Category: Australian Literature

This section will contain the literatures produced in Australia.

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David Malouf Wild Lemons Summary

Introduction

The poem explores the nostalgic reflection on poet’s native homeland Australia and his journey on self identity. The poem vividly uses the natural surroundings in the form of a memory and the recollections adds an element of nostalgia that gives the time space. It is the poet’s quest on remembering his native land, the past colonialism and the post-colonial world. Critically, the poet goes to the colonial and the post-colonial world in search of his own roots and the journey towards the unchanging identity.

Lines

“Through all those years keeping the present 
open to the light of just this moment: 
that was the path we found, you might call it 
a promise, that starting out among blazed trunks 
the track would not lead nowhere, that being set 
down here among wild lemons, our bodies were 
expected at an occasion up ahead 
that would not take place without us”.

These lines convey a sense of memory and a reception that flows the time space of present and the past. The speaker is nostalgic in these lines recalling back throughout these “years” in the present while keeping the past in consideration. The pronouns “you” and “us” or “our” are a reflection of time past and time present or the past identity and the present identity which is being carried together. He states that it is this moment or an epiphany to recall back his own native land. The “wild lemons” symbolises his own native land Australia. It is the “path” as the speaker assumes that he visualises and the “promise” to return. It started out from the barks stem of a tree leading to “nowhere” but the purpose and an anticipation of the future ahead of them cannot exist without them. The plurality is used because the identity of past and present are being pulled together to the future. Critically, the speaker seems to attach the old memories and tag along in the present to the future where the future can only exist if the past and the present is tagged along. Perhaps, the speaker is in a position where he wants the colonial history from past and the post-colonial world to be known and never diminished even in the future world of Australia.

Lines

“One proof was the tough-skinned fruit among their thorns; someone had been there before us 
and planted these, their sunlight to be sliced 
for drinks (they had adapted 
in their own way and to other ends); another 
was the warmth of our island, sitting still 
in its bay, at midnight humming 
and rising to its own concerns, but back, 
heat-struck, lapped by clean ocean waters 
at dawn”.

These lines recollects the past history of Australia. The initial lines gives a factual description of Aborigines, the natives who lived before the white settlers came to Australia. The “tough-skinned fruit” implies the Aborigines and they lived in their “thorns” means the brutality and the impact of colonialism. The speaker opines in his memory of Australia that these natives settled here before the white ancestors arrived to Australia. These natives planted the Australian identity before even the white settlers call themselves Australians. The image of “sunlight” is compared to the lemons because of its colour and it reflects the cultural identity of natives who are the original inhabitants of Australia with their identity to be acknowledged as the speaker states. The parenthesis suggest that these natives have adapted themselves to live with the current trends and to the “other ends” meaning the post-colonial world or perhaps the immigrants who settled in different countries. The speaker sits near the river water bay of Australia and listening to the humming sound at night meditating upon his own roots and returning back to his own native land surrounded by clean waters visible at dawn.

Lines

“The present is always 
with us, always open. Though to what, out there 
in the dark we are making for as seven o’clock 
strikes, the gin goes down and starlings 
gather, who can tell? Compacts made 
of silence, as a flute tempts out a few 
reluctant stars to walk over the water”.

These lines expresses the present moment where the post-Independent Australia thrives and is “always open” meaning that it is independent, free and there is a freedom, perhaps an implication towards colonial liberation as well. However, there’s a sense of uncertainty about what lies ahead in the darkness as the clock strikes seven and the evening unfolds. The mention of “gin going down and starlings gathering” creates an atmosphere of anticipation and mystery. It is as if there are unspoken agreements and connections in the silence, like a flute enticing stars to walk on water. The imagery in these lines evokes a sense of wonder and the unknown, highlighting the beauty and unpredictability of life’s journey.

Lines

 “I lie down 
in different weather now though the same body, 
which is where that rough track led. Our sleep 
is continuous with the dark, or that portion of it 
that is this day’s night; the body 
tags along as promised to see what goes”.

These lines touch upon the concept of self and identity. The speaker reflects on lying down in “different weather” while inhabiting the “same body”. It suggests that despite the changing external circumstances or changing world views , his sense of self remains constant. Perhaps, it is his sense of self identity which remains constant as the passage of time. It could also suggest the sexual politics at play where his sexuality perhaps the homosexual identity remains a part of him in his “same body” while the world views have changed significantly. The stark similitude to the world of nature gives a political and radical opinion because the world of nature remains constant despite the time progresses rapidly. It could highlight that the homosexual tendency he feels inside is natural and it is the radical sexual politics that he interpolates perhaps to battle his ambivalent relationship with his own self identity. The mention of the “rough track” and the body tagging along signifies his own struggle with his homosexual identity that cannot be detached from his body. It also implies the continuous exploration of life as if the body is committed to experiencing and observing what unfolds. It’s like the identity is intertwined with the journey a person embark on, adapting to different situations while maintaining a sense of continuity. It is in this lines the speaker journey of self identity and discovery unfolds where his identity maintains a sense of continuity objectified in his body.

Lines

“What goes is time, and clouds melting into 
tomorrow of our breath, a scent of lemons 
run wild in another country, but smelling always of themselves”.

These lines describe the passage of time and the continuity of identity in a poetic way. It suggests that what goes is time itself, as it moves forward and brings about change. The mention of “clouds melting into the tomorrow of our breath” symbolizes the fleeting nature of moments and the future anticipation of what it can offer next. The “scent of lemons” implies the self identity and “ in another country” represents the essence of experiences that may be different from one’s own yet they still retain their inherent qualities. This conveys the idea that while time may bring new experiences and environments one’s identity remains rooted in who one is , always carrying a sense of self with one. It is a reminder that even as time moves on, our core identity remains unchanged.

R.K. Narayan Father’s Help Summary

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Post-Colonial Space in David Malouf Revolving Days

The poem Revolving Days examines issues of memory, the past, and relationships. Speaking to his past lover, he conveys his lingering feelings and describes how his life and his function as a “lover” have changed over time. He is thinking about who he was, who he is, and who his ex-lover is now, and his mood is one of resignation and reflection.

