quotations for essay a house on fire

Like a House on Fire

Cate kennedy, ask litcharts ai: the answer to your questions.

The Rotary guy [...] gives me a look he reserves for shirkers, layabouts, vandals and those destroying the social fabric by refusing to pull their weight.

“Every sheep and cow, every adoring shepherd, broken. Only the baby Jesus in his crib, one leg raised in that classic nappy-changing pose, remains miraculously unscathed.”

That motion, swinging and lifting my arm to full stretch, feels like someone has taken a big ceramic shard out of the box—a remnant bit of shepherd, maybe, or a shattered piece of camel—and is stabbing it into the base of my spine.

Some days it feels like that's my entire identity focused there in one single space between two injured segments of a bone puzzle, shrunk down to one locus of existence, and seized there.

Footsteps, muttering, the sound of fingers stirring through ceramic debris. A tightly constrained hiss of frustration and fury. You get good at listening to sounds in a household when you're prone; it gets so you can almost hear a head shaking in pained disbelief, or distant teeth grinding in the silence.

A long while has passed since we'd made jokes […] I can't remember the last time my wife touched me with hands that were anything except neutral and businesslike […] It was a side to her I was seeing for the first time, this professional, acquired distance. At our house, in our script, Claire was the slapdash one.

“Look,' she says, 'either tell Sam to get it out, or forget about it. Just give the martyrdom and control freakery a rest.”

Listening to the two of us, you'd never believe that we used to get on like a house on fire, that even after we had the kids, occasionally we'd stay up late, just talking. But now that I think of it, a house on fire is a perfect description for what seems to be happening now: these flickering small resentments licking their way up into the wall cavities; this faint, acrid smell of smoke. And suddenly, before you know it, everything threatening to go roaring out of control […] And what am I? The guy who can't get the firetruck started? The one turning and turning the creaking tap, knowing the tank is draining empty, the one with the taste of ash in his mouth and all this black and brittle aftermath?

I look at her, feeling that small heat build between us. Our breaths fuelling it, close to the ground. This is how you do it, I think, stick by careful stick over the ashes, oxygen and fuel, a controlled burn.

Like a House on Fire

Table of Contents

Introduction, techniques and metalanguage, alienation and loneliness, fantasy versus reality, physical trauma, communication, character analysis, quote analysis, essay 1: “the characters in these stories are all finding ways of keeping up appearances.” discuss..

• Essay 2: “The room is stiff with a charged awkwardness, with languages I can’t speak.” How does Kennedy show communication issues to be central in these stories?
• Essay 3: “Characters in these stories have little control over their lives.” Do you agree?
• Essay 4 : “Like a House on Fire shows that family relationships are never perfect.” Discuss.
• Essay 5 : Cate Kennedy warns her readers of disparities between fantasies and reality in Like a House on Fire, particularly regarding families and relationships. Discuss.
• Essay 6 : Discuss the role of despair in these stories.
• Essay 7 : In Like a House on Fire, Kennedy shows that women are most adversely affected by gender roles. To what extent do you agree?
• Essay 8: Like a House of Fire finds isolation and loneliness in all its stories. Discuss.

Like a House on Fire is a collection of short stories by acclaimed Australian author Cate Kennedy. The collection was published in 2012 by Scribe, and subsequently won the Queensland Literary Award in 2013.

Kennedy crafts fifteen short stories. She takes as her main focus the personal lives of ordinary people. She has a keen interest in families, and is particularly interested in exploring the destructive tensions which run through even the most seemingly content of families. She is similarly invested in relationships, and frequently depicts the complexities of love in its many forms. Despair at fading relationships or lost relationships is also a recurrent theme. The stories essentially focus on the importance of ordinary, tiny things. They are rarely dramatic, and even the stories which focus on life-changing trauma are more interested in the emotional aftermath of that trauma than they are in depicting the act itself. Essentially, all the stories depict events which would signify nothing to an outside observer, but which through Kennedy’s deft characterisation are shown to be absolutely vital to the people involved. The two most common settings are the household or the workplace.

All the stories are set in Australia. Kennedy gives her stories a genuine, realistic feel through attention to Australian vernacular and to specific objects or customs. The stories are clearly Australian, but the themes they touch on – of love, despair, family, the tension between earning a living and staying true to principles, disadvantage and communication – are universal. With one or two exceptions, a non-Australian would have no difficulty in comprehending any element of the text.

The stories are told from a range of perspectives; men, women, children, mothers, fathers, sisters. The characters also come from a range of socio- economic backgrounds. Ideas of poverty and social class are present in the stories, and Kennedy does not shy away from those themes, but overwhelmingly she is interested in depicting individuals with highly particular and individual experiences, rather than critiquing social systems and structures. What can be said as broadly true for the collection is the attention to detail in the creation of her settings. In Flexion the reader is told exactly how the parched grass feels under Mrs Slovak’s feet; in Whirlpool the precise difference in light is described as Anna walks from her backyard into the cool and quiet house; in Laminex and Mirrors Kennedy conjures a world of clinical sterility. This attention to detail, combined with the determined realism of the plots and characterisations, means that Like a House on Fire could be described as a “slice of life” collection. That is, the stories are realistic, detailed and accurate, as if they are a slice of real, lived life which happens to have been recorded in a short story.

The stories often depict characters at a low point in their life. Loss – from death or more often separation – is a recurring theme, as is disadvantage, trauma and emotional paralysis. Despite this, there is a fierce vein of hope and optimism which runs throughout the collection. Kennedy almost always ends her stories on a note of hope, or at least depicts characters who for all their suffering are still prepared to carry on and overcome their woes. For this reason, the stories can be thought of as affirming of humanity and life.

Like a House on Fire is a collection of highly literary stories. “Literary” in this context means that they tackle fundamental and universal themes, and that they are written in a sophisticated and technically adroit fashion.

One of the keys to Kennedy’s mastery of the short story form is her knack for characterisation. In a short story, with limited space and limited opportunity for character development, character must be established quickly and unmistakeably. Kennedy achieves this by crafting unique voices for each character. Chris in Ashes thinks in complex, scathing sentences, and with a sophisticated vocabulary, highlighting his university education. In Static , the sardonic observations of Anthony instantly establish him as witty but world- weary, and the entirety of Seventy-Two Derwents is written in the simple, naïve style of its child protagonist. Closely connected to characterisation are Kennedy’s choices regarding perspective. Many stories are written in a limited version of the third person – that is, the narrative voice speaks in the third person but is only aware of that which the character is, and picks up the inflections of that character’s voice. This allows the reader to understand the protagonist’s thought process, but also provides an important distance from them. In Sleepers, for example, the reader can sympathise with Ray because they can understand why he makes the choices he does; however, the reader is also keenly aware that he is making the wrong decision. In Whirlpool , Kennedy evokes the claustrophobia of her domestic setting by writing in the second person, and stories such as White Spirit are written in the first-person, which gives the most opportunity for conveying character voice.

The stories employ a substantial amount of evocative, descriptive language. This helps to place the reader in the setting of the story, and almost let them feel the setting in the way the characters do. In Flexion , for example, describes the “dry furrowed earth rising and falling and crumbling” under Mrs Slovak’s feet. In Cross-Country , it is little details described pointedly, such as clothing going mouldy in a basket, which best highlight the despair of the protagonist. Connected to this style of prose is metaphor and symbolism. The final lines of Whirlpool , for example, describe the “unshed tears” of the swimming pool. The figurative description of the pool can be read as a metaphor for the characters in the family who all hold their own unspoken (“unshed”) resentments against other members of the family. Structurally, many of the stories spend the majority of the text exploring the tensions between the protagonists and their surroundings or other characters, building this tension to a seemingly insurmountable level. However, the stories often then end with a sense of emotional release. That tension is usually alleviated by a small gesture of intense human connection.

Examples include:

• The Slovacks clasping hands in Flexion
• Chris wiping the ash from his mother’s lapel in Ashes
• The narrator wheeling Moreton through the hospital in Laminex and Mirrors
• The narrator letting down the hair of his wife in Like a House on Fire
• Michelle breastfeeding her baby in Five-Dollar Family
• Liz breastfeeding her son in Cake
• The photo/embrace in White Spirit

Some stories, such as Static and Sleepers , do not end with a comfortable resolution to the tensions built up over their course, and thus end on a somewhat bleaker note.

The stories are extremely self-contained, and do not make much reference to texts outside of the collection. There are allusions to various other cultural touchstones – both Five-Dollar Family and Cake make reference to iconic Australian children’s entertainers the Wiggles, for example. There are nevertheless some references to other texts. Ashes is reminiscent of the Book of Common Prayer (“Ashes to ashes, dust to dust”), and Flexion is so similar to the iconic Australian short story The Drover’s Wife by Henry Lawson that it almost reads as a retelling of that story. Overwhelmingly, however, the texts are too closely connected to the minds of their protagonists to indulge in any serious instances of intertextuality.

THEME ANALYSIS

Many of the characters feel an intense sense of alienation and loneliness. Sometimes this sense of disconnection is a result of their workplace. In White Spirit , for example, the unnamed protagonist attempts to bridge cultural differences on the council estate where she works. Amongst the wildly diverse inhabitants of the estate she finds herself to be a “dowdy, sad sparrow among peacocks.” Similarly, the narrator of Laminex and Mirrors is working at her job, cleaning in a hospital, in order to save money to fly to London. She envisages herself “absorbing culture and life” in the great capitols of Europe, and feels a strong sense of alienation from her co-workers, who find the fact that she reads for pleasure so remarkable that they refer to her as “the scholar.” Another example is Liz in Cake , who on her first day back after her maternity leave finds herself at odds with her colleagues, who all insist that working is far superior to child-rearing, an assessment Liz herself does not agree with.

It is alienation within the family unit, however, which is perhaps most striking in Like a House on Fire . In Whirlpool , Kennedy examines the unspoken divisions and allegiances of a small family. Twelve-year-old Anna finds herself growing ever distant from her mother, who clings to an idealised image of what she imagines her family to be, symbolised by her obsession with taking the perfect photo of them all to send to her distant friends. Anna finds herself unable to communicate with her own mother, who is “grim with the need to plot exile and allegiance” within her own family. In Ashes , Chris and his mother must navigate a complex history. They scatter the ashes of Chris’ father, who could never understand Chris’ lack of interest in traditionally masculine pursuits such as fishing, or his homosexuality. Indeed, his father’s final conversation with Chris was a request not to “throw” his homosexuality in his mother’s face. This inability to be open with his family led to Chris breaking up with his boyfriend Scott, compounding his loneliness. In Static , Anthony finds himself utterly alienated from his parents and his wife during their

Christmas lunch, where the follies of both parties are clearly displayed.

Alienation in the wake of relationships is also common in Like a House on Fire . In Sleepers , Ray finds himself in a state of paralysis, under employed in a half-time job, and beholden to a strange “lethargy” following being dumped by his girlfriend Sharon. This sense of alienation and paralysis results in him making the disastrous decision to assert some degree of control by stealing some sleepers from a construction site, for which he is arrested. Similarly, in Cross-Country , Rebecca is unable to break out of her lethargy following her divorce, and isolates herself from society.

