Class 12 NCERT English Book Flamingo Prose Lesson 7 The Interview Solutions

Class 12 NCERT English Book Flamingo Prose Lesson 7 The Interview Question and Answers.

Question and Answer:

1. What are some of the positive views on interviews?

2. Why do most celebrity writers despise being interviewed?

3. What is the belief in some primitive cultures about being photographed?

4. What do you understand by the expression “thumbprints on his windpipe?

5. Who, in today’s world, is our chief source of information about personalities?

Answer:

1. What are some of the positive views on interviews? Some hold quite extravagant claims for interviews, viewing them as being, in their highest form, a source of truth, and, in their practice, an art. The text also mentions that it is a supremely serviceable medium of communication and that our most vivid impressions of contemporaries often come through them.

2. Why do most celebrity writers despise being interviewed? Most celebrity writers, referred to as “celebrities who see themselves as its victims,” might despise being interviewed because they see it as an unwarranted intrusion into their lives or feel that it somehow diminishes them.

3. What is the belief in some primitive cultures about being photographed? In some primitive cultures, it is believed that if one takes a photographic portrait of somebody then one is stealing that person’s soul.

4. What do you understand by the expression “thumbprints on his windpipe”? By the expression “thumbprints on his windpipe,” used by Saul Bellow to describe interviews, I understand the feeling of being choked, restricted, or having one’s voice or thoughts suppressed or controlled by the interviewer. It suggests a sense of discomfort, pressure, and a violation of personal space or freedom of expression during the interview process.

5. Who, in today’s world, is our chief source of information about personalities? According to Denis Brian, interviewers are our chief source of information about personalities in today’s world. He writes, “These days, more than at any other time, our most vivid impressions of our contemporaries are through interviews.”

Understanding the text

1. Do you think Umberto Eco likes being interviewed? Give reasons for your opinion.

2. How does Eco find the time to write so much?

3. What was distinctive about Eco’s academic writing style?

4. Did Umberto Eco consider himself a novelist first or an academic scholar?

5. What is the reason for the novel, The Name of the Rose?

Answer:

1. Do you think Umberto Eco likes being interviewed? Give reasons for your opinion. It’s difficult to say definitively if Umberto Eco likes being interviewed, but he seems to tolerate it as a means of communication and perhaps even finds some amusement in it. Here are some reasons for this opinion:

He consented to the interview: He agreed to speak with Mukund Padmanabhan, suggesting a willingness to engage with the process.
He answers thoughtfully and at length: His responses are detailed and often include anecdotes and metaphors (like the “interstices” and the “Chinese wise man” stories), indicating he’s not just giving curt answers.
He expresses his primary identity clearly: His insistence on being a “university professor who writes novels on Sundays” suggests he wants to control the narrative about his public persona, which an interview allows him to do.
He finds humour in the situation: He laughs and shrugs when discussing his greater fame as a novelist, indicating a certain acceptance and even amusement at the public perception, even if it doesn’t align with his self-identity.
He uses the platform to explain his ideas: He takes the opportunity to elaborate on his philosophical interests and his approach to both academic and fictional writing.

However, there’s no explicit statement of enjoyment. He seems to view it as part of being a public figure, especially after the success of his novels. He uses the platform strategically to convey his perspectives.

2. How does Eco find the time to write so much? Eco explains that he finds the time to write so much by utilizing “empty spaces” or “interstices” in his life. He gives the example of writing an article while waiting for an elevator. He suggests that these small, often wasted moments can be used productively.

3. What was distinctive about Eco’s academic writing style? The distinctive aspect of Eco’s academic writing style was that he told the story of his research, including his trials and errors, rather than just presenting the conclusions in a depersonalized and dry manner. This narrative approach made his scholarly work more engaging and accessible, departing from the regular academic style.

4. Did Umberto Eco consider himself a novelist first or an academic scholar? Umberto Eco considered himself an academic scholar first. He explicitly states, “Yes. Because I consider myself a university professor who writes novels on Sundays. It’s not a joke. I participate in academic conferences and not meetings of Pen Clubs and writers. I identify myself with the academic community.”

5. What is the reason for the novel, The Name of the Rose? According to Umberto Eco, he started writing novels, including “The Name of the Rose,” by accident. He says, “I had nothing to do one day and so I started. Novels probably satisfied my taste for narration.” While his academic work explored his philosophical interests intellectually, his novels likely provided an outlet for expressing these interests through storytelling and reaching a wider audience. The immense success of “The Name of the Rose” itself remains somewhat of a mystery, even to him.

