oppression and helpless in its absolution still refuse to give up whatever shard of dignity they have left: the woman covers herself up, the man does not let go of his gardening hoe. These people are graceful even in their defeat. Among these is the face Alagiah catches sight of, the face that smiles. It is a face, not a man, not a name, simply a face; as were those faces that he saw and forgot that were mentioned before. But the smile is what makes it special, something unearthly in its beauty. He cannot pin down what the smile means, he describes it in negative sentences, it is not one of greeting or joy. He wonders at it as it has moved him to a feeling much ‘beyond pity and revulsion.’hunt’ and ‘tramped’- predatory language shows the profession as a predatory nature it is animal like and barbaric

famine away from the headlines, a famine of quiet suffering and lonely death', this uses anaphora (where a word is repeated at beginning of successive clauses) in this case 'famine'. This is used not only to emphasize the severity of the famine but also to make the reader feel guilt and pity for those suffering in a famine without anybody to hear them or know that it is happening. The text revolves around post-war violence and its effect on people and how the world media, greedy for the news of suffering hunt the people down for the stories and pictures that can be gained from them. It talks about how violence and war do not end with overthrowing the king, and how it has many lingering effects on the nations and their people. Through vivid images created through intricate descriptive language. LITERARY DEVICES AND NARRATIVE TECHNIQUES Paragraph 7 moves from a direct presentation of the suffering to how he experienced it, and how it is shown on TV and in reports to audiences across the world.

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comfort’- contrast of the horrible conditions in Africa but points out this barbaric act is at the cost that we want this His cynicism is again shown in how he refers to the famine which permeates the place as ‘a famine away from the headlines,’ as if all of the desolate scenes around him are not gruesome enough anymore to act as material for news. The ghastly horror of slow death does not hold the strength to leave an impact on anyone. Rhetorical questions are questions that require no answer. The question remains unanswered in the piece.

I saw a thousand hungry, lean, scared and betrayed faces as I criss-crossed Somalia between the end of 1991 and December 1992, but there is one I will never forget.through my notes and studied the dispatch that the BBC broadcast, I see that I never found out what the man’s name was. Yet meeting him was a seminal moment in the gradual collection of experiences we call context. Facts and figures are the easy part of journalism. Knowing where they sit in the great scheme of things is much harder. So, my nameless friend, if you are still alive, I owe you one.