As much as the stories are characterised by isolation and alienation, many of them do end optimistically. Laminex and Mirrors , Ashes , Flexion , White Spirit and many more all end in images of intense and intimate human connection.

Many of the characters in Like a House on Fire have unrealistic expectations or fantasies which inevitably result in disappointment. In Whirlpool , Anna’s mother is driven by the desire to create a perfect image of her family as a harmonious and happy entity which she can advertise to obscure connections in her annual Christmas cards. Ironically, her desire to take the perfect photo results in an exacerbation of the sort of unspoken resentments and divisions she hopes to hide. Similarly, Anthony in Static is attracted to his wife Marie because of the little physical imperfections, such as a crooked tooth, which make her beauty real and human, whereas Marie can only see beauty in perfectly posed photos which present “a perfected study of herself.” The desire for a false, physical connection is also evident, occasionally, in Laminex and Mirrors , both in the cosmetics which the narrator’s co-worker sells and in the brief description of the rhinoplasty ward. In Cross-Country , Rebecca inhabits a dream world in which she will compete against her ex-husband in a race, and beat him. She describes this fantasy as a “short film looping” in her head, and marvels at the extent to which “we’ll invent what we need.” Her illusion is shattered, mercifully, and the story ends with her decision to symbolically shut down the computer with which she had attempted to stalk her ex-husband and leave the house.

In some stories, the illusions which characters had clung to are well and truly dispersed by the time we meet them. In Tender , Christine recalls the imagined future she dreamt up, of domestic bliss, “a golden halo of lamplight, polished floors…everything clean and wholesome as a cake of handmade soap.” Instead, the house is “makeshift and unfinished,” a “more prosaic reality” full of ideas which “buckled in the face of reality and time.” Her and Al’s dream, of a super-sustainable and ecofriendly house existing without the benefits of electric heating or even toasters, has long since had to adapt to reality, and practicality. Another character who has broken out of her illusions by the time she enters a story is Michelle. The discovery that her boyfriend Des had been sleeping with other women while she was pregnant is the final, obvious truth that he is not going to be the husband she needs or the father that her child will need. She describes the process of realising this as an epiphany. After she has given birth, she feels the certainty that Des is a no-hoper flood into her “like a door opening.”

Illusions and fantasy are not presented as being exclusively dangerous, however. In White Spirit , the unnamed narrator fantasises that the mural she has commissioned for the council estate where she works will be a joint effort bringing the diverse occupants of the estate together. When it fails in that respect, she is disheartened; however, the story ends with a moment of connection with some of the estate’s inhabitants. Her expectations may not have been met in the way she anticipated, but the effort brought her closer to the community she works for. Similarly, the final story in the collection, Seventy- Two Derwents , can be read as a metaphor for the power of hope. Twelve-year- old Tyler lives with her mother, his boyfriend and her older sister in poverty, and Shane, the boyfriend, is violent and on parole. After he nearly murders her, the account, written as a series of journal entries from Tyler, ends with a solemn “promise” to collect a baby bird from her teacher to nurture, and a declaration of her intention to keep writing and to become an artist. Thus, the ability to envisage a better world is shown to be a positive trait, and even a necessary one for survival.

Kennedy pays much attention to gender, and is deeply sympathetic to the plights of both men and women. Several of her stories revolve around women trapped in unfulfilling relationships; occasionally, these relationships are even dangerous. The first story in the collection, Flexion , depicts a woman so tied down to her thankless marriage to Frank Slovak that she is literally defined by it: she is only ever referred to as Mrs Slovak or Frank’s wife, and by the townspeople in their rural community as “the quiet one.” After a terrible accident cripples Frank, her immediate sensation at his surviving it is not joy but resentment that she must now serve him even more intently than before; she feels “cheated.” She takes some control over the farm, and orders him to “get on that phone” and thank the well-wishers who have worked on the house in his absence. However, Mrs Slovak learns that Frank’s reluctance to accept help is not because he is misanthropic but because he himself is trapped in his own gender role, as a rugged, stoic man who is entirely self-dependent and always in control. Their quiet reconnection at the end of the story is mirrored in Waiting , in which the trials of the unnamed narrator attempting to become pregnant are paralleled by her husband’s equally futile efforts to grow a bountiful wheat crop.

In Tender , Christine is infuriated by her husband Al, who is in his own way loving and dutiful but vague to the point that everything “seems to be teetering on the verge of coming apart.” Christine loves her children and her house and probably Al, but the potential cancer in her body throws her role in the world into sharp relief over the course of the story, prompting a reflection on her life. In Five- Dollar Family , as discussed above, the Michelle’s reflections on her relationship with Des are much further developed, and she has no interest in maintaining a connection with him – especially since he will almost certainly be sent to prison. Whilst in Five-Dollar Family Des is presented as clearly thuggish but has never directly threatened Michelle, in Seventy-Two Derwents Shane rapidly moves from being seedy, spying on Tyler in her sleep and asking about “boyfriends,” to actually threatening murder. In the story’s climax, he pulls a knife on Tyler, her sister and her mother after the authorities learn that he has broken the terms of his parole. The scene shows at once the worst of masculinity and the strength of womanhood: the two girls and their mother face Shane down, and Tyler’s mother stabs him with her sewing scissors.

Kennedy also displays a keen awareness of the limitations and expectations of masculinity. In Ashes , Chris reflects on his late father’s inability to accept his lack of interest in traditionally masculine pursuits such as fishing. He recalls his father angrily declaring that he doesn’t “know what’s bloody wrong” with him. Chris’ homosexuality also sits well and truly outside of his more conservative parents’ notions of masculinity. Ashes at least ends on a positive note, suggesting reconciliation between Chris and his mother. By far the bleakest depiction of masculinity in the collection is Ray in Sleepers , who, along with many of the men in his town, find himself unemployed or underemployed owing to the outsourcing of major infrastructure projects. The story charts his decline into hopelessness, until, desperate to assert himself in some way upon the world, he makes the disastrous decision to steal a few of the redgum sleepers being unearthed at the construction site, leading to his arrest. Ultimately, Kennedy’s writing stresses the importance of respect and equality, and argues that any gender role, male or female, which encroaches on the autonomy of its subject, is harmful.

Many of the stories focus on bodily damage or trauma; or rather, on the implications of physical trauma rather than the act itself. In Flexion , Frank is crushed by his own tractor, and has his spine snapped: “not dead… but might as well be.” Miraculously, he survives, but this makes him so dependent that his wife, Mrs Slovak, can only feel barely contained “choking rage” burning through her. He cannot walk or wash unaided and is in constant pain. The sudden change in their relationship, as Frank, who had longed played the role of a bloody-mindedly stoic and self-sufficient Australian male, suddenly becomes completely dependent on his wife, forms the main part of the story. The honesty they find, as Mrs Slovak takes control of their farm, is foreshadowed neatly in the early image of a “strongbox” full of “every emotion he’s withheld from her in the last eighteen years” breaking open. Physical damage also looms over Laminex and Mirrors in the form of Mr Moreton, who is dying from cancer. The unnamed protagonist takes it upon herself to sacrifice her job in order to make his final days a little more joyous and human. In Little Plastic Shipwreck , Roland spends his days working at a pathetic aquarium complex in order to provide for him and his wife Liz, who suffered brain damage after falling from a balcony. He also sacrifices his job, although in this case it is that rather than mutilate the dead body of a dolphin. The ending of this story is less triumphant than Laminex and Mirrors , however; the protagonist of the latter is only potentially sacrificing a trip to Europe, whereas Roland must now find some new means of income to support his desperately ill wife. Finally, Like a House on Fire charts the tragi- comic feelings of helplessness that its protagonist feels as he impotently tries to maintain his household following a work injury which makes standing or walking agonisingly painful. He spends much of his story on the floor, “like a beaten dog,” attempting to get his sons to help decorate the Christmas tree. The focus of the stories is never the injury itself; indeed, in the case of Laminex and Mirrors or Like a House on Fire the exact nature of the injury is left reasonably ambiguous. Rather, the focus is on the aftermath of these injuries, and especially their ramifications for human relationships.

Poverty and Class

Cate Kennedy’s stories are focussed largely on very private human interactions, and display little in the way of political attitudes. Nevertheless, she exhibits a keen awareness of class and disadvantage. Sometimes this is through the perspective of more educated, presumably wealthier characters. Chris in Ashes for example is university-educated and thinks in a precise and eloquent fashion, conveyed in long, multi-clausal and lightly ironic sentences: “He thinks of them in formidable capitals: the Book Club Women. Women perennially sitting around modular lounge suites, criticising someone’s book.” He exhibits a certain disdain for his parents, and his desire to read rather than fish with his dad combined with his parents’ quiet disappointment with his homosexuality suggest that he is a more educated, progressive individual than his parents. In Laminex and Mirrors a similar tension exists between the narrator, who years to travel Europe and drink in the “culture” and her co- workers, who have no ambitions further than their cleaning work and find the fact that the protagonist reads for pleasure to be remarkable.

Other stories are told from the perspective of disadvantage or poverty. Five- Dollar Family does not stress so much as imply the low socio-economic status of its characters. Michelle does not mention any work awaiting her after giving birth, and Des exhibits distinctly “lower-class” tastes. Certainly they find the idea of a family photo for $5 extremely enticing. They are not mocked for their status, however: Kennedy’s stories are always compassionate. In Seventy- Two Derwents , however, some of the grimmer realities of poverty are on display. Tyler’s mum seems to have lived a life characterised by early pregnancy, estrangement, and terrible boyfriends, the latest of which is the violent Shane. The mother must prove that she can work by creating and selling luxury dolls in order to access a benefit scheme. Ellie, the older sister, is upwardly mobile, aiming to study, and this at times earns the resentment of her mother, who sees her daughter’s success as mere “showing off.” Whilst told with Kennedy’s usual warmth and humanity – possibly even more than usual – the story still emphasises the potential catastrophe of poverty; Shane almost kills Tyler.

Kennedy often takes the family unit as the focus of her stories. She is particularly interested in the divisions and tensions which simmer away under the surface of families. In Whirlpool , Kennedy presents a family riddled with unspoken resentments and bitterness. The setting, of a hot, interminable Australian summer, captures the sense of unbearably building distaste the young protagonist Anna feels for her family, and especially her mother. As discussed above, her mother obsesses over capturing the perfect photo of her family, often in such a way as to blind her to the reality of the family’s actual level of cohesion. The sense of a group of people mindlessly performing the rituals of a happy and loving family is also captured in Static . Anthony spends much of the story reflecting on the lack of love apparent in his marriage. The sense of performing the role of loving son to his parents is captured when his nephew asks why he must appear incredibly pleased with his grandmother’s lacklustre gift, and Anthony finds himself at a loss as to why he should bother pandering to “the domineering old harridan.” The title has several meanings, one of which is to be static, or still – and Anthony’s state, stuck in a seemingly joyless family unit, captures that meaning.