David Malouf’s poem “Revolving Days” has three stanzas with asymmetrical line breaks. Ten are in the first stanza, seven in the second, and six in the third. Malouf did not provide a rhyme scheme or metrical structure for this poem. Instead, the lines differ in terms of the quantity of words and syllables.

The poem gives a post-colonial space of identity, homelessness, inbetweeness and ambivalent. The speaker’s quest for self-discovery is evident in the poem and it has intrigued many researchers to give a discourse on the speaker’s sexuality. Though the poem does not address the issue of colonialism yet it addresses the post-colonial space of the speaker’s journey of identity and his ambivalent relationship with the past memory.

The poem gives post-colonial space of homelessness. The initial statement of the poem “That year I had nowhere to go” itself reflects the post-colonial issue of being homeless and a sense of unbelongingness. It is a fascinating poem that diverts directly to the “love” that the speaker considers it as a “mistake”. The love happened to the speaker because he simply had “nowhere to go” and it “lasted and has lasted”. The lines indicate the effects of past love still continue to affect the speaker in the present. It also reflects a sense of conflicting emotions of the speaker with his memory from the past reflecting a postcolonial element of ambivalence.

The poem largely deals with the post-colonial issue of identity. In the context of post-colonial identity, the speaker perhaps is in a quest to find a belonging. The speaker addresses his “old tug at the heart” and he remembers the colour of the shirt he bought “as an experiment in ways of seeing myself”. These lines highlight the post-colonial identity of the speaker who tried to discover his own identity. The speaker tries to “experiment” the kind of a lover he was expected to be in the past from his recollection and the kind of a lover he has become at present.

The poem, however has been observed from another perspective of identity politics. Critically, the style and language shrouds the speaker’s sexuality and his identity in the poem. Many research scholars still debate and argue whether Malouf is expressing his own sexuality in the poem. The poet has used gender neutral pronouns in the poem and one is left to wonder in awe whether the person he is addressing is a woman or a man. There are many imagery of male dress and costume that gives a gender persona to the speaker as a man.

Additionally, the speaker’s sexuality perhaps is addressed in the poem as his identity. In the beginning of the poem, the speaker states “love” as a mistake which could imply that he went against the traditional norms. It is ironical as “love” can never be a mistake unless it goes against certain social expectations. It is indicative of his sexuality perhaps that he was in a homosexual relationship in the past. To justify this sense of past relationship, he states that he remembers is “the colour of the shirts” where the phrase represents the sexuality of the speaker. The vibrant colours of shirts indicate his homosexual identity perhaps in the poem. In the context of post-colonial identity, the poet have an ambivalent relationship with his past perhaps his conflicting emotions with his homosexual identity and memory of past “love” that has been void.

The poem then addresses the post-colonial space of ambivalence. Though the element of ambivalence is evident in the identity and homelessness yet it is also evident with his conflicting emotions. The speaker’s emotion remains unchanged for the beloved as it remained with him till the present. The sense of ambivalent is observed when the speaker has a mix emotional turbulence for the past love and the love at present. He considers the love at past as a mistake but not the feelings for his beloved and the feelings continued till the present. He even declares that he will not allow discomfort his beloved with his physical presence at present for he will not “come out of that old time”.

Furthermore, the post-colonial element of inbetween state is evident in the poem. The speaker is torn inbetween the “old time” of his feelings for his beloved and the present emotion for his beloved. Perhaps he continues to liven his feelings to the present without causing any disturbance at present. This shows his inbetween state in his love life where he is torn to embrace the past feelings and let it continue to the present.

David Malouf Wild Lemons Summary

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A.D Hope Standardisation Summary

When, darkly brooding on this Modern Age,
The journalist with his marketable woes
Fills up once more the inevitable page
Of fatuous, flatulent, Sunday-paper prose;

These lines suggest that the poet is expressing his dissatisfaction with the journalism of the modern age. The phrase “darkly brooding on this Modern Age” indicates a sense of contemplation and concern about the state of the world. The poet criticizes the journalist for focusing on trivial and marketable issues, creating a sense of emptiness in their writing. The phrase “marketable woes” implies that the journalist is more interested in sensationalizing problems to attract readers rather than providing meaningful content. The poet further emphasizes this by describing the journalist’s writing as “fatuous” and “flatulent,” suggesting that it lacks substance and is filled with unnecessary fluff. The mention of “Sunday-paper prose” implies that this type of journalism is commonly found in newspapers, particularly on Sundays when readers may have more leisure time. Overall, the lines convey the poet’s disappointment with the shallow and commercialized nature of journalism in the modern age.

Whenever the green aesthete starts to whoop
With horror at the house not made with hands
And when from vacuum cleaners and tinned soup
Another pure theosophist demands

Rebirth in other, less industrial stars
Where huge towns thrust up in synthetic stone
And films and sleek miraculous motor cars
And celluloid and rubber are unknown;

These lines describe a scenario where a “green aesthete” expresses dismay at man-made structures and materials, while a theosophist seeks rebirth in a more natural and non-industrial world. The “green aesthete” is someone who values nature and is critical of things that are not made by hand, expressing horror at the absence of natural elements in the environment. On the other hand, the theosophist desires to be reborn in a world devoid of industrialization, where there are no large towns made of synthetic stone, no films, no sleek motor cars, and no materials like celluloid and rubber. The lines highlight a contrast between those who appreciate nature and those who reject the modern industrialized world, longing for a simpler and more natural existence.

When from his vegetable Sunday School
Emerges with the neatly maudlin phrase
Still one more Nature poet, to rant or drool
About the “Standardisation of the Race”;

These lines seem to be discussing the emergence of yet another nature poet from a “vegetable Sunday School.” The phrase “neatly maudlin” suggests that the poet’s expression is sentimental and overly emotional. The poet is described as ranting or drooling about the “Standardisation of the Race.” This phrase could be interpreted as the poet expressing concerns about the homogenization or loss of individuality within society. Overall, the lines seem to be commenting on the presence of nature poets who passionately discuss the impact of standardization on humanity.