Talking about the text

Discuss in pairs or small groups.

1. Talk about any interview that you have watched on television or read in a newspaper. How did it add to your understanding of the celebrity, the interviewer and the field of the celebrity?

2. The medium you like best for an interview, print, radio, or television.

3. Every famous person has a right to his or her privacy. Interviewers sometimes embarrass celebrities with very personal questions.

Answer:

1. Talk about any interview that you have watched on television or read in a newspaper. How did it add to your understanding of the celebrity, the interviewer, and the field of the celebrity?

Points to consider for discussion:
- The Celebrity: Think of a specific interview. What were your initial perceptions of the celebrity before the interview? How did the interview confirm, challenge, or add nuance to those perceptions? Did you learn about their personality, values, struggles, or motivations? For example, perhaps you watched an interview with a Bollywood actor discussing their journey from a small town to stardom, which gave you a greater appreciation for their hard work and resilience. Or maybe an interview with a politician revealed a more personal side that you hadn’t seen in their public speeches.
- The Interviewer: What was the interviewer’s style? Were they probing, sympathetic, critical, or casual? How did their questions shape the direction and tone of the interview? Did they seem well-prepared? Did their approach make the celebrity more or less open? For instance, you might recall an interview where a seasoned journalist asked insightful questions that drew out thoughtful responses, or another where a more sensationalist interviewer focused on gossip.
- The Field of the Celebrity: What insights did the interview provide into the celebrity’s profession or area of expertise? Did you learn about the challenges, rewards, creative processes, or current trends in their field? For example, an interview with a musician might have shed light on their songwriting process or the evolution of their genre. An interview with a sports figure could have revealed the intense training and mental fortitude required for their sport.
Sharing personal examples: Encourage each person in the group to share a specific interview they remember and discuss these three aspects based on their recollection. This will bring diverse perspectives and examples to the conversation. Perhaps someone remembers an interview with a local artist from Uttar Pradesh, offering a unique insight into the regional arts scene.

2. The medium you like best for an interview: print, radio, or television.

Points to consider for discussion:
- Print: What are the advantages of reading an interview? You can often take your time, re-read sections, and reflect on the responses. Print interviews might offer more in-depth analysis and editing. However, you miss the nuances of tone of voice and body language.
- Radio: What does listening to an interview offer? You can hear the interviewee’s tone and inflections, which can convey emotions and sincerity. Radio interviews can be more conversational and spontaneous. However, you lack visual cues.
- Television: What are the benefits of watching an interview? You get to see the celebrity’s expressions, body language, and the interaction between the interviewer and interviewee. Television can create a more personal connection. However, it can also be more edited and visually manipulated.
Personal preference and reasons: Ask each person to state their preferred medium and explain why. Their reasons might relate to the kind of information they value most, their attention span, or their preferred way of consuming media. Someone might prefer radio for its intimacy, while another might value the visual information from television.

3. Every famous person has a right to his or her privacy. Interviewers sometimes embarrass celebrities with very personal questions.

Points to consider for discussion:
- The right to privacy: Discuss the ethical considerations surrounding the privacy of public figures. Where should the line be drawn between public interest and personal boundaries? Does fame inherently mean a loss of privacy? Consider the Indian cultural context, where there can be a strong emphasis on respecting elders and personal space, yet also a great deal of public fascination with celebrities.
- The interviewer’s role: What is the responsibility of an interviewer? Is their primary duty to the public’s curiosity, or do they also have a responsibility to the interviewee’s well-being?
- “Embarrassing” questions: What constitutes an “embarrassing” or “very personal” question? Is it subjective? Consider questions about relationships, personal struggles, past controversies, or family matters.
- The impact on the celebrity: How might such questions affect the celebrity’s mental health, reputation, and relationships?
- The public’s “right to know”: Is there ever a legitimate public interest in certain personal aspects of a celebrity’s life, especially if it relates to their public image or actions?
Ethical debate: Encourage a discussion that explores different perspectives on this complex issue. There might not be a single right answer, and it’s valuable to consider the various ethical and societal factors at play. Perhaps discuss recent instances in Indian media where this tension between public interest and privacy has been evident.

These points should provide a good starting point for engaging and thoughtful discussions in pairs or small groups. Remember to encourage everyone to share their personal experiences and opinions.

Noticing discourse linkers and signallers

Linkers

Notice how the utterances of the interviewers and the interviewee are linked to one another. The linkers have been italicised for you.
Linking is done either through the use of references pronouns, like ‘that’, ‘this’, ‘which’ etc. It can also be done through a repetition of words.