In Ashes , it is Chris’ homosexuality and lack of interest in traditional masculine pursuits such as fishing which drives a wedge between him and his family. He finds his mother’s determination to whitewash her strained relationship with their dead father and husband, and to rewrite history so that the pair of them went on many fishing trips which they both enjoyed, to be utterly “nauseating.” Even with Alan dead, his ghost seems to linger and strain the relationship between mother and son. A similar strain is even more evident in Seventy- Two Derwents , between Ellie and her mother. The pair frequently argue with each other and the mother seems to deeply resent Ellie’s determination to pull herself out of her family’s disadvantage by working hard, saving money and aiming to go to TAFE or university. However, the pair and the younger sister Tyler eventually face down the abusive Shane, and seem to be growing stronger by the end of the story. This vein of hope runs throughout the entire collection. In Ashes Chris, for all his (understandable) bitterness, seems to yearn for reconciliation with his mother, symbolised in his brushing ash from her shoulder in the final lines. Like a House on Fire and Five-Dollar Family both depict fraught family situations which end on positive, hopeful notes. Kennedy seems to hold that no family is perfect, but that very few families are broken beyond hope of repair.

Many of the stories in this collection feature breakdowns in communication between characters. White Spirit depicts its unnamed narrator struggling to communicate with people who speak “languages I don’t understand,” and who feels a profound disappointment that she cannot communicate as readily as she would like to with the people she ostensibly works for. Cake features a similar predicament. Liz is unable to express to her grief at having to leave her son in the care of strangers. Her co-workers are adamant that working is far superior to staying at home and tending to the needs of children. Liz disagrees, finding herself vaguely surprised at just how pointless and meaningless her work at her office really is; when she attempts to explain that she likes spending time with her son to her co-workers, however, she can tell that “this is not the answer they want.”

More commonly, however, Kennedy depicts this broken communication within relationships and families. Whirlpool vividly depicts the growing alienation between twelve-year-old Anna and her mother. Anna speaks rarely throughout the story. When she does, it is often in a whisper. Instead she finds herself giving a “traitorous” smile to her mother, who she can barely bring herself to speak to. The final image of the story is of a pool filled with “unshed tears” – symbolic of the unspoken tensions rife in the household. In Static Anthony is constantly making sardonic observations about both his wife and his mother, suggesting his growing estrangement from both of them. Flexion depicts a relationship in which no meaningful emotional connection has been made for eighteen years, and Like a House on Fire vividly explores the effects of chronic pain on a marriage in which tensions are more frequently expressed by stony silence than they are through words.

Kennedy frequently takes her characters into places where language alone no longer suffices. However, she never leaves them stranded there. The stories frequently end with a non-verbal affirmation between two characters; clasped hands, an embrace or something similar. This suggests that for Kennedy there are forms of connection and communication which run deeper than language.

Frank and Mrs Slovak

Frank Slovak and his wife, who is never named, are one of many uneasy relationships in the collection. Frank is brooding, domineering, and emotionally repressed. It takes a horrific accident – being crushed by his own tractor – to open up the emotional “locked strongbox” he has kept shut for so long. He is stubborn and wilful, and resents being compelled to accept aid from anybody. His wife is not given a name, reflecting her status in the relationship; similarly, the townspeople refer to her as “the quiet one.” The strain on their already frosty relationship is initially exacerbated by Frank’s injury, to the extent that she resents his survival. However, when he himself confides sorrowfully that his death would have been a gift he “could give [her],” she understands his own emotional turmoil, and the story ends on a hopeful note.

Ashes depicts Chris struggling with the memory of his father, who was uneasy with Chris’ homosexuality. Chris is an articulate, university-educated young man who never fit into his father’s vision of a typically masculine son. Chris also struggles not to resent his own mother, who engages in a wholesale “revisionism” of Chris and his father’s relationship. She reinvents their incredibly awkward fishing trips as cherished memories, despite the fact that they were few and deeply unsatisfactory. Chris also struggles with the memory of his ex-boyfriend. The story ends with his unspoken acceptance of his mother’s grief.

The narrator of Laminex and Mirrors

The narrator of Laminex and Mirrors is a recent high-school graduate working a temporary job as a cleaner at a hospital in order to fund her planned holiday in Europe. She is something of a fish-out-of-water character within the hospital; she yearns for Europe and is nicknamed the Scholar by her co- workers owing to the fact that she occasionally reads for pleasure. She is also frustrated by the arbitrariness of the hospital; she resents being told to clean an old wing which is “about to be demolished” and she feels uncomfortable about the strict rules which forbid any fraternising between staff and patients. She befriends the terminally ill Mr Moreton and eventually gifts him a final morning in the sun with a cigarette, presumably at the cost of her own job.

Christine is another character in the collection who is embedded in a long- term relationship which has not panned out precisely as she had anticipated. She and her husband Al attempted to create an eco-friendly, anti-modern family home, which Christine “loves” but concedes seems permanently “unfinished.” Many of their plans for the house and their lifestyles have been abandoned for practical reasons. She has a lump which must be surgically excised, and this brush with mortality serves to highlight the issues in her life – her vague husband, unfinished house and unruly children – but also reaffirms her love of her family.

The narrator of Like a House on Fire

The narrator of the titular story is a husband and father who is left crippled and helpless after a severe back injury. He must try to organise Christmas from his position on the floor of his loungeroom, where he parks himself in order to exert control over his children while his wife, Claire, works extra shifts. Like all the stories involving bodily trauma in the collection – and there are many – the focus is not on the injury itself but its repercussions, and the effect it has on the emotional life of the person who suffers it. In this case, it is the strain put on the husband-wife relationship and the emasculating effects on the narrator which Kennedy explores.

Like many female characters in Like a House on Fire , Michelle is in a relationship with a useless man. Des is a philanderer, a drunkard and a thug. The story focusses on Michelle’s experience as a new mother, who gives birth to a son and has an epiphany about Des, and determines to live a more fulfilling life once he is out of the picture – and judging by his impending court date, that will not be far off. Through Michelle, Kennedy again affirms the relationship between mother and child creates a hopeful portrait of a young woman taking control of her life.

The narrator of Cross-Country

In Cross-Country , Kennedy paints an often darkly wry and comic portrait of post-breakup depression. The central character has been divorced by her husband, and spent most of her period of leave sitting in her own home, amidst mess and chaos, and obsessively attempting to track him down on her computer. She convinces herself that he has joined a cross-country club and fantasises about competing against him and humiliating him. When she realises that she has fooled herself she feels a metaphorical “cool and unexpected breeze” and seems to determine to re-join the outside world.

Ray is a sensitively-drawn no-longer-young male. He can only find work for a few days a week in a town where much of the male population is unemployed, partially due to outside contractors being given most of the new infrastructure projects. He has also slumped into a deep lethargy following being dumped by his former girlfriend. He lives in the shed of a friend. The rail project in his town becomes a fixation for many of the un- or underemployed men, who attempt to engage in some small act of defiance by stealing the old redgum sleepers which are being pulled up. Ray convinces himself to steal some and the story closes with the police surprising him.

Anna is a twelve-year-old girl with a fraught relationship with her mother, who fixates on appearances and obsessively attempts to create the perfect family Christmas photo. Anna’s mother seems intent on creating tiny rifts, loyalties and divisions within the family. It is a deeply unhealthy dynamic for Anna, who is self-conscious about her weight and body-image. Anna is an extremely sensitively-drawn portrait of a young girl on the cusp of adolescence, and Whirlpool expertly creates a sense of menace and paranoia in a suburban Australian home.

Liz, the central character of Cake , is a first-time mother who has just returned to work after maternity leave. She is horrified at the prospect of leaving her son in the care of others, and is forced with the realisation that her office job is full of banal and completely pointless tasks. Worse, she feels a sense of alienation from her co-workers, who universally agree that maternity leave was stressful and exhausting and that they couldn’t wait to get back to work. Liz is an interesting example of a woman who finds more “liberating” gender roles to be in their won way as constrictive as traditional gender roles.

The narrator of White Spirit

The narrator of White Spirit is a well-meaning but exhausted and alienated manager on a housing estate for immigrants. The story focusses on her futile effort to create a sense of community by commissioning a huge painted mural. However, her despair is challenged by a moment of connection with her charges at the end of the story.

Roley is a typical character for Like a House on Fire . He is working a casual job he hates in order to support his brain-damaged wife as she recovers. Also like many characters in the collection, the story peaks with a small moment of defiance. Ordered to cut up the body of a dead dolphin at the aquarium at which he works, he eventually snaps and loses his job, putting his sense of decency above his economic needs.

Anthony lives with his beautiful wife Marie in a beautiful home. Their perfect life is something of a façade, hiding various tensions – the luxury of the house depends on credit and debts, Marie is ashamed of any little humanising imperfection in her body, they want children but cannot conceive and eventually Anthony is faced with the fact that his economically poorer sister and her husband might actually be happier than he is. He has a biting, ironic sense of humour, particularly when critiquing the actions of his domineering wife.

The reader experiences young Tyler’s perspective on the world through her journal which she keeps for school. She is perceptive, articulate and very artistic, but also dangerously naïve, considering her disorderly family house, characterised by poverty and abuse. Her mother’s boyfriend, Shane, clearly takes a sexual interest in the two daughters, and turns violent by the end of the novel. However, Tyler and her sister and mother overcome Shane and the story – and thus the collection – ends on an optimistic note, with the voice of a creative young girl pledging to follow her dreams.

