Australian National Discourse In David Malouf's Fly Away Peter

Not a Hero is a simple and beautiful World War One poem by Clyde Hamilton which has been read at ANZAC Day ceremonies across Australia. The poem tells a narrative of an ANZAC veteran, or “old digger”, at an ANZAC ceremony telling stories of heroes to a young boy. It effectively uses a simple, yet descriptive and telling vocabulary, as well as using literary devices such as rhyme and alliteration. It’s conservative and structured style demonstrated throughout the poem creates rhythm and makes the poem flow and thus easier to fathom.

Prior to World War 1, Australians on the whole suffered due to their geographical isolation, which technology had yet to defeat. Transport was solely by arduous sea journey, which restricted travel and communication with the rest of the world. The mass transfer of Australian youth to fight in Europe enabled the world to see for the first time the unique culture which was developing in this far away land. Recognition and respect was quickly given for the courage, good humour and strength in adversity displayed by Australian soldiers. The easy going egalitarian troops challenged the military norms of their British counterparts. While this

During the early war period, there was a rush of Australian men enlisting to defend their mother country. The inherent sense of pride and patriotism that pervades Australian culture today was part of the driving force behind these men’s intentions. The First World War was propagated as an opportunity to seek adventure and see new exotic places, all the while defending their country. Peer pressure played a major role in inspiring these young men to enlist as they were told to “do their nation proud”. Conclusively, there were a variety of factors contributing to a young man’s urge to enlist but the hastened timeframe and imminent “call to adventure” caused the rush of people to enlist between 1914 to 1915.

Although both the World Wars had significant impacts on Australians, the statement that wartime controls in World War One had a greater impact on Australians than they did in World War Two is fairly inaccurate. There are a number of reasons as to why this was the case, as demonstrated through the government 's wartime controls. One of the wartime controls that was utilised by the government in both World Wars but had greater impact on Australians in World War Two was conscription. Another wartime control that had a higher degree of impact on Australians in World War Two than in World War One was the detainment and isolation of ‘enemy aliens’ when the government again took steps to protect their national security. With such a large number of servicemen deployed overseas, the role of women in Australia also changed drastically to meet the needs of the armed forces, the government and the economy and this influenced Australian life more in World War Two. Therefore, although both wars affected the lives of many Australians in mental, physical, social and economic aspects, the wartime controls of World War Two had a much greater impact on Australians than in World War One.

Through the use of poetic devices, the author has successfully encouraged the audience to explore their thoughts on Australian identity and to reflect on our nation’s history.

In August 1914, after the outbreak of World War I, an immense wave of support flooded Britain from her ally, Australia. All Australian political parties, community leaders, newspapers and churches were on-board with this major movement to help the mother country. All believed it was a morally right and necessary commitment . World War I, 1914 – 1918 had a significant and long lasting impact on the Australian home front. ‘The civilian population ’ had to undergo many changes to cater for the war. At this time women’s push for a larger role in the war effort caused a significant and long lasting impact on the Australian home front, which has helped shape workplace gender equality today. Conscription also impacted the Australian home front, meaning, compulsory enlistment of people in military service. As well as the massive impact on Australia’s economy from the many trading cancellations through abandoned or cut off allies, which has helped build Australia’s economy to what it is today.

Australia’s identity has always been a complicated one. Starting with Aboriginal genocide, 1800’s cowboys and villains, two world wars and a bunch of poems describing them, it makes it difficult to conclude on what being an ‘Aussie’ really is. Thankfully, the two thought-provoking poems Nobody Calls Me a Wog Anymore by Komninos Zervos, and My Country by Dorothea Mackellar both use their discerning selection of themes to reflect modern attitudes in some extent. Along with their themes, Nobody Calls Me a Wog Anymore and My Country both use their story to capture the attributes modern Australians possess to some degree.

The conflict spanned from 1914 - 1918 and led to many military developments which have greatly impacted us today. During the war, technology had rapidly advanced, In 1914 it would was unbelievable to think that in just the span of a few years war would change completely; Horses became tanks and soldiers wouldn’t only have to worry about rifle fire, but also: artillery, chemical weapons, enemy planes and much more. The war ended in 1918 with a total of more than 38 million casualties. World War 1 is the setting of thousands of stories, one of them being: “Goshawk Squadron”. “Goshawk Squadron” was written in 1971 by author: Derek Robinson. The story follows the titular Goshawk Squadron, a british air force squadron fighting along the western front in ww1. The squadron is led by 23 year old Major Stanley Woolley, a strict, cynical and aggressive leader who despises the idea of gallant and chivalrous fighting. One could argue that Major Stanley Woolley is a character to be admired. This will be proven by showing how his harsh treatment to his squad members is justifiable. Also in that face that Woolley is a persistent leader and fighter, and in the fact that Woolley is shown to care for those around them, even if he tries not to show it. The justification for Woolley being deserving of admiration will surely be made clear.