I see, stooping among her orchard trees,
The old, sound Earth, gathering her windfalls in,
Broad in the hams and stiffening at the knees,
Pause and I see her grave malicious grin.

These lines address the poet observing the Earth, metaphorically depicted as an old woman, stooping among her orchard trees. The phrase “gathering her windfalls in” suggests that the Earth is collecting the fallen fruits from the trees. The description of the Earth as “broad in the hams and stiffening at the knees” portrays her as a strong and sturdy figure, but also one that is aging. The poet then mentions seeing a “grave malicious grin” on the Earth’s face, implying a sense of mischief or hidden intentions. These lines evoke a sense of the Earth’s power and presence, as well as a hint at the complex relationship between humanity and the natural world.

For there is no manufacturer competes
With her in the mass production of shapes and things.
Over and over she gathers and repeats
The cast of a face, a million butterfly wings.

These lines highlight the unmatched ability of the Earth as a manufacturer in the mass production of shapes and things. The Earth continuously gathers and repeats the casting of various forms, such as the shape of a face and the delicate wings of a million butterflies. It emphasizes the Earth’s creative power, constantly producing diverse and intricate elements found in nature. This portrayal showcases the Earth’s incredible capacity for generating and reproducing a wide range of shapes and living beings.

She does not tire of the pattern of a rose.
Her oldest tricks still catch us with surprise.
She cannot recall how long ago she chose
The streamlined hulls of fish, the snail’s long eyes,

These lines emphasize the Earth’s enduring fascination with the pattern of a rose. Despite the passage of time, the Earth’s timeless tricks continue to surprise us. The Earth’s memory does not recall when it first chose the streamlined hulls of fish or the long eyes of a snail. This highlights the Earth’s innate creativity and ability to design and shape various elements in nature. The repetition of these patterns and forms throughout time showcases the Earth’s enduring artistry and its ability to captivate and inspire us with its creations. It suggests that even the oldest tricks of nature still hold a sense of wonder and surprise for us, reminding us of the Earth’s timeless ingenuity.

Love, which still pours into its ancient mould
The lashing seed that grows to a man again,
From whom by the same processes unfold
Unending generations of living men.
What does these lines describe ? Explain in details

These lines describe the enduring power of love, which continues to fill its ancient mold. Love is compared to a lashing seed that grows into a man, and through the same processes, gives rise to unending generations of living beings. This imagery suggests that love is a force that perpetuates life and ensures the continuation of humanity. It implies that love is a fundamental element in the cycle of life, connecting individuals across generations. Just as the seed grows into a man, who then becomes a parent and passes on the seed of life, love plays a vital role in this process. It highlights the interconnectedness of human existence and the role that love plays in the perpetuation of life.

She has standardised his ultimate needs and pains.
Lost tribes in a lost language mutter in
His dreams: his science is tethered to their brains,
His guilt merely repeats Original Sin.

These lines highlight the standardization of human needs and pains by an unnamed figure. The mention of lost tribes muttering in a lost language in his dreams suggests that these needs and pains are deeply rooted in human history and culture. The figure’s science is described as being tethered to their brains, indicating a connection between their knowledge and understanding. The mention of guilt repeating Original Sin alludes to a sense of shared human guilt or wrongdoing that persists throughout generations. Overall, these lines emphasize the universal nature of human experiences, the influence of past cultures on the present, and the complex relationship between science, guilt, and our collective human history.

And beauty standing motionless before
Her mirror sees behind her, mile on mile,
A long queue in an unknown corridor,
Anonymous faces plastered with her smile.

These lines suggest that beauty, while standing before her mirror, sees a long queue of anonymous faces behind her. These faces are plastered with her smile, indicating that they are imitating or trying to replicate her beauty. The mention of a long queue in an unknown corridor implies that there are countless individuals who strive to attain or possess the same beauty that she possesses.

This portrayal highlights the pressure and expectations associated with beauty standards in society. Beauty, represented as a person, becomes aware of the multitude of people seeking to emulate her appearance. It raises questions about the nature of beauty, its impact on individuals, and the desire to conform to societal ideals. The mirror serves as a metaphor for self-reflection, where beauty witnesses the presence of countless others who aspire to attain the same level of attractiveness.

Furthermore, the use of the word “anonymous” suggests that these individuals may feel unseen or overlooked in their pursuit of beauty. They may be faceless in the crowd, losing their individuality in the quest to conform to a particular standard of beauty. This portrayal invites contemplation on the societal pressures surrounding beauty and the potential loss of identity in the pursuit of external validation.

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Sally Morgan The Letter Summary

The narrator is on a bus, feeling tired and sad. They have an old biscuit tin on their lap, containing sentimental items left by someone who has passed away. The narrator reflects on their relationship with Elaine, their daughter, who they were separated from when she was a baby.

Elaine was adopted by a white family and grew up thinking she was white. The narrator tried to find Elaine but was unsuccessful, and their letters were returned. The narrator decides to make one last attempt to reach out to Elaine by sending her a new letter.

Just as they have this thought, they receive a phone call from Elaine, who wants to see them. The narrator is overjoyed and feels a sense of closure and happiness. They mention their sister, Nellie, who had always believed that Elaine would come home.

Themes and Analysis

  • The story explores themes of separation, loss, and the longing for connection.
  • It highlights the impact of adoption and the challenges faced by Indigenous mothers in the past.
  • The narrator’s persistence and love for Elaine are evident throughout the text.
  • The sudden phone call from Elaine brings a sense of hope and reconciliation.

In short the story tells the story of a narrator’s journey to reconnect with their daughter, Elaine, who was adopted by a white family. Despite previous failed attempts, the narrator decides to send one last letter. Just as they have this thought, they receive a phone call from Elaine, expressing a desire to see them. This unexpected turn of events brings joy and closure to the narrator, who had longed for this reunion.