• “Not dead, they said, but might as well be. Caught him straight across his spine.” (1) – Bodily trauma is a recurring motif throughout the collection. Kennedy uses damage to the body for a number of purposes, often, as in this case, as a metaphor for emotional paralysis. Frank’s incapacity represents his inability to connect to other people, especially his wife.
• “Yeah, his wife, they said finally, nodding. The quiet one.” (2) – In Flexion , Kennedy begins crafting her motif of women in unfulfilled marriages. Mrs Slovak is defined by her unhappy marriage – literally so; she is never given any other name than Mrs Slovak or, more frequently, Frank’s Wife.
• “As she runs she kicks off her slippery town shoes and feels dry furrowed earth rising and falling and crumbling under her bare feet all the way to where he’s lying.” (2) – Kennedy writes most of her stories in the present tense. Combined with vivid details such as the texture of the “dry furrowed earth,” this makes them feel immediate and relatable.
• “It’s as if the locked strongbox inside has burst open…” (3) – Kennedy creates a vivid metaphor of a “strongbox” bursting open and repressed thoughts bursting out and “writhing” around. This is symbolic of the way in which physical trauma unlocks repressed emotions in many of the stories.
• “The year she’d lost a baby…” (4) – See Lawson, The Drover’s Wife : “One of the children died while she was here alone. She rode nineteen miles for assistance, carrying the dead child.” In the original story, the Drover is physically distant from his wife. In Flexion , he is emotionally distant. Kennedy frequently uses infants and childbirth as symbols of the female experience, and as ways for women to feel a connection to others which they might otherwise lack. The repression of the story of the baby is thus symbolic of the repression of Mrs Slovak generally.
• “…and she sits composing her face into relief and optimism while inside, truth be known, she feels cheated.” (6) – The image of the wife “composing” her face to hide her shameful disappointment is a powerful example of the sort of secret inner lives which Kennedy presents throughout her stories.
• “It’s easier to nod and agree, to pretend to take his advice about what she should be doing about the farm work.” (7) – In these stories men, boyfriends and husbands are often portrayed as dominating women, physically or emotionally (this is most true of Seventy-two Derwents ). However, it is rarely that simple. The implicit suggestion in these lines that Mrs Slovak has no interest in actually following her husband’s advice, but rather does things her own way, reveals the complexities of their relationship. Frank, particularly in his debilitated state, needs to feel he has control over something; his wife maintains the illusion whilst seeing to it that the best courses of action are taken. The relationship is not a happy one exactly, but it is a functioning one.
• “And while the physio shakes her head in admiration… she can’t trust herself to open her mouth.” (8) – This long, multi-clausal sentence is characteristic of Kennedy’s stream-of-consciousness style. We watch the scene unfold, from the doctor’s perspective and then to Mrs Slovak’s, and the manner in which Kennedy piles clauses on top of each other mimics Mrs Slovak’s train of thought.
• “… choking rage burns like a grass fire, like gasoline.” (8) – This metaphor evokes the setting, of a farm, by comparing Mrs Slovak’s rage to quintessential rural objects/experiences.
• “…tormented by something as incomprehensible and enraging as kindness.” (10) – Meaningful human connection is one of the hardest things for characters to experience in Like a House on Fire . Frank has walled himself off from the world so effectively that he is completely unable to understand why someone might do something out of sheer generosity.
• “…and get on that phone.” (13) – Mrs Slovak takes control here – she forces Frank to acknowledge that they cannot continue in isolation; he must accept the kindness of others.
• “Now would be a good time to die, while you weren’t there. That’s what I could give you.” (15) – Mrs Slovak realises here how aware of his own, self-imposed entrapment Frank is. His surliness is not evidence of an antisocial nature but rather a terrible fear of being a burden to others. This is true to the extent that he would have preferred to free his wife by dying. This is evidence that for Kennedy, traditional gender roles are as debilitating for men as they are for women.
• “She places his hand wordlessly, determinedly, over his heart, and holds it there.” (16) – Kennedy uses a moment of intimate physical connection to symbolise the underlying unity of Frank and his wife.
• “He thinks of them in formidable capitals: the Book Club Women. Women perennially sitting around modular lounge suites, criticising someone’s book.” (18) – A good example of the subjective third person narrative voice Kennedy writes in for several stories. Although not in first person, the narration still captures something of Chris’ character; his cynicism, and his University education. He thinks in complex sentences with a complex and self-aware vocabulary.
• “As he straightened up after putting his father’s ashes inside the cabinet, longed so much to be with Scott that it almost hurt.” (20) – Chris’s conflictions over his relationship with his father and his failed homosexual relationship with Scott are very closely bound, and this association is particularly strong in this sentence, explicitly linking the two ideas. The story can be read on one level as an exploration of what it means to be male, and the turmoil Chris feels over not being “manly” in the way his father envisaged him..
• “The words rage in his head, smoking like acid in behind his clamped mouth.” (27) – Kennedy employs a powerful image of “smoking” words “clamped” behind Chris’ mouth to metaphorically represent his emotional repression.
• “And it’s not as if you have a wife and children at home waiting, is it?” (28) – The longstanding resentments of Chris’s family – at least in his mind, for this line is from an imagined, future conversation with his mother – lead back to his homosexuality. However, the “morose passivity” of his father, describes on pages 26 and 27, suggest that part of his father’s resentment is due to his own failure to be a stereotypically successful head of the family.
• “He can’t believe this is all that’s left, this dust and grit…” (32) – ‘Ashes to ashes, dust to dust’ from the Book of Common Prayer. This passage reflects the Christian view of human life as a temporary, earthly state – the body is merely crude matter – and the afterlife as the true beginning of life. In Ashes , Chris reflects on the brevity of life, and the fact that we are all destined to turn to dust and ash, and he asks himself why he could not have been a little more patient with his father while he was still alive.
• “…without interrupting her, he brushes it off.” (33) – In Like a House on Fire , small and seemingly inconsequential physical acts take on an immense significance, as a symbol of connection and love. Chris brushing the ash from his mother’s shoulder is one example of this.

Laminex and Mirrors

• “The smell will stay hanging on me all day, burned and stale…” (36) – Kennedy brackets the first (and what is implied to be the last) day of the narrator’s hospital job with cigarettes.
• “Feel like that thing’s choking me.” (38) – Entrapment is a common motif in Like a House on Fire , and is presented in a physical, literal depiction in Moreton, who cannot move.
• “You can’t tell if she’s pretty or not because of the swelling and bruising…” (39) – The rhinoplasty patients appear as a sharp contrast to Moreton; one with (presumably) lung cancer, and the others undergoing elective surgery in order to fit into society’s stringent beauty standards. Both stand as examples of the many and varied ways that individuals can be pressured into or trapped within physical or social frameworks.
• “But it’s about to be demolished.” (45) – The petty order from the matron for the narrator to clean a bathroom which will be demolished in a week is an example of the pointlessness the narrator feels in her job.
• “There’s nothing to it in the end, just a steadying grip to help lift him up and over the rim.” (51) – In one of many powerful moments of physical touch representing emotional connection, the narrator lifts Moreton from the bath.
• “…in the no-man’s-land of the hospital’s thermostatically cool interior, its sterilised world of hard surfaces…” (56) – The cold inhumanity of the hospital is a sharp contrast to the utterly reckless but poignant act of rebellion by the narrator. In this story, the hospital with its rules and regulations takes on the role of a physical entity which entraps the characters; in other stories, characters are trapped by less tangible forces.
• “Christine had fantasies when the kids were babies…” (58) Christine’s fantasies of a “clean and wholesome” house with polite and loving children has given way to the more mundane realities of family life. As with many characters in Like a House on Fire , she must learn to reconcile expectations with reality, and learn that there is no such thing as a perfect family.
• “Everything, on the contrary, seems to be teetering on the verge of coming apart.” (63) Christine’s exhausting experience of a domestic life forever on the verge of collapse is a reflection of the randomness of life in Like a House on Fire . Many characters find themselves in situations where they can barely cope with dramatic changes or disasters in their lives.
• “But he’s so vague , that’s the trouble, so blind to how much organising she has to do around him to keep it all running.” (64) Christine’s frustration at her husband, who is not a bad man as such but just “vague,” is typical of the pent-up frustrations and resentments which characterise family life in the short-story anthology.
• “She feels the ardent rush of helpless, terrible love.” (65) In Tender , the shadow of the narrator’s own mortality throws the mixed emotions of her family life into relief, including irritation at her thoughtless husband and intense “helpless” love for her children.
• “They are eyes, it strikes me, that are all too familiar with endlessly compromised plans, as if life is already revealing itself to her as a long trail of small disappointments and changeable older brothers.” (76) The narrator, albeit with a light ironic tone, hits upon a central theme of the anthology when he describes his young daughter as already becoming aware of the “long trail of small disappointments” which characterise life. “Compromised plans” – or visions, or goals – are common throughout the anthology.
• “…just to make sure I well and truly kill the occasion now that I’ve poisoned it.” (77) The narrator’s faintly comic, self-mocking tone reveals his nascent sense of shame and guilt at being so debilitated and helpless before is children.
• “…and that’s the extent of how we communicate these days, in the tiny squeezed and inflamed gap somewhere between slippage and rupture.” (79) Like the image of Frank’s emotions pouring out of a “strongbox” in Flexion , this image metaphorically locates the relationship between Clair and her husband in the context of his damaged body.
• “Well, it can’t be helped,’ she says, and there it is, the sound of everything she’s really talking about, echoing in the big, hollow silence under her words.” (86). As when the narrator imagines a string of rebukes he would never actually say to his wife, he imagines “everything she’d really talking about” when she answers him bluntly. Close relationships between characters in the collection are frequently communicated non-verbally, illustrating the depth of connection humans can create between one another.
• “Definition of psychosomatic: something originating in the mind or the emotions rather than through a physical cause.” (88) The narrator’s definition of psychosomatic pain as something “originating in the mind or the emotions” echoes much of his own sense of shame and paranoia, which is largely due to his own sense of guilt rather than genuine resentment on the part of his family.
• “….and I reach up to pull the elastic band and grips out of her hair.” (93) Like many of the stories in the collection, Like a House on Fire ends with a symbolic moment of physical connection between to characters, suggesting a deeper connection which is capable of surviving the difficulties life throws at them.

Five-Dollar Family

• “The person she’d been before the birth, in fact, seems like a dopey, thickheaded version of who she’s become now.” (102) Whereas most of the characters in the first half of the anthology find themselves reconnecting in the wake of trauma or sudden change, Michelle finds herself finally accepting that she cannot rely on Des for anything.
• “She couldn’t believe she’d ever needed him for anything.” (104) In Five-Dollar Family and later, in Seventy-two Derwents , Kennedy presents the bond between mother and child as infinitely more fulfilling than that between a woman and a “useless” man.
• “First one thing, and then another thing, and the click when it happens, like a door opening.” (105) Michelle’s description of the way in which the birth of her child led to an important sense of finality about Des echoes the structure of many stories in the collection, where a sudden change or trauma leads to an epiphany.
• “Felt herself as indulgent and forgiving and tolerant as his mother, like it was a club women belonged to.” (108) Michelle’s notion of the “club women belonged to” is a powerful example of the way in which women are trapped by society – in this case, through their emotional attachment to manipulative and uninspiring men.