I am convinced I am always doing the same thing.

Which is?

Aah, now that is more difficult to explain.
………

While waiting for your elevator to come up from the first to the third floor, I have already written an article! (Laughs).

Not everyone can do that of course.
…………………………………………………………………………..

Novels probably satisfied my taste for narration.

Talking about novels.

…………………………………………………………………………………..

at least more than 20 of them ……

over 40.

over 20

……………………………………………………………….

I cannot expect to have one million readers with stuff on semiotics.

Which brings me to my next question.

………………………………………………

Were you puzzled at all by this?

No. Journalists are puzzled.

……………………………………………………………………………………..

The use of linkers is important in all continuous stretches of text. It is very important in conversation, especially a structured conversation like an interview.

Answer:

“While waiting for your elevator to come up from the first to the third floor, I have already written an article! (Laughs).”
- This statement follows Eco’s explanation of working in “interstices.” The temporal phrase “While waiting for your elevator to come up…” provides a concrete example illustrating his abstract concept, thus linking the idea to a specific action.
“Not everyone can do that of course.”
- The pronoun “that” directly refers back to Eco’s remarkable ability to write an article in a short interstice. The phrase “of course” signals agreement and acknowledges the exceptional nature of Eco’s productivity.
“Novels probably satisfied my taste for narration.”
- This is Eco’s explanation for why he started writing novels. The word “Novels” directly connects to the topic Mukund introduced earlier about Eco’s transition to fiction.
“Talking about novels.”
- This phrase, used by Mukund, explicitly acts as a topic shifter while still maintaining a link to the previous point about Eco’s novels satisfying his narrative taste. The phrase signals that they are continuing the discussion on the subject of novels but moving to a different aspect – his fame as a novelist.
“at least more than 20 of them … over 40.”
- Mukund’s phrase “at least more than 20 of them” refers to Eco’s scholarly works of non-fiction.
- Eco’s direct correction “over 40” uses a numerical reference to directly address and refine Mukund’s statement, thus linking their utterances through factual information.
“over 40.” (Implied: “Over 40” [scholarly works]).
- Mukund’s repetition “over 40!” acknowledges Eco’s correction and signals his surprise, maintaining the link to the previous factual exchange.
“I cannot expect to have one million readers with stuff on semiotics.”
- This is Eco’s reasoning for accepting his greater fame as a novelist. The phrase “stuff on semiotics” refers back to his academic work, creating a contrast with the wider appeal of his novels.
“Which brings me to my next question.”
- This is a classic discourse marker used by Mukund to explicitly signal a transition to a new topic in the interview, creating a clear link between the current discussion and what is to follow.
“Were you puzzled at all by this?”
- Mukund’s question uses the pronoun “this” to refer back to the surprising mass audience of “The Name of the Rose,” directly linking his query to the previous discussion about the novel’s success.
“No. Journalists are puzzled.”
- Eco’s direct answer “No” immediately addresses Mukund’s question. He then introduces “Journalists” as a contrasting group who were puzzled, creating a link through shared reaction (or lack thereof).

As you rightly point out, these linkers – whether they are pronouns, repetitions, or explicit discourse markers – are essential for creating a coherent and understandable flow in any continuous text, and they are particularly vital in the structured yet dynamic environment of an interview. They guide the listener or reader through the conversation, highlighting the connections between questions and answers, topic shifts, and elaborations.

Writing

If the interview Mukund Padmanabhan had got the space in the newspaper to reproduce the interview verbatim, he may have been asked to produce a short report of the interview with the salient points.
Write this report for him.
[The teacher should be able to help the pupils in what to include and what can be omitted. We could also provide a short report of an interview as a sample.]

Answer:

Report on the Interview with Umberto Eco

By Mukund Padmanabhan

This interview with the renowned Italian scholar and bestselling author Umberto Eco, a professor at the University of Bologna, offered a fascinating glimpse into the mind of a truly multifaceted intellectual. Preceding his foray into fiction, Professor Eco had already established a formidable reputation for his work on semiotics, literary interpretation, and medieval aesthetics. His subsequent literary output, spanning academic texts, essays, children’s books, and novels, is remarkably extensive and diverse. The publication of his groundbreaking novel, “The Name of the Rose,” in 1980, which sold over 10 million copies, catapulted him to international intellectual superstardom.

The conversation began with a quote from English novelist and academic David Lodge, who expressed astonishment at Professor Eco’s ability to engage in such a wide range of activities. Professor Eco, however, humbly suggested that despite the varied nature of his work, he believes he is fundamentally engaged in exploring the same core philosophical and ethical interests, evident even in his children’s books which often address themes of non-violence and peace.

In a particularly insightful moment, Professor Eco shared his unique approach to productivity, describing his ability to work within the “interstices” – the seemingly empty spaces in daily life. He humorously illustrated this by stating he could write an entire article while waiting for an elevator, highlighting his capacity to utilize even brief moments for intellectual pursuits.

A distinctive aspect of Professor Eco’s academic style, as revealed during the interview, is his narrative approach. Unlike the often impersonal style prevalent in scholarly writing, Professor Eco consciously chose to tell the “story of his research,” including his trials and errors. This engaging method was recognized early in his career and has likely influenced his later success in narrative fiction.

Despite his immense popularity as a novelist, Professor Eco firmly identifies as a university professor who “writes novels on Sundays.” He emphasized his primary engagement with the academic community over literary circles, though he acknowledges and even finds a certain amusement in the fact that he is predominantly known for his novels, recognizing their capacity to reach a far wider audience than his academic work on semiotics.

The discussion then turned to the unexpected mass appeal of “The Name of the Rose,” a serious novel that intertwines detective fiction with metaphysics, theology, and medieval history. Professor Eco expressed that while journalists and publishers often underestimate the reading public’s appetite for challenging material, he was not entirely surprised by its success. He believes there exists a significant readership that actively seeks intellectually stimulating experiences. He also noted the unpredictable nature of a book’s success, suggesting that even a slight shift in its publication date could have drastically altered its reception.

In conclusion, this interview painted a portrait of Umberto Eco as a deeply engaged and remarkably productive intellectual whose diverse body of work is unified by a consistent set of philosophical interests. His insights into his creative process, his perspective on the reading public, and his firm self-identification as an academic scholar provided a compelling and thought-provoking exchange.

Things to do

Interview a person whom you admire either in school or your neighbourood and record it in writing.

Answer:

Interview with Mr. Sharma

Interviewer (AI): Namaste, Mr. Sharma. Thank you for taking the time to speak with me today. I, and many in the neighbourhood, deeply admire your commitment to education, even after your retirement. Could you tell me what motivates this continued dedication?

Mr. Sharma: Namaste. It’s a pleasure to talk with you. You see, education is not just a job; it’s a calling. Even after spending so many years in the classroom, the desire to see young minds blossom, to witness that spark of understanding, it doesn’t just disappear with retirement. And in our neighbourhood, there are still many children who don’t have the same opportunities as others. If I can help even a few of them get a step up, then I feel I’m still fulfilling that calling.

Interviewer (AI): I’ve noticed you often spend your afternoons helping children with their studies under the banyan tree near the temple. How did this initiative begin?

Mr. Sharma: (Smiles gently) It started quite organically. A few children from the nearby basti would see me tending my garden and would shyly ask for help with their homework. One became two, then four, and soon there was a small group. The banyan tree provides shade, and it’s a neutral, accessible space for everyone. It’s simple, but it seems to work.

Interviewer (AI): What are some of the biggest challenges these children face in accessing quality education?

Mr. Sharma: Many challenges, unfortunately. Poverty is a major one. Their parents often work as daily wage labourers and can’t always afford school fees, books, or even proper uniforms. Sometimes, the children have to work alongside their parents to supplement the family income, which affects their attendance. Awareness about the importance of education is also a factor in some families.

Interviewer (AI): Despite these challenges, what are some of the successes you’ve witnessed? Are there any particular stories that stand out?

Mr. Sharma: Oh, there are many small victories that bring me immense joy. Seeing a child who initially struggled with reading suddenly grasp the letters and start enjoying stories – that’s a big success. One boy, Raju, who used to be very irregular, started coming to the afternoon sessions consistently. He worked hard, and with some extra help, he managed to pass his Class 10 exams. He’s now training to be an electrician. That, for me, is a truly rewarding story. It shows that with a little guidance and support, these children have so much potential.

Interviewer (AI): Your efforts are truly inspiring, Mr. Sharma. What keeps you going despite the often-slow progress and the systemic issues?

Mr. Sharma: (Looks thoughtful) It’s the belief in the inherent worth of every child. Each one deserves a chance to learn and grow. Even if I can only make a small difference in a few lives, that’s still a difference worth making. And seeing their eagerness to learn, their resilience despite their circumstances – that fuels me. Their hope becomes my hope.

Interviewer (AI): What message would you like to give to the wider community about the importance of supporting education for all children?

Mr. Sharma: I would say that education is the foundation of a strong society. Every child, regardless of their background, has the potential to contribute something valuable. By investing in their education, we are not just helping individuals; we are investing in our collective future. Even small acts of support, whether it’s donating books, volunteering time, or simply encouraging a child, can make a significant impact. Let’s all do our part to ensure that no child is left behind.

Interviewer (AI): Thank you so much for sharing your time and your inspiring work with me, Mr. Sharma. Your dedication is a true asset to our neighbourhood.

Mr. Sharma: Thank you. It was good to talk with you.

This imagined interview captures the essence of Mr. Sharma’s admirable work and his motivations. It highlights his quiet dedication, the challenges faced by underprivileged children, and the small but significant victories he has witnessed. It also conveys his belief in the power of education and his message to the community. This exercise demonstrates how even within a local neighbourhood, there are often individuals with inspiring stories worth documenting.

About the Unit

Interview as a communication genre.

Sub-theme

An excerpt from an interview with an author.

Comprehension

Understanding personal opinion.

Understating conversation and the interview genre.
Comparing different media of communication.

Noticing discourse linkers and Singallers

Focus on cohesion and coherence features of discourse.

Writing

Transfer of information from one genre to another, e.g. interview to report.

Things to do

Extension activity giving practice interview people and personalities.
Questioning and information gathering techniques.

Answer:

Theme: The overarching theme is the interview itself as a form of communication.

Sub-theme: The excerpt from the interview with Umberto Eco serves as a specific example to illustrate the dynamics and features of this genre, particularly when engaging with an author.

Comprehension: The unit aims to develop comprehension skills related to:

Understanding personal opinion: Analyzing the perspectives and biases of both the interviewer and the interviewee.
Understanding conversation and the interview genre: Recognizing the structural elements, conversational flow, and specific conventions of interviews.
Comparing different media of communication: Evaluating the strengths and weaknesses of print, radio, and television as mediums for interviews.
Noticing discourse linkers and signallers: Identifying the linguistic tools that ensure cohesion and coherence within the interview transcript.

Talking about the text: This section emphasizes the analysis of cohesion and coherence features of discourse. This involves understanding how ideas are linked logically and linguistically to create a meaningful and understandable text. We’ve already explored this through the examples of linkers and signallers in the Umberto Eco interview.

Writing: The writing task focuses on transferring information from one genre to another, specifically from an interview transcript to a concise report. This requires identifying the salient points and restructuring the information in a different format while maintaining accuracy and clarity.

Things to do: The extension activities aim to provide practical application of the concepts learned:

Giving practice interviewing people and personalities: This encourages hands-on experience in conducting interviews, developing questioning techniques, and managing the flow of conversation. My imagined interview with Mr. Sharma was an example of this.
Questioning and information gathering techniques: This focuses on the specific skills needed to formulate effective questions that elicit insightful and relevant information from the interviewee.

Overall, this unit provides a comprehensive exploration of the interview as a communication genre. It moves from understanding the nuances of conversation and personal opinions within an interview context to analyzing the linguistic features that ensure coherence. Finally, it culminates in practical exercises that allow for the application of these skills in both analyzing existing interviews and conducting new ones. The focus on an interview with an author as a sub-theme provides a specific and engaging context for this learning.

Answer:

Theme: The overarching theme is the interview itself as a form of communication.

Sub-theme: The excerpt from the interview with Umberto Eco serves as a specific example to illustrate the dynamics and features of this genre, particularly when engaging with an author.

Comprehension: The unit aims to develop comprehension skills related to:

Understanding personal opinion: Analyzing the perspectives and biases of both the interviewer and the interviewee.
Understanding conversation and the interview genre: Recognizing the structural elements, conversational flow, and specific conventions of interviews.
Comparing different media of communication: Evaluating the strengths and weaknesses of print, radio, and television as mediums for interviews.
Noticing discourse linkers and signallers: Identifying the linguistic tools that ensure cohesion and coherence within the interview transcript.

Things to do: The extension activities aim to provide practical application of the concepts learned:

Giving practice interviewing people and personalities: This encourages hands-on experience in conducting interviews, developing questioning techniques, and managing the flow of conversation. My imagined interview with Mr. Sharma was an example of this.
Questioning and information gathering techniques: This focuses on the specific skills needed to formulate effective questions that elicit insightful and relevant information from the interviewee.

Report on the Interview with Umberto Eco

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