The Great War, also known as World War I, is a defining moment in Europe’s history. Its aftermath consists of the demolition of Germany’s economy, the rise of Adolf Hitler, and the loss of an entire generation of young men who were sent into combat. All Quiet on the Western Front chronicles the experiences of Paul Baumer, a 19-year old student who volunteers for the military during World War I along with his classmates Muller and Kropp. They are compelled to enlist by Kantorek, their fiercely patriotic but misguided schoolmaster. Paul’s life in the military is told in short entries that reveal the reality of war: horrifying battles, violence, alienation, emotional indifference. His accounts of war are personal and emotional, and the bleak tone

‘We’re all Australians now’ draws the reader to see the war from a positive Australia home front perspective. Texts from

Australian’s have a unique proud culture. This culture differentiates them from the British motherland. Through many decades Australia has formed a unique, which at its foundation is made from mateship. Mateship or friendship is the core of Australian identity as this was instilled into them through events such as war. WWII in particular demonstrates the level of mateship shown by Australians as many made the ultimate sacrifice in order to save a mate. The stories of ‘The Magic Pudding’ by Gary Crew & Shaun Tan and ‘Memorial’ by Norman Lindsay will demonstrate how mateship is a significant part of how Australians see

`Fly Away Peter' by David Malouf - To what extent is Jim's understanding of self enhanced by his contact with those around him?

The global conflict that arose in the beginning of the 20th century, World War I, became one of the darkest events that transpired in human history. The First World War or known by many as the Great War, was seen by many as horrendous and appalling and it inspired many writers and painters to document the experience. One of those soured by the war effort was novelist Erich Maria Remarque, and his novel All Quiet on the Western Front captured his anti-war position on the conflict. His novel details the life of Paul Baumer, a young German soldier who fights on the front lines with his fellow young comrades and explains the hardships of fighting in a war he no longer understands. Remarque describes the challenges that the men face, from the trench warfare to the older generation not understanding what these men go through for just a small piece of land. Throughout the entire novel, the themes may change of significance from chapter to chapter but overall Remarque maintains an anti-war theme. Overall, Remarque wrote this book to show how truly horrendous this war was, provide a real life view of the war contrasting what the average German believed, and the average reader would lose a novel that told the story of a generation lost to war.

The book, Culture In Camouflage: War, Empire, And Modern British Literature, is written by John Howard Wilson remaps the history of British war culture by insisting on the centrality and importance of the literature of the Second World War. Wilson speaks of a great British narrator, Patrick Deer, who opinionates that “‘the emergence of modern war culture’ and argues that ‘war writers challenged the dominant narratives and imaginaries projected by an enormously powerful and persuasive mass media and culture industry’” (Wilson). Writers of war involve culture and mass media in their stories to give it a more dominant narrative. Wilson has Deer conclude, “the experience of Britain during the Second World War reveals that modern war culture is self-perpetuating and self-replicating: it normalizes and naturalizes a state of war.” (Wilson). Deer explains that world war two is replicating to the past wars in history and that war has a natural and normal state that every war has or goes through. Deer claims that, “the culture went into camouflage to fight the wars, and the writers

Yet he says nothing much about the culture of that nation and concentrates more on the non-fictional writings of Malouf. He focuses on Malouf’s fictional and non-fictional prose as something concerned with cultivating Australia’s national imaginary. Rooney says that it is impossible to look across the range of Malouf’s writings and not to be struck by how consistent his cultivation of nation has been. In fact this orientation of his could even appear compulsive if it were not for his acceptance and prominence as literary and public figure. Rooney even states that Malouf’s preoccupation with “nation” has in some quarters drawn negative reactions ranging from indifference to suspicion. Rooney goes on to quote David Tredinnick, who declared himself a ‘lapsed Maloufian’, and whose review reminds us that over emphasis on nation may both attract and repel readers and may sometimes become stale and outmoded. But Rooney also refers to Benedict Anderson, who upholds the idea that prints media has been integral to the shaping of national imaginaries. In the circle of Australian fiction, the compulsion to narrate nation has always been integral to the individual