Cross-Country

• “There’s a short film looping in my head” (120) The narrator, like many characters in the collection, is a victim of her own fantasies, which threaten to distance her dangerously from the real world.
• “It’s amazing, isn’t it, the level to which we’ll invent what we need.” (125) The narrator of Cross-Country , like Chris’ mother in Ashes , fulfils her desires in part by imagining a world in which they are met. For the narrator, this means imagining her ex-husband ringing her in the night, whilst for Chris’ mother it means imagining a version of the past in which her son and husband enjoyed a fulfilling relationship.
• “…my face cools as if lifted to a merciful and unexpected breeze.” (125) The narrator of Cross-Country is one of the starkest examples of a character who is trapped by their own mind and their own fantasies. It is implied that the narrator of this story is, however, eventually set free by a “merciful” revelation.
• “Ray was stuck in traffic” (127) Ray’s physical state at the opening of the story is a metaphor for his emotional and mental state of paralysis or, as he puts it, “the lethargic kind of trance he’d felt himself lapsing into more and more recently.”
• “…passing another man who was pretending to be doing a job of work, bored shitless and leaning on a one-word sign.” (129) Ray’s appraisal of the road worker reflects his own exhausted view of life as consisting of pointless drudgery, a feeling shared by the narrator of Cross-Country .
• “Frank, who hadn’t worked for fourteen months.” Kennedy explores the social effects of underemployment and poverty in Sleepers , charting the collapse of Ray’s life, and depicting various male characters who seem to struggle to find work and are reduced to petty theft and drink.
• “His mind swam over this bit…” (136) Like many of Kennedy’s characters, Ray blurs the line dangerously between fantasy and reality, and his fate in Sleepers suggests that Kennedy is highly critical of this approach to life.
• “…hauled up and discarded but with so much life in it, still, it just broke your heart to see it go to waste” (139) The final comment on the redgum is clearly metaphorical for the state of Ray and many of the underemployed men in the unnamed town who can feel their lives draining away.
• “I can’t send one of these – every one’s a disaster.” (142) The mother in Whirlpool , like many characters is the collection, is obsessed with a fantasy of her family, and feels compelled to project an impossibly perfect image of them – even, ironically, as the pressure she applies actually puts strain on that same family.
• “You hover there clenched, rooted to the spot.” (143) The description of Anna, silent and “rooted to the spot” as she listens to her mother, suggests that she is yet another character who feels a strong sense of alienation and paralysis, brought about by her sense of distance from her own family.
• “You’re barely twelve, you’re nowhere near old enough for that.” (147) Anna’s mother’s obsession with envisaging an ideal family results in her denying reality, such as the fact that her daughter is maturing physically and emotionally. This denial of reality results in a sense of alienation and paranoia in Anna.
• “You’re all touching and it feels weird.” (150) Unlike in many other stories in the collection, where physical connection is symbolic of emotional connection, Anna finds the proximity to her family discomforting and intrusive.
• “…grim with the need to plot exile and allegiance…” (153) The schemes of “exile and allegiance” constantly gyrating in Anna’s mother’s head suggest that for Kennedy the family unit is as much a place of tension and division as it is love and unity.
• “She senses, as they nod and smile, that this is not the answer they want.” (161) Like many of the stories in Like a House on Fire , Cake demonstrates Kennedy’s keen interest in the minutia of social interactions, and particularly the way thoughts and feelings are conveyed non-verbally.

White Spirit

• “I don’t understand why this whole process hasn’t worked out like I thought, like I said it would on my grant project description.” (191) The narrator, like many characters in Like a House on Fire , must come to terms with reality as it is, rather than as she imagines it should be, or as it is idealistically depicted in “grant descriptions” and other such bureaucratic paraphernalia.
• “…I feel two arms on either side of me, stretching tentatively round my waste, drawing me tighter, and in spite of everything I smile.” (195) Like many stories in the collection, White Spirit closes on an image of physical connection, which temporarily breaks through the narrator’s sense of alienation.

Little Plastic Shipwreck

• “You fucking do it.” (207) Like the narrator of Laminex and Mirrors , Roley finds a small degree of comfort and release in a small act of defiance, placing his principles above his economic needs.
• “Her hand there for comfort. Warmth and pulse flowing between us, skin to skin.” (213) In Waiting , the cold and clinical hospital is made human through physical human connection – a motif which appears time and again in Like a House on Fire.
• “…lips closed and chin raised like a model of cool serenity, a perfected study of herself.” (226) Marie, like many of Kennedy’s characters, obsesses over a perfect, unattainable image of herself. This is often reflected in the myth of the perfect family, as in Static , where a group of people who clearly dislike each other must play at happy families for the occasion.
• “Why indeed? Why is he pandering to the domineering old harridan?” (231) One of Kennedy’s many flashes of humour, this line illustrates the absurdity of the fictions which characters create and maintain in order to survive.
• “Does she love him? She lets him see her in the morning without make-up, does that count?” (233) Anthony’s bitingly ironic tone skewers the level of artifice and make-believe which characterises his life, suggesting that allowing him to see her without make-up is the closest thing to genuine affection Marie shows him.

Seventy-Two Derwents

• “Maybe that’s why Shane comes over to our place to have a shower and get changed.” (250) Kennedy creates an almost unbearable sense of tension in Seventy-Two Derwents through Tyler’s innocent and naïve child voice. The dramatic irony, whereby the reader can see that Shane is a despicable character long before the narrator can, helps build a sense of dread.
• “I’m right behind you, Ty. Right here.” (275) Throughout the collection, there are occasional hints of a sort of female solidarity, of women characters who bond through the ineptitude of the men in their lives. It is most vividly portrayed in the set-piece at the end of Seventy-Two Derwents , of three girls and women standing up to a violent male.
• “I kept writing mine these holidays so that you will know you were right.” (277) The collection ends with a powerful affirmation of the power of literature, and an image of Tyler collecting the budgie’s egg, suggesting hope and renewal. The overall effect is to affirm the power of art and literature to provide solace and hope.

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English Compositions

Short Essay on a House on Fire [100, 200, 400 Words] With PDF

In this lesson, dear students, you will learn to write a narrative essay on ‘A House on Fire’ in three different sets. It will help you prepare for your upcoming examinations.

Table of Contents

Short essay on a house on fire in 100 words.

• Short Essay on a House on Fire in 200 Words

Short Essay on a House on Fire in 400 Words

It was late at night, and a loud noise awakened me. My mother arrived at that same moment to wake me up. Due to faulty wiring, the house just across the street from mine caught fire. It was the home of my friend Roshan. My mother and I rushed over to assist and calm them.

Black flames erupted from various locations across his home. Firefighters were doing everything they could to put out the blaze. My father was assisting Roshan’s father in saving crucial documents. I learned that we must always keep an eye on our wiring and not be careless or postpone when it comes to critical tasks.

Short Essay on a House on Fire in 200 Words

It was late at night, and a racket broke my sleep. It was naturally dark, but when I uncurtained my windows, I saw glowing lights everywhere. At that very moment, my mother came to wake me up. I could spot my father outside the window along with other neighbours. The house opposite my house had caught fire due to bad wiring. It was my friend Roshan’s house.

My mother and I immediately went to help and console them. Black flames that looked like smoky giants came out from different parts of his house. Firefighters were working their best to put off the fire. My father, along with other neighbours, was helping Roshan’s father to save important documents, among other flammable objects.

The fire had broken into their kitchen, but the other part of the house that included Rohan room and his parents’ room were not heavily destroyed. For one week, Rohan and his family stayed with us in our apartment while their house got repainted and refurbished. Their house was in dire need of renovation, and it looks like the newest house on the street. I learnt that we must always check our wiring and neither be negligent nor procrastinate on important activities.

It began when I was softly treading in the fairyland. I say this because my sweet dream was suddenly broken, and I woke up to a haywire sight before me. I was in my father’s arms. He was grabbing me tightly, and we were on the run. I was wondering if the wicked fairies were chasing us.

Everything felt so hot, and I could smell a mixture of strong body odour stinking from our bodies. I decided it was too much to bear and decided to sleep again. I was forced to reopen my eyes in a matter of two minutes. This time it was the sound of loud alarms that wouldn’t allow my mind the peace it so deeply craved.

I decided to take a look around the vicinity. I didn’t have to do a lot of neck work. We were not running anymore. We ran outside of our house and came on the road. It was at this moment that I spotted the red trucks. The source of the loud alarm was this truck. It was a fire engine. Our class teacher taught us the fireman lesson yesterday.

She told us that firefighters are brave people who have the lives of the burning people without caring about their life. At that moment, I heard the sobs of my mother. She stood next to us. She was crying. I looked at her and put my hands forward. She took me in her arms and wrapped me tightly. At first, I couldn’t understand a word that she was saying. Eventually, it occurred to me that she was trying to say that our house was on fire and the firemen were trying to put it off. I was shocked! I looked forward to seeing my house burning.

Little by little, the fire was perishing and consuming the whole of it. There was only one fire engine. The neighbours were trying their best to help. My father, along with some of the neighbours, had rushed inside the house to save important documents among their precious things from getting destroyed. We were later told that the source of the fire was the poor wiring of the house.

We had been negligent on that account. Poor wiring is risky, and it somehow caused the fire. One thing leads to another. We are staying at my maternal grandparents’ house for the time being. Our house is getting painted again. We have changed the wiring.

Dear students, hopefully, after this lesson, you have a holistic idea of writing a narrative essay on a house on fire. I have tried to be as descriptive as possible in the given word limit. If you still have any doubts regarding this session, kindly let me know through the comment section below. To read more such essays on many important topics, keep browsing our website. 

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English & EAL

Close analysis of 'Cake' from Like a House on Fire

February 15, 2019

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We’ve explored historical context, themes, essay planning and essay topics over on our Like a House on Fire by Cate Kennedy blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

[Video Transcript]

‘Liz sits there helpless’

• From the beginning of the short story we can see that Liz isn’t, or doesn’t feel in control of her situation. The step by step process where she needs to ‘put the key in the ignition and turn it. Fire up the car and drive away’ showcases how the smallest details of starting the car, something that should be so simple instead requires immense mental effort on her behalf.

‘And he’s in there, alone, where she’s left him’.

• Her guilt bubbles to the surface here because it’s as though she’s the villain here, and she’s to blame for leaving him alone.

‘Abandoned him to a roomful of rampaging strangers’

• What’s really interesting here is her description of the other children. Instead of seeing this as an opportunity for Daniel to befriend others and have a great time, she describes them as ‘rampaging strangers’, giving us a sense that Daniel is subject to an unfamiliar environment that is wild, frenzied, rioting.

“Guerilla warfare”, “Jungle gym”, "seasoned commanders”

• These "fighter” phrases reveal Liz’s anxious mindset, as she imagines a world where her son is almost in the wilderness, every man for himself, as though it’s the survival of the fittest - and which Liz so fearfully express, “not that there’s going to be anybody with enough time to notice that Daniel needs help”, is not an environment where Daniel belongs.

“She digs in her bag for her lipstick, her fingers searching for the small cylinder, and pulls out a crayon, then a battery, then a tampon, then a gluestick.”

• Her everyday objects are splashed with Daniel’s belongings - the crayon, the gluestick, and demonstrate how intertwined her life is now with her child. This foreshadows her return to her pre-baby life - that things will not be the same.

“The smell of the place, that’s what throws her, the scent of it all, adult perfumes, air breathed out by computers and printers and photocopiers.”

• Even her sense of smell betrays her being away from Daniel. There’s a sense of alienation, of nausea that shows readers like us that Liz doesn’t feel like she belongs. This is in contrast to later in the story when she is reunited with Daniel and is comforted by ‘inhaling[ing] the scent of him again’.

“Same computer, same shiny worn spot on the space bar…"

• The repetition of ’same’ actually heightens how much has actually changed for Liz. Her entire world is now Daniel, whereas everything in the office is as it used to be. Therefore, there’s this sense that the people’s lives in the office remain unchanged, highlighting again Liz’s alienation.

“Yeah, yeah, yeah, they’re right, of course they are.”

• This sarcastic internal monologue reflects Liz’s current state of mind, where she’s experiencing a disconnect from her coworkers, and ’the land of the living’.

"Delete, she presses. Punching the key like a bird pecking. Delete, delete, delete.”

• We can feel Liz’s exasperation at this stage. The simile ‘like a bird pecking’ automates Liz’s actions in the workplace, as though she is doing it by switching to a ‘mechanical form’ of herself. The repetition of ‘delete, delete, delete’ gives us the sense that she’s frustratingly attempting to ‘delete’ her self-acknowledged, perhaps over-the-top anxiety surrounding Daniel, or trying to delete herself out of her situation. Whichever is unclear and left up to interpretation. Perhaps both ring true.

‘Returning to work after maternity leave’

• Liz’s narrative interspersed with new mum’s pamphlet. The juxtaposition of the pamphlet’s words ‘being a stay-at-home mum can begin to seem mundane and repetitive’ is contrasted with Liz’s love of motherhood - she is at odds with what society tells her she should be feeling.

‘[Daniel]’d have his thumb in his mouth right now. Not smiling, that’s for sure.’

• There’s a self-projection of anxiety here with Liz  assuming that the childcarers are unable to look after Daniel properly, and that he’s suffering.

‘God, these endless extended moments where you’re left in limbo, the time dangling like a suspended toy on a piece of elastic.’

• This simile highlights how her mindset is completely consumed with Daniel, as she likens her daily experiences with objects and things related to Daniel and childhood. She struggles to switch between her identity as a mother, and her previous identity as a colleague in the workplace.

‘Caroline, Julie and Stella had laughed dutifully enough, but their faces had shown a kind of pained disappointment, something faintly aggrieved.’

• Perhaps this is Cate Kennedy's commentary on society and motherhood. The expectations others have on you as a new mother, and how you should be feeling.

‘He doesn’t run over when he sees her’.

• The opening of this chapter is blunt and brutal. Liz has longed to see Daniel all day, her anxiety getting the best of her, and yet at the moment of their reunion, it’s not as she expects. In this sense, we can to feel that Liz is very much alone in her anxiety and despair and, not the other way around with Daniel.

’She’s fighting a terrible nausea, feeling the sweat in the small of her back.’

• Unlike other stories in this collection, her pain isn’t because the absence of love, but because of its strength. Her love for Daniel is so intense that it’s physiological, making her unwell to have been away from him.

• The symbol of cake represents her pre-baby life, a time when she was concerned with the ‘account of Henderson’s’ and ‘delete fourth Excel column’. Her priorities have now shifted, and the celebrated ‘cake’ tradition in the workplace, one that is at the centre of several conversations, is no longer to significance to Liz. Her husband, Andrew’s attempt to celebrate Liz’s first day back at work with cake is highly ironic. The societal expectation that Liz is happy to be back at work even extends to her husband, and heightens how Liz is very much alone in her experience.

If you found this close analysis helpful, then you might want to check out our Like a House on Fire Study Guide where we analyse EVERY story in the text and pinpoint key quotes and symbols!

Watch our YouTube Video on Like A House On Fire Essay Topic and Body Paragraphs Breakdown

Like a House on Fire by Cate Kennedy

Like a House on Fire Essay Topic Breakdown

How To Get An A+ On Your Like A House On Fire Essay

Close Analysis Of 'Cake' From Like A House On Fire

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• Learn how to brainstorm ANY essay topic and plan your essay so you answer the topic accurately
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Last updated 20/10/19

Planning is an essential part of any successful text response essay. It helps you ensure that you’re answering the prompt, utilising enough quotes and writing the most unique and perceptive analysis possible! The hard part of this is that you only have about FIVE MINUTES to plan each essay in the Year 12 English exam… (more info on the best way to tackle that challenge in this video !)

So, I developed the FIVE TYPES of essay prompts to help students streamline their planning process and maximise every minute of their SACs and exams.

By identifying the type of prompt you’re being challenged with immediately, a number of parameters or guidelines are already set in place. For a specific type of prompt, you have specific criteria to meet – for example, in a metalanguage-based prompt , you immediately know that any evidence you brainstorm in your planning stage should be based around the literary techniques used in your given text.

If you’d like the full picture on our best FREE advice on Text Response, check out our Ultimate Guide to VCE Text Response here .

1. Theme-Based Prompt

‘Ambition in the play Macbeth leads to success.’ Discuss. ( Macbeth )

When you’re presented with a theme-based prompt, you can automatically shift your brainstorming and planning towards the themes mentioned in the prompt along with any others that you can link to the core theme in some way.

In regard to this Macbeth prompt, for example, you could explore the different ways the theme of ambition is presented in the text. Additionally, the themes of guilt and power are intimately related to ambition in the text, so you can use those other ideas to aid your brainstorming and get you a step ahead of the rest of the state come exam day.

2. Character-Based Prompt

‘Frankenstein’s hubris is what punishes him.’ Discuss. ( Frankenstein )

These prompts are pretty easy to spot – if you see a character’s name in the prompt, there you have it; you have a character-based prompt on your hands.

Once you know this, you can assume that each example you brainstorm has to be relevant to the specific character named in the prompt in some way. Also, you can explore how the actions of characters don’t occur in isolation – they’re almost always interrelated. Remember, however, that the actions of characters are always connected to the themes and ideas the author is trying to convey.

This type of prompt also grants you some freedoms that other types don’t give. For example, unlike a Theme-based prompt, a character-based prompt means that it’s perfectly fine to write about characters in the topic sentences of your body paragraphs.

3. How-Based Prompt

‘How does Grenville showcase Rooke’s inner conflict in The Lieutenant ?’ ( The Lieutenant )

Unlike other prompts, the ‘How’ positions you to focus more on the author’s writing intentions. This can be achieved by discussing metalanguage – language that describes language (read my blog post about it here ). These prompts tell you immediately that you need to be thinking about the literary techniques explored in the text and explain how they affect the narrative.

Rather than using specific techniques to frame your specific arguments, it’s best to use them as evidence to support arguments that attack the main themes/ideas mentioned in the prompt.

4. Metalanguage or Film-Technique-Based Prompt

‘Hitchcock’s use of film techniques offers an unnerving viewing experience’. Discuss. ( Rear Window )

This type of prompt is very similar to How-based prompts, specifically in the fact that the discussion of literary techniques is essential.

For this type of prompt specifically, however, the actual techniques used can form more of a basis for your arguments, unlike in How-based prompts .

5. Quote-Based Prompt

“Out, damned spot!” How does Shakespeare explore the burden of a guilty conscience in Macbeth ? ( Macbeth )

Countless students ask me every year, “What do I do when there’s a quote in the prompt?!” My reply to these questions is actually fairly straightforward!

There are two main things that you should do when presented with this type of prompt. Firstly, contextualise the quote in your essay and try to use it in your analysis in some way. Secondly, interpret the themes and issues addressed in the quote and implement these into your discussion. The best place to do both of these is in a body paragraph – it weaves in seamlessly and allows for a good amount of analysis, among other reasons!

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into? To learn more about brainstorming, planning, essay structures for Text Response, read our Ultimate Guide to VCE Text Response .

“Once upon a time…”

The fairy tale of Cinderella is a well-known, well-loved and well-ingrained story that was always told to me as a bedtime story. Who could forget the mean-spirited stepsisters who punished and ruined Cinderella’s life to no end? According to the dark Brothers Grimm version, the stepsisters mutilated their feet by cutting off their heels and toes to fit into the infamous shoe, and their eyes were pecked away by birds until they were blinded! It’s definitely one way to send a message to children… don’t be bullies or you’ll be punished. Which is exactly what the Brothers Grimm’s views and values were. Their construction of their fairy tale to send a message of what they viewed as ‘good’ or ‘bad’ is simplistically shown through the writers’ choice in determining the characters’ fate. The evil stepsisters are punished, while Cinderella receives happiness and riches because she remained kind and pure. A clear and very simple example of how texts reflect the beliefs, world views and ethics of the author, which is essentially the author’s views and values!

What are the views and values of a text?

Writers use literature to criticise or endorse social conditions, expressing their own opinions and viewpoints of the world they live in. It is important to remember that each piece of literature is a deliberate construction. Every decision a writer makes reflects their views and values about their culture, morality, politics, gender, class, history or religion. This is implicit within the style and content of the text, rather than in overt statements. This means that the writer’s views and values are always open to interpretation, and possibly even controversial. This is what you (as an astute literature student) must do – interpret the relationship between your text and the ideas it explores and examines, endorses or challenges in the writer’s society.

How do I start?

Consider the following tips:

• What does the writer question and critique with their own society? What does this say about the writer’s own views and the values that uphold?
• For example,  “Jane Austen in Persuasion recognises the binding social conventions of the 19th century as superficial, where they value wealth and status of the utmost priority. She satirises such frivolous values through the microcosmic analysis of the Elliot family.”
• The writer’s affirming or critical treatment of individual characters can be a significant clue to what values they approve or disapprove of. What fate do the characters have? Who does the writer punish or reward by the end of the text?
• Which characters challenge and critique the social conventions of the day?
• Look at the writer’s use of language:
• Characterisation
• Plot structure
• Description
• In other words …what are the possible meanings generated by the writer’s choices?
• Recognition and use of metalanguage for literary techniques is crucial because you are responding to a work of literature. Within literature ideas, views and values and issues do not exist in a vacuum. They arise out of the writer’s style and create  meaning .
• How do the writer’s choices make meaning?
• How are the writer’s choices intended to affect the reader’s perception of social values?
• Weave views and values throughout your close analysis essays, rather than superficially adding a few lines at the conclusion of the essay to indicate the writer’s concerns.
• Using the writer’s name frequently will also assist in creating a mindset of analysing the writer’s commentary on society.

Below are some examples from an examiner report of successful and  insightful  responses reflecting the views and values of the writer:

(Another tip is to go through examiner’s reports and take note of high quality responses, even if they are not the text you’re studying)

When contrasted with the stark, blunt tone of Caesar throughout the play ‘You may see, Lepidus, and henceforth know...’ the richness of Shakespeare’s poetry with regard to his ‘couple so famous’  denotes how the playwright himself ultimately values the heroic age  to which his protagonists belong over the machinations of the rising imperial Rome.

It is the word ‘natural’ here through which Mansfield crafts a sharp irony that invites us to rate Edna’s obsession with her own performance.... It is this satiric impulse that also leaps to the fore through the image of Edna, ‘clasping the black book in her fingers as though it were a missal’...the  poignant economy of Mansfield’s characteristic style explores her views on the fragility of the human condition .   

‘In Cold Blood’ provides a challenging exploration of the value placed on human life. The seemingly pointless murders undermine every concept of morality that reigns in Middle America, the ‘Bible Belt’, as well as the wider community.  Capote insinuates his personal abhorrence of the death penalty and the disregard of mental illness in the justice system .

Why are views and values important in literature, and especially for close analysis?

Every year, the examiner reports emphasise how the best close analysis responses were ones that “showed how the text endorsed and reflected the views and values of the writer and were able to weave an understanding of these through the essay” (2013 VCAA Lit examiner report). By analysing HOW the text critiques, challenges or endorses the accepted values of the society in the text, you are demonstrating an understanding of the social and cultural context of the text, thus acknowledging the multifaceted layers that exist within literature. You are identifying the writer’s commentary of humanity through your own interpretation. Bring some insight into your essays!

This blog was updated on 23/10/2020.

2. Historical Context

3. Part 1: Plot

4. Part 1: Quotes and Analysis ‍

5. Themes, Motifs, and Key Ideas

6. Character Analysis

7. Structure

8. Sample Essay Topics

9. Essay Topic Breakdown

The Dressmaker is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Set in Dungatar, a barren wasteland of traditionalism and superstition, isolated amidst the rapidly modernising post-World War II Australia, acclaimed author Rosalie Ham’s gothic novel, The Dressmaker , provides a fascinating window into 1950s Australia. I find it to be one of the most intriguing texts of our time - managing to weave together a historical narrative with humour, wit, and modern-day social concerns regarding patriarchy, class, and the effects of isolation.

The Dressmaker is one of those texts which reinforces why studying English can be so great when you give it a proper chance. This subject isn’t just about studying books and writing essays, it’s also about learning new insight you’ll carry with you throughout your life. Specifically, The Dressmaker offers real insight into some of the most pressing issues that have been around for centuries - how communities respond to crisis, why certain groups are marginalised, and how we should respond to tyranny and intolerance. Ham’s novel is layered with meaning, character development, and a moving plot which really helps us reflect on who we are as people. Not every book can do that - and, seemingly, on a surface level, you wouldn’t expect a novel about fashion and betrayal to do it either. But somehow, it just does, and it’s what makes The Dressmaker one of my favourite books of all time.

Historical Context

Before we move on to looking at The Dressmaker’s plot and delving deep into analysis, it’s really important to understand the main historical context which underpins the novel. By ‘historical context’, all we mean here is the factual background which tells us why Rosalie Ham wrote her novel, and why she chose the particular setting of Dungatar. After all, Dungatar is a fictionalised community, but its references to post-World War II Australia are very real. The main message I want you to take from this section is that understanding 1950s Australia is essential to understanding Dungatar.

Australian Geography and the Great Depression

Before we delve into talking about this historical theme, I’d like to first acknowledge that Australia was colonised against the wishes of its First Nations peoples, and also recognise that sovereignty was never ceded. This discussion broadly reflects the experiences of colonised Australia because that is the frame which Rosalie Ham provides. However, at Lisa’s Study Guides, we acknowledge the traditional owners of the land on which this study guide was written, edited, and published, and pay our respects to elders past, present, and emerging. 

Ham’s fictional setting of Dungatar is a perfect example, as it is placed in the Australian Outback. The ‘Outback’ doesn’t exactly have any borders, so which regions of Australia count as part of the 'outback' will be slightly different from person to person. A general rule to help us understand the Outback is that it is way out in the centre of the country, far away from urban Australia. Its main industry is pastoralism, which refers to the grazing of cattle, sheep, and other species such as goats. This is a tough lifestyle, and as such small towns and a lot of room for livestock is preferable. These communities are often isolated, and don’t really communicate with the outside world unless it’s about trading their livestock into the cities. Isolation tends to create its own culture, practices, and social standards. For Dungatar, we see massive economic divides and strict expectations around the role of men and women. For instance, the McSwineys live in absolute poverty, yet Councilman Evan and his family are relatively wealthy. Most of the women in the town either care for children or stay at home, reflecting the outdated idea that it is the role of the man to work, and the role of the woman to be a homemaker. As much as we can look at these ideas and realise how flawed they are, for Dungatar it is a way of life to which they’ve stuck for decades. Changing this way of life would be dangerous for them because it means they have to completely reconsider the way they live.

Part 1: Plot

• Myrtle Dunnage arrives in Dungatar after many years, seeking to care for her mother Molly Dunnage. 
• Myrtle, who now wishes to be known as Tilly, reconnects with Sergeant Farrat, Dungatar’s eccentric local policeman who is doing his evening lap in the town. He takes Tilly through the town and up ‘The Hill’, which is where Molly lives. 
• While Tilly is caring for Molly, mental and physical illness causes her to believe that Tilly is an outsider who wishes to poison her. Tilly perseveres in order to shower, feed, and clothe the woman, as well as clear out the house.
• The perspective changes to Sergeant Farrat, who is patrolling the town centre a day later. He sees a returned William Beaumont sitting in a car. Moving into Muriel and Alvin Pratt’s General Store, Farrat claims to be buying fabric for his house. Their daughter Gertrude, who is reading a fashion magazine, realises that the material he is buying fits with the latest skirt designs across Australia.
• After learning about Mr Almanac’s pharmacy, the footballers move into Purl and Fred Bundle’s pub. 
• The readers are introduced to the McSwiney family, who with Edward and Mae as the father and mother, have 11 children. They’re said to live in the tip at the edge of town. 
• The following weekend Tilly and Molly leave The Hill to attend the football match played in Dungatar between the two neighbouring towns, Itheca and Winyerp. Lois Pickett and Beula Harridene give her an immediately negative reaction, taking offence when Molly questions whether their cakes are poisoned.
• After getting medicine from Mr. Almanac and his assistant Nancy, Tilly and Molly run into Irma, his sickly wife. Her arthritis makes mobility difficult, and as such she is found sitting on the bank of the river, where she asks Tilly not to let the town know that she had been cooking meals for Molly in Tilly’s absence.
• Nancy and Sister Ruth Dimm are shown to be having a secret relationship in the back of the phone exchange building before the perspective moves back to Buela Harridene, who demands that Sergeant Farrat investigate the McSwiney children for supposedly pelting her roof with stones.
• Tilly sits on the riverbank, remembering her memories and trauma in Dungatar, with the crucial event being when Stewart Pettyman attempted to headbutt Tilly, but she moved out of the way, causing him to ram into a wall, snap his neck and die.
• Marigold and Evan Pettyman are introduced to the audience, with Marigold being a nervous individual who is put to sleep by Evan with pills every night and sexually assaulted.
• Following Dungatar’s victory in the grand finale, which sends frivolity and celebration throughout the town, a package arrives for Tilly. Ruth reads through all its contents after picking its lock whilst Tilly reluctantly meets with Teddy, who continues to visit her. 
• Tilly and Molly visit the Almanacs for dinner, wherein Tilly’s medicine causes Irma’s pain to disappear. Although Mr Almanac is unpleasant – stating that Tilly can never be forgiven for Pettyman’s death – the night moves on, Tilly returns home and is visited by Teddy yet again. 

Part 1: Quotes and Analysis ‍

“She used to have a lot of falls, which left her with a black eye or a cut lip.”

Here, Ham subtly hints that Irma Almanac’s injuries were not solely due to ‘falls’, as it is also said that once her husband grew old the ‘falls’ progressively ceased. Abuse of women is common in Dungatar, and it is almost expected that women will be subservient to men and do as they demand.

“His new unchecked gingham skirt hung starched and pressed on the wardrobe doorknob behind him.”

Sergeant Farrat subverts social expectations placed upon 1950s men by adoring feminine fashion. However, the fact that he is forced to hide his passion reveals how, in conservative towns such as Dungatar, individuals are forced to suppress their true selves in order to fit in with the broader population. There is no room for individuality or creative expression, as this is seen as a challenge to Dungatar’s social order and the clear separation between the roles of men and women.

“What’s the point of having a law enforcer if he enforces the law according to himself, not the legal law?”

Buela Harridene pretends to care about the enforcement of the law, but her true concern is bending the law to her own will to make those who step outside of their socially defined roles suffer. She is at odds with Sergeant Farrat as he seeks to control the townspeople’s worst instincts, yet people like Buela ensure that vengeance, rumour, and suspicion are still the defining features of Dungatar.

“Well let me tell you if he’s got any queer ideas we’ll all suffer.”

Although this specifically refers to William Beaumont, it alludes to the broader picture that the people of Dungatar believe that any outside ideas fundamentally threaten everything about the way they live. Even before Beaumont has opened his mouth, he is already a threat since he may have witnessed another way of living disconnected from Dungatar’s conservatism.

If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Dressmaker Study Guide.

Themes, Motifs, and Key Ideas

Isolation and modernisation.

One of the central conflicts in The Dressmaker is between the isolated town of Dungatar, and the rapidly modernising surroundings of post-depression 1950s Australia, as we established in Historical Context . Ham uses this dichotomy (meaning when two opposing factors are placed right next to each other) to question whether isolated communities like Dungatar really have a role in the modern world . 

Our clearest indication that Dungatar is not only traditionalistic, but absolutely reviles change and outside influence , is right at the start of the novel, when a train conductor laments that there’s “naught that’s poetic about damn [progress].” Here, we see the overriding contention of Rosalie Ham’s novel - that because a community like Dungatar has been isolated for so long, it has become absolutely committed to maintaining its traditionalism at all costs. There are more symbolic reflections of how stagnant the town has become, such as the fact that Evan Pettyman, the town’s elected Councillor, has been in the role for multiple decades without fail - or that the same teacher who ostracised Tilly as a child, Prudence Dimm, is still in charge of the town’s school. 

Social Class

The Dressmaker speaks extensively about social class. By class, what I mean is the economic and social divisions which determine where people sit in society. For instance, we could say that the British Royals are ‘upper class’, whilst people living paycheque to paycheque and struggling to get by are ‘lower class’. 

It's also important to introduce the notion of a classist society. A classist society is one where all social relations are built on these aforementioned economic and social divides - in other words, everything you do in life, and everything you are able to do , is built on where you sit in the class structure. 

For The Dressmaker , the question then becomes - "how does class relate to Dungatar?" Well, Dungatar is one of the most classist societies around, where societal worth is explicitly based on one’s position in the class structure.

Femininity, Fashion, and Patriarchy

By now, you’ve probably realised that The Dressmaker ’s title is significant. Fashion and ‘dressmaking’ are absolutely essential to understanding the life of Tilly Dunnage, and how she interacts with the people of Dungatar . We’ll go into this further, but Ham specifically delves into the power of fashion as a form of expression which empowers people and their femininity , yet she also examines how, in a community like Dungatar, fashion nonetheless ends up being entirely destructive.  Dungatar and Femininity

The idea of femininity describes, on a basic level, the ability of a woman to express herself independent of any man. Others would describe femininity in more definitive terms, but it’s really in the eyes of the beholder. What’s explicitly clear, however, is  that, in order to suppress femininity, women in Dungatar are repressed and kept under the control of men. Marigold Pettyman is raped by her husband, Evan Pettyman every night, while the “ladies of Dungatar…turn their backs” when they see the Councillor coming - knowing his crimes, but being too afraid to challenge him. Above all else, Dungatar exists within a patriarchal framework, which is one where men hold structural power and authority, and that power relies on keeping women silent and subservient. In such a society, the role of women in Dungatar is vacuous (meaning that they don’t have any real purpose) - they frill about, spread rumours, and otherwise have no set roles other than to be obedient to their husband. 

Fashion as Empowerment

Within this context, Rosalie Ham explores the power of fashion to empower femininity, and, even if it’s in a limited sense, give the patriarchy its first real challenge. Gertrude is a perfect example, as Tilly’s dressmaking sees her eventually transform at her wedding, even though she is initially described as a “good mule” by Sergeant Farrat; symbolically being stripped of her humanity and beauty by being compared to an animal. However, Gertrude becomes the spectacle of the town at her wedding, wearing a “fine silk taffeta gown” and presenting an elegant, empowered image. The townspeople even note that Tilly is an “absolute wizard with fabric and scissors”, and, with the use of the word ‘wizard’, it becomes evident that the women of Dungatar are absolutely unaccustomed to having any form of expression or individuality - a patriarchal standard which Tilly challenges through her work. 

Think also about Sergeant Farrat. Even if he isn’t a woman, he nonetheless is able to embrace his feminine side through fashion. Indeed his “gingham skirt” and secretive love of female fashion is utilised by Ham to demonstrate that, even in a patriarchal settlement like Dungatar , fashion is immensely empowering and important.

Fashion and Destruction

However, as always, Ham elucidates that there too exists a dark side to fashion in a town like Dungatar. Ultimately, the women of Dungatar, in their elegant dresses, end up looking like a “group of European aristocrats’ wives who had somehow lost their way”. What this quote tells us is that, despite a temporary possibility for empowerment, the women of Dungatar did not fundamentally change their identities. As “aristocrats’ wives”, they are still tied to a patriarchal system in which, even if they were better dressed, nothing was ultimately done to overcome their tradition for rumour, suspicion, and ostracising outcasts. Indeed, this becomes most evident at the Social Ball, where, despite wearing Tilly’s dresses, her name is “scrubb[ed] out” from the seating list - symbolically expressing a desire for Tilly’s modernising, urban, outside influence to be removed from Dungatar, even as they simultaneously wear her dresses! 

Character Analysis

Tilly dunnage .

Tilly, or Myrtle Dunnage, is the protagonist of The Dressmaker , and an acclaimed dressmaker trained in Paris . Analysing Tilly requires an understanding that she believes she is cursed: starting with being exiled from Dungatar after the accidental death of Stewart Pettyman, and then finding her “seven month old” baby Pablo “in his cot...dead”, as well as witnessing the deaths of Teddy and Molly. In her own words, she is “falser than vows made in wine”, and does not personally believe she can be trusted. This pessimistic perspective on life inspires Tilly to adopt an incredibly individualistic understanding of the world; believing that the only way for her to survive is embracing her individual worth and rejecting toxic communities. Indeed, although Tilly initially arrived in Dungatar to care for her mother - a selfless act - the town spiralling into vengeance only confirmed Tilly’s pessimism. Her modern dressmaking ultimately could not change a fundamentally corrupt community predicated on “nothing ever really chang[ing]”, and therefore the maintenance of a culture of rumour and suspicion . Indeed, in “raz[ing Dungatar] to the ground”, Rosalie Ham reminds us that Tilly is an unapologetically individually-focused person, and will not tolerate anyone, or anything, which seeks to make her conform to the status quo and repress her individuality.

Molly Dunnage 

Molly Dunnage is Tilly’s mother, a bedridden, elderly woman whose sickness drives Tilly back into Dungatar. Molly is commonly known as ‘Mad Molly’ by the townspeople, but what this hides is the fact that Molly was not born mentally insane. Rather, after being “tormented” by Evan Pettyman into having his illegitimate child and seeing Tilly exiled from Dungatar, the malicious actions of the community drive her into insanity. Even in her incapacitated and crazed state, Molly holds such love for Tilly that she attempts to stop her engaging with the community, and thus the symbolism of Molly “dismant[ling] her sewing machine entirely” was that, due to her experiences, she did not believe that the people of Dungatar would ever accept Tilly, either as a dressmaker or a person . Molly’s death is ultimately a pivotal event, and awakens Tilly to the fact that only “revenge [could be] our cause”, and thus that Dungatar is fundamentally irredeemable.

Teddy McSwiney 

Teddy McSwiney is the eldest son of the McSwiney family, Dungatar’s poorest residents. Teddy is a unique case, as although he’s a McSwiney, he is noted for being incredibly well-liked in the town - even going so far as to be described by Purl as the town’s “priceless full forward” in Dungatar’s AFL team. Nonetheless, as we discussed under the Social Class theme, Dungatar remains an unashamedly classist society, and as such, despite Teddy being valued in his usefulness as a footy player and the “nice girls lov[ing] him”, he “was a McSwiney” - discounted from the town’s dating scene or any true level of social worth. Teddy becomes essential to the plot when he and Tilly spark a budding romance. Whereas the majority of Dungatar rejects Tilly or refuses to stand against the crowd, Teddy actively seeks to remind Tilly of her worth - saying that he “doesn’t believe in curses”. However, his death after suffocating in a “sorghum mill” reiterates a sad reality in Dungatar; it is always the most vulnerable townspeople who pay the price for classist discrimination, ostracisation, and suspicion.  

Sergeant Farrat 

Sergeant Farrat is one of The Dressmaker’s most interesting characters. On the surface, he’s nothing but a police officer who manages Dungatar. However, Farrat’s position is far more complex than meets the eye - as a police officer, he is entrusted with enforcing the “legal law”, yet must also contain the influence of malicious individuals such as Buela Harradine who would otherwise use the enforcement of that law to spread slander about individuals like the McSwineys, who she considers “bludgers” and “thieves”. Despite Dungatar’s complications, Farrat considers the townspeople “his flock”, and this religious, Christ-like imagery here tells us how he is essentially their protector. Farrat is, in essence, entrusted with preventing the townspeople from destroying themselves (by now, we all know how easily the townspeople slide into hatred and division!). Here’s the interesting thing though - at the same time Sergeant Farrat is protecting Dungatar, he is also personally repressed by its conservative standards. Rosalie Ham establishes Farrat as a man with a love for vibrant, expressive, female fashion, and from his “gingham skirts” which he sews in private to his time spent with Tilly while she sews, Ham demonstrates to us that Dungatar’s conservatism affects everyone. Even though he tries to defend Tilly as the townspeople descend on her after Teddy’s death, Tilly destroys his house along with Dungatar anyway - signalling that, no matter how hard Sergeant Farrat tried to reconcile his position as protector of Dungatar and his own person, the town could not be saved.

By the way, to download a PDF version of this blog for printing or offline use, click here !

The Dressmaker is written in the Gothic style, which means it combines romance with death and horror, particularly horror of the emotional kind. The Dressmaker is divided into four sections, each named after a type of fabric Tilly uses in her work. You can use these in your essays to show how important dressmaking and fashion is to the plot’s progression, especially considering each section starts with fabric. The four types are:

A fabric made from cotton or yarn, with a checkered shape. Gingham is often used as a ‘test fabric’ in designing fashion or for making tablecloths. This gives it a rustic, imperfect feel signifying Tilly’s return to her hometown and complicated past. The name is thought to originate from a Malay word meaning ‘separate’, mirroring Tilly’s feelings of isolation from the rest of Dungatar. In this section of the novel, Sergeant Farrat also buys gingham fabric to secretly make into a skirt, symbolising how the town is still rife with secrets and a disparity between the public and private personas of its inhabitants. 

2. Shantung

A fabric used for bridal gowns. Gertrude is married in this section and her dress, which Tilly makes, is the first instance where the town witnesses her work. Shantung originates from China, matching this notion of exoticism and foreignness which seeing the dress spreads among the townspeople. 

A fabric noted for its ability to be used for a wide variety of purposes. This is the section in which the ball occurs and a variety of Tilly’s dresses are unveiled for the town to see. 

A richly decorative fabric made with threads of gold and silver. Brocade is used primarily for upholstery, drapery, and costumes. This is a reference to the costumes of Dungatar’s play, the climax of the novel which occurs in this section.

Sample Essay Topics

1. “They looked like a group of European aristocrats’ wives who had somehow lost their way.” Fashion is both liberating and oppressive. Discuss.

2. How does Rosalie Ham represent the power of love throughout The Dressmaker?

3. Gender repression is rife in The Dressmaker . To what extent do you agree?

4. “Damn progress, there’s naught that’s poetic about diesel or electric. Who needs speed?” What is Ham’s essential message about progress in The Dressmaker?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Dressmaker Study Guide to practice writing essays using the analysis you've learnt in this blog!

Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Prompt: Rosalie Ham’s The Dressmaker condemns fundamentally oppressive communities. Discuss.

Step 1: analyse.

We’ve got a theme-based prompt here, which really calls for your essay to be explicitly focused on the theme at hand. That means that we shouldn’t stray from the idea of ‘oppressive communities’. Keep it as the centre of your essay and look at how events relate to this idea - we’ll break it down more in Step 2 so you can properly explore it.

Because there’s a ‘Discuss’ qualifier added to the end of the prompt, a clear and concise contention is really important. What you’re being asked to do is, again, stick with the topic frame. That means that going for the usual “two agree, one disagree” structure is decent, but I wouldn’t suggest it as the most efficient way to go. Instead, what you’ll see that I do with this essay is ‘discuss’ how the topic is present throughout all three of our arguments.

Step 2: Brainstorm

Let’s start by breaking down the key words of the topic.

We have the idea of an ‘oppressive community’, which refers to communities that are built on marginalising certain individuals so the majority can maintain power . This is quite a clear reference to Dungatar, but expect that most essay questions for The Dressmaker won’t directly reference Tilly or the town, even if they’re quite clearly talking about them. Something for which you should look out – don’t let the wording phase you!

The addition of the word ‘fundamentally’ doesn’t change that much, but what it does tell us is that the essay is asking us to agree that Dungatar is oppressive to its core. In other words, its ‘fundamentals’ are based on oppression. I would not recommend trying to disagree with this basic premise, as it means you’re going against the topic in a ‘Discuss’ prompt which, as we discussed above, isn’t the best option in my view.

Step 3: Create a Plan

One of the most logical ways to approach this topic is a chronological structure. By that, what I mean is following the text in the order events occur; before Tilly’s arrival, during Tilly’s time in Dungatar, and the consequences that arise after they make her an outcast once again.

This way, you can stay on topic and look at how Dungatar is oppressive even before Tilly shows up again, how that ramps up as she establishes her dressmaking business, and what Ham’s final message is on rejecting oppressive communities and embracing individual worth.

If you find this essay breakdown helpful, then you might want to check out our The Dressmaker Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

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The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

3. Sample Essay Topics

4. A+ Essay Topic Breakdown

Things Fall Apart is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Things Fall Apart is set in a fictional group of Igbo villages called Umuofia, around the beginning of the twentieth century. The first half of the novel is dedicated to an almost anthropological depiction of Igbo village life and culture through following the life of the protagonist Okonkwo . Okonkwo is the greatest wrestler and warrior alive in the nine villages and beyond. He has dedicated his life to achieving status and proving his strength to avoid becoming like his father Unoka – a lazy, improvident, but gentle man. Weakness is Okonkwo’s greatest fear. After men in another village kill a woman from Umuofia, a boy named Ikemefuna is given to Umuofia as compensation and lives in Okonkwo’s compound until the Gods decide his fate. Ikemefuna quickly becomes part of Okonkwo’s family; he is like a brother to Okonkwo’s son Nwoye and is secretly loved by Okonkwo as well. Over the next three years, the novel follows Okonkwo’s family through harvest seasons, religious festivals, cultural rituals, and domestic disputes. Okonkwo is shown to be more aggressive than other Igbo men and is continually criticized and rebuked by the village for his violence and temper . When the Oracle of the Hills and Caves decides that Ikemefuna must be killed, