Aufgabe NT 1 - Aufgabe 3.2 · Abitur NRW Englisch LK · Nachtermin 2023
Thema: Kreatives Schreiben: Perspektivwechsel und Fortsetzung (Re-creation of text) · Aus der Prüfung LK · Nachtermin (2023)
Aufgabenstellung
Klausurteil A
Chibundu Onuzo
Sunita
This short story centres on Dọlapọ, a Nigerian student who lives in London and is on the verge of starting her working life.
Please note: The text is reproduced as it appeared in the original print edition.
“Don’t tell me you introduce yourself to people as dollop?” her mentor Daisy had said in
their first meeting. “That makes you sound like a blob of cream on the end of a spoon.”
“No one can pronounce Dọlapọ.”
“And nobody can pronounce Adaeze. Doesn’t mean I call myself dazed. I walk into a
5 room, confidently with my shoulders back and say, ‘Hi my name is Adaeze, but you can
call me Daisy.’ Now go out, come back in and introduce yourself again.”
Dọlapọ had been sent out of the room twice for introducing herself as Lapo and Olap.
Finally she had come up with Dolly.
“Take a seat, Dolly,” her mentor said. “Now we’ve given you a name, let’s talk about
10 your hair.”
Dọlapọ loved the afro now hidden under her weave, loved its untameable, uncombable
sprawl, loved the extra inches it added to her height, loved the mushroom silhouette of her
head in photos, loved hair that grew up instead of down, gravity-defying, extra-terrestrial
hair.
15 “That’s fine if you want to work in advertising or publishing, or media, or fashion, or
maybe even engineering, but certainly not banking,” Daisy said.
“My friends like it.”
“White friends or black?”
“Does it really matter?”
20 “White or black?”
“Mostly white.”
“They think it’s funky, edgy and cool, don’t they?”
“What’s wrong with that.”
“Never elegant, chic, glamorous; these are the adjectives we use for women in banking.
25 These are the adjectives for success. As a black woman, let me be honest, when you walked
into this room, what I saw was unprofessional, unkempt and unserious.”
She had been paired with Daisy by Diversity Unlimited, a recruitment firm that helped
companies fill up their ethnic minority quota. Daisy had worked for seven years in an
investment bank. Daisy carried a red leather bag with slim, curved handles, discreet, silver,
30 letters spelling out PRADA under the zip. Daisy wore structured dresses, thin black heels,
milky pearls, minimal lipstick, dramatic eye shadow and cascading hair that swept below
her shoulders. Daisy’s hair cost a thousand pounds.
Dọlapọ’s more modest purchase came in a black cardboard box, edged with gold curli-
cue. The hair lay lustrous on a bed of crepe, folded into itself like a small, sleek creature, a
35 sable or mink. Her aunt had gone with her to the salon, leafing through magazines as they
wove Dọlapọ’s afro into lines and then stitched the human hair to hers, tight-running
stiches that made her eyes water. […]
That first night, with her new hair tucked under a net, she dreamt she was on a cart, her legs
dangling over the platform and trailing above short grass. […]
40 Dọlapọ had read somewhere that cheese gave strange dreams. That second night, she
exchanged her bedtime snack of Brie and two crackers for carrot and hummus. She dreamt
she was on the back of the cart again, fresh vegetables and fruit crowding around her. It had
rained and the field had turned to mud.
“Sunita,” someone said.
45 She looked back and saw two bullocks, their horns rising like pale crescents, sharp
tipped and dangerous. They were pulling the cart, their shoulder blades rolling with each step.
“My name is Dọlapọ Owolabi,” she said when she woke up. “My name is Dọlapọ
Owolabi,” she muttered as she rode on the tube, the ground beneath her a black mudslide.
In the windows, she saw the marble eyes of a bullock.
50 The third night, she was afraid to sleep. Her first interview was tomorrow and she couldn’t
sleep. Daisy had called her that evening to ask what she thought of the falling oil prices.
Dọlapọ had not heard.
“I’ve told you. You have to be going over the financial pages. Have you done your hair?”
“Yes. I was wondering, do you know where it comes from? Is it Brazil?”
55 “Well, it’s called Brazilian hair but it’s mostly from India. The women sell it to make
money for their families. […]
This time Dọlapọ dreamt she was in a cool, dark room. She put her hands on the walls,
pitted mud walls that her fingers slid into. There was an earthen bowl in front of her. She
drank from it and tasted buffalo milk, fat and creamy, freshly squeezed from an udder that
60 morning.
“Sunita, stop dawdling. Hurry so you won’t be late for school.”
She stepped into the sunlight, into a lane with other huts with brown walls and grey
thatched roofs, thatch made from woven grass reeds and coconut leaves. There were other
children emerging in blue and white uniforms.
65 “Sunita, where’s your hair?” a little boy with dirty knees asked. She ran her hand over
her scalp and felt the stubble of new growth bristling against her palm.
“Baldie,” he chanted behind her as they walked to school. “Baldie, Baldie.”
She waited until the huts were out of sight and then she flung her bag to the ground.
“Your mother is a baldie!”
70 She launched herself at her tormentor and they fell to the ground.
Dọlapọ woke with her legs still thrashing. She went to her dressing-table and brushed out
Sunita’s hair. She could still feel herself rolling in the Indian dirt, kicking and spitting and
scratching. She hoped she won. Nobody messed with Sunita and nobody messed with her.
She flicked her weave over her shoulder, glamorous for one last time and then she found a
75 razor and began to slit the stitches that bound her and Sunita together.
Six hours later, Dọlapọ walked into a room in Canary Wharf, in a structured dress, thin
black heels, a single strand of pearls and her hair combed out to its tallest and widest, a
globe of an afro, space for Europe, Africa and Asia on her head.
“Hello, good morning. I’m Dọlapọ Owolabi.”
80 “Morning, I’m Mike Jones. Is there a name you prefer to be called by?”
“Just Dọlapọ is fine.”
“Please take a seat, Dọlapọ, and tell us why you want to work in banking.”
Annotations
30 PRADA – an Italian luxury label for expensive, elegant fashion and accessories
76 Canary Wharf – part of London’s business district
3.2 It is the morning after Dọlapọ's third dream, shortly before the interview, and she keeps brooding over her situation. Write an interior monologue in which Dọlapọ considers both her hopes and her fears regarding the interview as well as her upcoming meeting with Daisy. (Evaluation: re-creation of text) [14 Punkte]

Lösung
Nach den offiziellen Korrekturhinweisen
3.2 It is the morning after Dọlapọ's third dream, shortly before the interview, and she keeps brooding over her situation. Write an interior monologue in which Dọlapọ considers both her hopes and her fears regarding the interview as well as her upcoming meeting with Daisy.
Lösung: An interior monologue written consistently from Dọlapọ's perspective (first-person singular): 1. Reflections, Hopes, and Fears regarding the Interview: - Contemplation of having just cut out Sunita's weave with the razor and wearing her authentic afro. - Fear of prejudice, stereotyping, or immediate dismissal by the interviewers at Canary Wharf for not conforming to European beauty standards. - Hope that her professional competence, intelligence, and qualifications will matter more than her appearance. - Acknowledging that if she gets rejected simply for being herself, it is not a place where she could thrive anyway. 2. Feelings regarding Daisy: - Gratitude for Daisy's guidance and professional help, but sadness and defiance towards Daisy's internalized conformity. - Anticipting Daisy's disappointment, anger, or shock when discovering that 'Dolly' introduced herself as Dọlapọ Owolabi and removed the weave. - Hope to explain her motives to Daisy, possibly inspiring Daisy herself to reflect on the high personal price of assimilating.
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