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Summary of Jack Davis Kullark Act II

Scene 1- The Advance Australia Fair highlights the population increase of Western Australia after 72 years of European settlement, but the Aboriginal population has decreased by half, from 55,000 to 24,000. The half-caste population is increasing alarmingly, with two thousand by 1922 and four thousand by 1935. The new government is tackling this issue with committees, inquiries, legislation, regulations, and investigations. The Chief Protector of Aborigines, A.o. Neville, believes that these half-castes can be useful workmen and women, but they are often found in communities influenced by laziness and vice. Neville believes it is the duty of the government to prevent these half-castes from growing up as vagrants and outcasts, as their mother now is. The story of a brown-skinned baby being taken away from its native mother is told, with the child growing up and roaming from the mission home. The child never meets his mother again, and the story highlights the challenges faced by the Aboriginal population in Western Australia.

Scene 2- Rosalie and Alec discuss their son Jamie’s situation and his future. Alec is concerned about Jamie’s involvement in land rights and his mixed feelings with white students. Rosalie believes that Jamie could be better off working at home, working on a farm or a wheat bin, or learning to speak. She wants to prove to the Wetjalas that her son is as good as theirs.

An urgent knocking at the door is heard, and Lyn rushes in to inform Rosalie that Jamie has been involved in a fight with the publican. Rosalie is unsure of what to do and suggests that she go to Uncle Peter to help. Alec is determined to get the money and punch Jamie in the face. Rosalie is relieved and assures Lyn that Jamie is level-headed when he wants to be. She leaves, revolving the kitchen wall and converting the room into an office at a Government Aboriginal settlement.

Scene 3- The cast enters singing, revealing a newspaper front page announcing the Wall Street crash and a picture of a long, bedraggled dole queue. The Depression of the 19th century hit the Aborigines harder than any other group, with only one hundred South West Aborigines in employment and the rest on Government rations. Before the Depression, each Aboriginal was entitled to a weekly ration of one-and-a-half pounds of sugar, eight pounds of flour, four ounces of tea, one stick of tobacco, plus a daily issue of three quarters of a pound of meat. In 1929, the distribution of meat was discontinued, and unemployed Aborigines received the Aboriginal Ration, worth about twenty-two cents a week.

On January seventeenth, nineteen thirty-three, eighty-nine Aborigines, the entire population of the Northam camp, were rounded up by police and dumped in the Moore River Settlement. The Northam Shire Council said they had scabies and were a health risk. At Moore River, it was found that only four of the eighty-one had the disease.A policeman enters, and Thomas James Yorlah, his wife Mary Mildred Yorlah, and their two children are arrested under Section Twelve of the Aborigines Act. The policeman tells Thomas that they are being moved from any area to any other area, and he is ordered to resist arrest. Mr. Neale enters with settlement clothing, followed by Bluey, a black tracker, who gives Thomas oversize boots. He is given two dresses and two shirts for him, and Bluey instructs him to wear them on his tjenna.

Thomas, a quarter-native, has been waiting outside the Aborigines Department for two days to see Mr. Neville, who he believes is trying to avoid him. He wants an exemption from the Aboriginal Act to get his wife and children out of the Settlement. Neville, however, is concerned about Thomas’s health and the welfare of his children. He believes that Moore River is a prison, and he wants to get his family out.

Neville explains that everything is provided there for his family, including a bag humpy for his wife, a locked-up compound for his kids, and a cat-o’-nine-tails for his eldest boy. Neville is angry and wants Thomas back at the Settlement by the end of the week. Thomas returns to Moore River to get his family out.

Neal, who had a letter from Mr. Neville in Perth, informs Thomas that he has been pestering him for an exemption from the Act. Thomas explains that he won’t get an exemption and that he doesn’t want him to go down to Perth again. He plans to start digging ditches in Moore River tomorrow.

Thomas, a man with a job in Nor-tham, is preparing to leave the Settlement. He is accompanied by his wife Mary and their children, Alec and Mary. Thomas is worried about their children’s safety and the possibility of being held down by trackers. Mary has been in trouble, and Thomas is determined to leave the Settlement.Matron, a teacher, is trying to find school work for Alec and is considering talking to Mr. Neale about allowing them to leave.

Thomas tells his mother and children that they will be twenty miles away by tomorrow. He has been talking to Peter Lackson, who has run away from the area with his kids. Thomas tells them to stay away from the railway lines and main roads and to stay on the high ground.

Neale , the boss, informs Mary that Thomas has completed his six months in Fremantle Gaol and will not see her children for a month. He plans to keep running away for his family. Meanwhile, Mary, who is worried about her husband’s health, calls her boss to discuss her situation.

Neale informs Mary that Mr. Neville has given him permission to take her and her children from the Settlement. He also warns her not to return to any towns, apply for assistance from the Aborigines Department, or stay in any town after six in the evening. Mary agrees to keep away from these towns and the same hymn is played as Thomas exits. He believes that the experience was worth it and would do it again if he had to.

Scene 4- In this scene, Rossie enters a modern setting in the kitchen and cleans up after an experience with Ron the publican at the pub. Ron accuses Rossie of being cheeky and threatening to take his last beer in the hotel. Rossie reveals that she had tipped out a flagon of wine, which was a real good wine. Rossie offers to give Alec four dollars sixty for trying it, but Alec refuses. Rossie rescues his guitar and separates his parents, but Alec reveals that it was sauterne, not plonk. The couple exits through the revolving kitchen wall, and a guitar begins backstage. The text highlights the tension between Rossie and Alec , as well as the consequences of their actions.

Scene 5- In the scene, the white actors play roles such as Alec and Rosie, who return home after World War Two. The film highlights the struggles faced by the Aborigines who served in the Australian Army, with over 400 serving and 50 serving overseas and two dying in Japanese prisoner-of-war camps. The film also discusses the rumors that the Japanese would teach the Aborigines to read and write, provide women, and ensure they were all right for tucker.

Alec Yorlah, a young soldier, is met by a white army colonel who gives him his discharge papers and citizenship rights. He acknowledges that the Army taught him more than physical combat, but also psychological warfare. The colonel admits that Australia is still a racist nation at heart, and people will always treat them differently.

Alec is introduced to his new life as a lawyer on Civvy Street, where he learns that he must think and act white. He is given a citizenship card, which he uses to prove himself as a white man. Thomas and Mary Yorlah enter the kitchen, transforming it into a run-down interior of a bag humpy. They discuss their experiences and Alec’s future plans. Their last letter from the army tells them that they are getting off the reserve and looking for a house. Alec is excited about his future and has a girl named Yamatji from Carnarvon, who lives in Perth.

Thomas and Mary discuss their past experiences at Moore River Settlement and the changes they will face in their new home life. Thomas mentions that he and his father, Tommy, have just finished clearing four hundred acres of land together. Mary has fixed a small tent for him to sleep in, and Alec is going down town for a while to meet one of his Army mates.

As they discuss their new home, Alec mentions that the town hasn’t changed much, and townsfolk give the town a character. He also mentions that the policeman knows his father, who caused him trouble from time to time. The policeman advises Alec to stay away from the reserve and that natives with citizenship rights should live up to the privilege.

Alec agrees, but warns his mother not to take after his father, as he believes citizenship doesn’t sound like freedom to him. He also mentions that he met his copper friend last night and that they can’t have any relations visitin’ once they get this house. Mary assures him that her brothers and sisters and nephews and nieces will visit him, but Alec insists they will have to be careful.

Thomas and Mary leave the room, and Alec tells Mary that Rosie is coming down next week. They plan to get married and have a few kids, but Alec wants them to grow up with a good education and dignity. He leaves through the screen, restoring the Rainbow Serpent, and country and Western music fades in.

Scene 6- In the last scene, Rosie and Alec, dressed in their best clothes, discuss their twelve-month good behavior bond and the old judge’s impression of Jamie’s training to be a schoolteacher. They discuss the white courthouse and the bloody feeling of being alone in the gallery. They share a drink and a flagon, and Alec pours three glasses for them. They drink together, and a black actor sings a song about a woman born with sand in her mouth and wind in her hair. The black actor tells the story of the woman, who was cruelly raped and raped by the white judge, and the children of the black and beautiful kind. The black and beautiful kind will remain their children forever.

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Summary of Jack Davis play Kullark

Act 1

Scene 1 – In February 1979, a man named Alec Yorlah enters a kitchen in a South West Western Australian household. He is suffering from the night before and is preparing breakfast. He is interrupted by a long-winded missionary sermon about the Nyoongah Church. The sermon aims to frighten people into going to the church, but Alec believes it’s better than an each-way bet.

Rosie, a bookie’s clerk is in charge of the T.A.B in the sky. Alec mentions that he hasn’t seen his Auntie Peg and Uncle Eli for years and they still live down Gnowangerup with their family. They are worried about being kicked out if mobs of Nyoongahs continue to visit the area.

After the funeral, Alec and Rosie go back to the house to get drunk. They remember a story about Ol’Wahrdung and Koolbahrdi who were brothers with beautiful white feathers and decided to fight them out in the sky. They fell into a pool of black sticky mud with Koolbahrdi being the first escape and Wahrdung being the last. The radio stops and they fall still and silent. Rosie weeps quietly while Alec gazes into his tea. Didgeridoo music crashes in and they exit.

Scene 2- Warrgul, a powerful warrior, arrived with a thunder roar, forming mountain ranges and plains. He made a home on Kargattup and Karta Koomba, creating a clear river and a wide clear river. Warrgul gave him kangaroo, emu, feathers, birds, and fish. He was given laws and legends to protect him, but the jungara came across the waters, causing him to die.

Scene 3– In this scene , a folk tune plays as Charles Fraser, a botanist, enters a revolving screen, revealing a watercolour of the Swan River in1827. Fraser is impressed by the natural attractions of New South Wales and decides to return to the boat. However, he is frightened by the natives’ clothing, which is painted white. Fraser asks Mitjitjiroo and Morayanh to leave, but they refuse. Fraser offers them his butterfly net, but he refuses. Eventually, he takes off his coat and trousers, and the natives are shocked by the new clothes. The music builds to a climax, and the Aborigines exit. Fraser asks if they can return to the boat, and he is greeted by a drum roll. The speaker, Sir Walters Fraser, addresses the audience as if they were allending a meeting in England.He explains that the natives are fascinated by the color of their skin, believing it to be painted white.He intends to avoid quarrels with them and make them hostile to future settlers in revenge for the severe measures he will take.

Scene 4- Rosie and Alec attend a funeral for a deceased Wonga, who was cuttin’ sandalwood in the eastern goldfields. Alec is upset that Jamie couldn’t attend, as the old fella used to carry him around. Alec mentions borrowing a bed and mattress from a do-gooder named Lyn, who is a Wetjala. Alec is disgruntled and tries to be a schoolteacher, but is hesitant to marry a Wetjala. Alec reveals that he and Alec have been together for 25 years, and he doesn’t want Alec marrying a Wetjala. Alec’s sister Mary is married to a Wetjala, but Alec doesn’t want her marrying a Wetjala. Alec drinks wine, and Alec admits that he has never won an argument in their 25 years together. Alec leaves, and Alec drinks, leaving the room.

Scene 5- Alice, an Irish pioneer woman, is excited about her upcoming voyage with Will to the Swan River Colony. She is filled with excitement and anticipation, knowing that she can live again and dream again with Will’s support. The expedition is led by Captain Stirling and a detachment of the Sixty-Third Regiment, and they have sold their possessions and only bring a few necessities. As they embark on their journey, they encounter Yagian, Mitjitjiro, and Moyarahn, who take fright and eat a loaf of bread. Will assures Alice that they did well, and he gives notice that any person or persons acting fraudulently or cruelly towards the Aboriginal race will be prosecuted.

As they continue their journey, Alice reads a letter from Will, expressing her love for him and the hardships they may face. The text highlights the harsh realities faced by Indigenous peoples during the colonial period and the importance of respecting their rights and traditions. The natives, as black as ink and clad in animal skins, visit the encampment and jabber in a language that would cause Meg and the children mirth.

Will and Alice visit them, who bring a catch of mullet. Will shows them a spear, which they use to spear fish. Alice offers them flour in return for the fish, which they mix with water to make berry. The Aborigines are suspicious at first but burst into laughter when they smell the flour. A drum roll is heard, and Stirling enters through a revolving screen, revealing the Union jack. He proclaims that all male persons between the ages of fifteen and fifty are required to enrol in the militia of the country for the safety of the colony from invasion and attack from hostile native tribes. A gentle folk tune fades in quietly as Alice reads from a diary.Alice reveals that a native named Yagan, who has learned English, often visits the group, sometimes alone or with an older native named Mitjitjiroo. They believe Mitjitjiroo is Yagan’s father. Will finds Yagan fascinating and agrees to share food supplies with the natives to avoid force. The natives have a taste for bread, which Will finds amusing.

Scene 6- In this scene , the characters Alice and Will leave through a revolving wall, returning to the kitchen. Alec Yorlah enters and sleeps at the table, while Jamie enters with an overnight bag and a guitar case. Alec and his father argue about the lack of big mobs and the fact that they didn’t get a lift from someone who was going to Albany. Alec tells Jamie that he missed the funeral and wanted to save money to buy a new guitar.

Rose enters with Lyn, a white schoolteacher. They discuss their lives and discuss their sports. Alec admits to being good at two-up and admits to being a good two-up player. He asks Lyn about her teaching career and invites her to have dinner with her parents.

Alec is rude to Lyn and is mocked by her, but he explains that if he can’t talk civil to his friends, there’s no room in the house for him. Rosie and Jamie turn on Alec, who is dealing with people like her all his life. Alec leaves the house and goes to the pub to find someone civil to talk to.

Scene 7- Alice recounts her fear and anguish in the Swan River colony of 1832, where she is trying to hide her fear and anguish from her husband Will. She is concerned about the violence that has occurred, which has resulted in the deaths of natives, including their friend Yagan. Will finds a spear embedded in the wall of their hut after each incident. Alice is trying to hide her fear and anguish from her husband, but she cannot be comforted like a child anymore.

Private Jenkins, carrying a musket, knocks at the door of their cottage, revealing a Union Jack. He informs Alice that the Government has forbidden settlers from giving flour to the natives, and they must go down to the official rationing station for handouts. Alice agrees to talk to Yagan, who is afraid of being killed for his berry good.

A letter from William Patrick O’Flaherty is read, expressing her fear for her life. She is frightened by the news that Yagan escaped from Carnac Island and the body of Private Jenkins was found in a well. She prays the Lord to protect Mrs. Jenkins and the children. Yagan, carrying Jenkins’ coat, hat, and a spear, enters the cottage and confronts Alice. He tells Alice that he wants to talk to Wetjala, who is angry and wild. He threatens to kill Wetjala and Nyoongarah, leading to a confrontation between them.

The Union Jack declares the natives Yagan and Mitjitjiroo to be outlaws, deprived of British law protection, and offers a reward of thirty pounds to anyone producing their bodies dead or alive. The noise builds, and Mirjitjiro crosses in front of the Rainbow Serpent.

Alice recounts the tragic events that led to the capture of Mitjitjiroo, an Aboriginal leader, and his death. He was shot by a firing squad of six soldiers from the Sixty-Third Regiment. Alice and Will, who were present at the scene, confront Yagan who claims that his father was a prisoner on Carnac Island. Yagan reveals that the soldiers had put chains on him and demanded that he bring back a boat. Will, however, refuses to do so. Yagan then tells Will that he has a right to know who killed his father.

Alice learns that Yagan, an Aboriginal native, was killed by two boys, William Keats and James, who pretended to be friendly. The other two boys were shot in the head by Yagan, and a third native speared Yagan’s killer. A party of settlers returned to the site, and Yagan and William Keats died. An English scientist, T.J. Pettigrew, sends a letter to Mr. Pettigrew, revealing the head of Yagan, an Aboriginal native who was believed to be a leader of his people and a savage villain.

Scene 8- In this scene, Rosie and Jamie discuss their experiences with their father, Pop, who is a black man from the Eastern States. They discuss the history of the settlements and the racial discrimination faced by the half-caste community. Rosie argues that the generation of black people in the town has no guts and should not be criticized for their actions.Jamie mentions that Pop spends too much time drinking in the pub, which could lead to an alcoholic situation. He also mentions that half the town’s people are on Social Services, and Pop is known for his knowledge of the office.

Alec enters the conversation, expressing his concerns about the situation. He mentions a recent incident where a pub was burned down, and he believes that the black people were blamed for the incident. Alec argues that Ron, the owner of the pub, is a racist and that he should continue being a good Jacky. A fight looms between the two, and Rosie suggests that Jamie should stop the argument and go get some bread. Alec leaves, and they both exit the room.

Scene 9- In the Swan River Colony, violence continued after the death of Yagan. Captain Stirling returned to the colony in 1834, and learned of the duplicity and ferocity of the tribe, which had murdered four white men and wounded two others. He decided to check the career of the tribe and proceeded to the vicinity of the proposed new township of Pinjarra. On October 27th, a group of natives were sighted in a camp, and Captain Ellis and his party shot them dead. The official estimate was fifteen to twenty dead, but only eight women and several children were rounded up. The white man warned that if more bloodshed occurred, four times the number of soldiers would be sent to kill every man, woman, and child between here and the mountains.

As white settlement spread south, similar incidents occurred, with seven Aborigines shot by Mr. Bussell in 1841, an Aboriginal caught stealing flour in 1842, and an Aboriginal girl shot at point blank range in 1842. Captain Molloy rounded up an entire tribe at Vasse and exterminated them and burned their bodies.In the film, an Aboriginal actor sings a song about the violence and injustices faced by the Aboriginal people in the Swan River Colony and the Murray tribe. The actors express their sympathy for the Aboriginal people but also acknowledge the brutality of the white man.

Summary of Jack Davis Kullark Act II

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Summary of Oodgeroo Noonuccal poem A Song of Hope

Look up, my people,
The dawn is breaking,
The world is waking
To a new bright day,
When none defame us,
No restriction tame us,
Nor colour shame us,
Nor sneer dismay.

These lines describe a hopeful and empowering message. They encourage people to look up and embrace the breaking dawn of a new day. It symbolizes a world awakening to a brighter future, where no one can defame or restrict us. It emphasizes the importance of overcoming societal limitations such as race or color, and not allowing sneers or disapproval to discourage us. The lines inspire a sense of unity, resilience, and the belief that a better world is possible, free from prejudice and shame.

Now brood no more
On the years behind you,
The hope assigned you
Shall the past replace,
When a juster justice
Grown wise and stronger
Points the bone no longer
At a darker race.

These lines convey a message of moving forward and letting go of the past. They encourage not dwelling on the years that have passed, as the hope that lies ahead will replace them. The lines suggest that a more fair and just society, one that is wiser and stronger, will no longer discriminate against a particular race. It implies a vision of progress where equality and justice prevail, and the bones of contention are no longer pointed towards any particular racial group. The lines inspire optimism for a future where prejudice and discrimination have no place.

So long we waited
Bound and frustrated,
Till hate be hated
And caste deposed;
Now light shall guide us,
No goal denied us,
And all doors open
That long were closed.

These lines highlight a sense of liberation and empowerment. They describe a period of waiting, feeling constrained and frustrated, until the day comes when hate is no longer tolerated and the system of caste is overthrown. The lines express the belief that light will guide the way, and no goal will be denied. They convey the idea that previously closed doors will now open, offering opportunities that were once out of reach. It is a message of hope and optimism, envisioning a future where barriers are broken and individuals are free to pursue their dreams.

See plain the promise,
Dark freedom-lover!
Night’s nearly over,
And though long the climb,
New rights will greet us,
New mateship meet us,
And joy complete us
In our new Dream Time.

These lines suggest a hopeful outlook for the future. They speak to a freedom-loving individual who can see the promise ahead. Although the climb may have been long and challenging, the night is nearly over. The lines express the belief that new rights and opportunities will greet us, new connections and camaraderie will be formed, and joy will complete us in a new era referred to as the “Dream Time.” It conveys a sense of anticipation and excitement for a future filled with fulfillment and collective prosperity.

To our fathers’ fathers
The pain, the sorrow;
To our children’s children
The glad tomorrow.

These lines emphasize the intergenerational connection and the hope for a better future. They acknowledge the pain and sorrow experienced by our ancestors, passed down from our fathers’ fathers. However, they also express a sense of optimism for the future, as they mention the glad tomorrow that awaits our children’s children. It highlights the idea that we have a responsibility to learn from the past and work towards creating a brighter and happier future for the generations to come.

Themes in Ralph Waldo Emerson A Nation’s Strength

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Critical Analysis of David Williamson The Removalists

The Removalists, written by David Williamson, is a thought-provoking play that offers a critical analysis of the Australian society in the 1970s. Through its depiction of power dynamics, gender roles, and violence, Williamson explores the darker aspects of human nature and challenges the audience’s perceptions of justice and morality. This essay will provide a detailed analysis of The Removalists, focusing on its themes, characters, and the social commentary it presents.

One of the central themes of The Removalists is power and its abuse. Williamson examines how power can corrupt individuals and institutions, exposing the underlying brutality that often masquerades as civility. In the play, the removalists represent a microcosm of society, reflecting the use of power within the police force. Sergeant Dan, the authoritarian and manipulative leader of the removalists, abuses his power to intimidate and dehumanize those he deems inferior. He exerts control over the weaker characters, such as his subordinate, Constable Ross. This abuse of power highlights the systemic nature of injustice in society, where those in authority often act with impunity.

Gender roles and patriarchy are also prominent themes in The Removalists. The play depicts a society in which women are marginalized and subjected to violence. Kate, the wife of Ross, is a symbol of the victimized woman who suffers in silence. She endures physical and emotional abuse from her husband, which Williamson uses as a reflection of the patriarchal norms ingrained in Australian society. Kate’s lack of agency and the normalization of violence against women expose the toxic masculinity prevalent at the time. This critique of gender roles is even more powerful considering the play was written during the height of the feminist movement.

Violence, both physical and psychological, is a recurring motif in the play. Williamson demonstrates the cyclical nature of violence and the ways in which it perpetuates itself. Throughout the play, violence begets violence, leading to a disturbing climax where Ross, driven to aggression and frustration, unleashes his anger on his wife. The removalists themselves are no strangers to violence, as they casually resort to physical force to exert control. This portrayal of violence challenges the audience to question their own capacity for aggression and the consequences of social hierarchies that condone it.

In addition to its thematic analysis, The Removalists also presents a scathing social commentary on Australian society in the 1970s. The play confronts the audience with uncomfortable truths about the underlying brutality that exists beneath the surface of society. It shines a critical light on the police force, revealing the structural issues that enable abuse of power and misconduct. Williamson’s portrayal of the removalists as representatives of the police raises questions about the role and accountability of law enforcement in maintaining order and justice in society.

Furthermore, The Removalists exposes the hypocrisy of societal norms and the performative nature of conformity. Although seemingly respectable, the removalists and other characters reveal their true colors when faced with challenging situations. The play suggests that civility itself may be an illusion, and that underneath the veneer of societal order lies a darker reality that is often ignored or suppressed.

In conclusion, The Removalists is a powerful play that offers a critical analysis of Australian society in the 1970s. Through exploring themes of power, gender roles, and violence, David Williamson challenges the audience’s perception of justice and morality. The play serves as a mirror to society, reflecting the darker aspects of human nature and the systemic issues that perpetuate injustice. In its scathing social commentary, The Removalists prompts us to question our own complicity and the need for change in the structures that uphold this unjust status quo.

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Summary of Patrick White Novel Voss

“Voss” is a remarkable novel written by Patrick White, which delves into the complex themes of identity, exploration, and human connection. Set in the harsh landscape of the Australian outback during the mid-19th century, this epic tale unfolds through the perspective of several characters, but chiefly focuses on the enigmatic protagonist Johann Ulrich Voss, an ambitious and eccentric explorer.

The novel begins with the introduction of Voss, a German immigrant who arrives in Sydney as part of a scientific expedition led by Mr. Bonner. Voss is portrayed as an introspective and peculiar man, detached from societal conventions and driven by an insatiable desire to explore the unknown. He possesses a knowledge of science, philosophy, and languages, making him both intriguing and intimidating to those around him.

As the expedition is being organized, Voss meets Laura Trevelyan, a young woman from a wealthy family who is drawn to Voss’s mystique. Despite their stark differences and the disapproval of Laura’s family, they form an unlikely bond rooted in their shared sense of alienation. Voss, however, is consumed by his personal ambition and seeks to embark on an exploratory journey through the center of Australia. Believing in the transformative power and significance of this expedition, he becomes convinced that it will provide him with a deeper understanding of himself and the world he inhabits.

The novel follows Voss’s challenging journey into the rugged and unforgiving Australian interior. Alongside him is Judd, an indigenous Australian guide who initially resents Voss but gradually comes to respect and admire his determination. The expedition is fraught with peril and hardship as they battle the elements, encounter hostile Aboriginal tribes, and endure the harsh realities of survival in an untamed land.

Meanwhile, back in Sydney, Laura struggles with her inner turmoil, torn between her longing for Voss and the demands of her societal position. She finds herself increasingly drawn to spirituality and seeks solace in the teachings of Reverend Mr. Smith, a morally conflicted clergyman. As Voss’s journey progresses, Laura becomes more aware of her own desires and the limitations imposed on her by her family and social expectations.

Throughout the narrative, “Voss” explores themes of isolation, disconnection, and the search for meaning in a vast, often hostile world. The rugged Australian landscape serves as a metaphor for the inner wilderness that exists within each character. Voss’s unyielding pursuit of his desires reflects humanity’s universal quest for self-discovery and understanding.

Patrick White’s masterful prose paints a vivid picture of the Australian outback, capturing its vastness and untamed beauty while also highlighting its unforgiving nature. His detailed descriptions immerse readers in the harsh realities faced by Voss and his companions, emphasizing their physical and emotional struggles.

“Voss” is not just a story of exploration; it is a profound examination of the human condition. It explores the complexities of relationships, the clash between individual desires and societal expectations, and the universal need for connection in a world that often feels indifferent and isolating. The novel’s rich character development and atmospheric writing style ensure that readers are deeply engrossed in the emotional journeys of its protagonists.

In conclusion, “Voss” is a timeless masterpiece that explores profound themes of identity, exploration, and human connection. Patrick White’s evocative prose and meticulous attention to detail make this novel an immersive and thought-provoking reading experience. By delving into the inner depths of its characters and the harsh Australian landscape, “Voss” offers readers a glimpse into the human soul and the universal search for purpose and connection.

Critical Analysis of David Williamson The Removalists

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Summary of Henry Kendall The Last of His Tribe

He crouches, and buries his face on his knees,
And hides in the dark of his hair;
For he cannot look up to the storm-smitten trees,
Or think of the loneliness there –
Of the loss and the loneliness there.

The above lines describe a person who crouches down and hides their face in their knees, unable to look up at the storm-smitten trees. It reflects their inability to confront the loneliness and loss that surrounds them. The vivid imagery of the storm and the solitude of the surroundings creates a powerful sense of despair and isolation.

The wallaroos grope through the tufts of the grass,
And turn to their coverts for fear;
But he sits in the ashes and lets them pass
Where the boomerangs sleep with the spear –
With the nullah, the sling and the spear.

These lines suggest that while the wallaroos seek shelter and hide in the grass out of fear, the person described in the poem sits in the ashes, seemingly unafraid. They allow the wallaroos to pass by and remain in the place where the boomerangs, spears, and other traditional Aboriginal tools rest. This imagery evokes a sense of connection to the land and Indigenous culture, as well as a calmness and resilience in the face of danger.

Uloola, behold him! The thunder that breaks
On the tops of the rocks with the rain,
And the wind which drives up with the salt of the lakes,
Have made him a hunter again –
A hunter and fisher again.

These lines highlight how the thunder, rain, and wind have awakened the person’s primal instincts, making them feel like a hunter and fisher once again. The powerful forces of nature have stirred their adventurous spirit, reminding them of their connection to the wild and the thrill of the hunt. It’s like they are being called back to their primal roots by the elements of nature.

For his eyes have been full with a smouldering thought;
But he dreams of the hunts of yore,
And of foes that he sought, and of fights that he fought
With those who will battle no more –
Who will go to the battle no more.

These lines describe how the person’s eyes are filled with a smoldering thought, perhaps hinting at a deep longing or unresolved emotions. However, in their dreams, they reminisce about past hunts, enemies they once sought, and battles they fought against those who are no longer able to engage in battle. It reflects a sense of nostalgia, reflecting on past experiences and the realization that certain conflicts and adversaries have come to an end.

It is well that the water which tumbles and fills
Goes moaning and moaning along;
For an echo rolls out from the sides of the hills,
And he starts at a wonderful song –
At the sound of a wonderful song.

These lines suggest that the person finds solace in the sound of the water tumbling and filling, as it creates a continuous moaning sound. The echo that rolls out from the sides of the hills adds to the enchantment, and it triggers a wonderful song that captivates the person’s attention. It’s like they are being transported by the beauty of the natural sounds around them, finding comfort and joy in the melody of the surroundings.

And he sees through the rents of the scattering fogs
The corroboree warlike and grim,
And the lubra who sat by the fire on the logs,
To watch, like a mourner, for him –
Like a mother and mourner for him.

These lines emphasize the person’s ability to see through the scattered fogs and envision the corroboree, a traditional Aboriginal war dance, with its warlike and intense atmosphere. They also see the lubra, an Aboriginal woman, sitting by the fire on the logs, watching and waiting for the person, like a mother and mourner. It highlights the person’s connection to Indigenous culture and the deep emotions associated with longing and being missed by loved ones.

Will he go in his sleep from these desolate lands,
Like a chief, to the rest of his race,
With the honey-voiced woman who beckons and stands,
And gleams like a dream in his face –
Like a marvellous dream in his face?

These lines describe the possibility of the person departing from these desolate lands in their sleep, like a chief returning to their ancestral resting place. They imagine being accompanied by a honey-voiced woman who beckons them and stands before them, shining like a beautiful dream. It evokes a sense of longing for a peaceful and ethereal journey, guided by a mesmerizing presence.

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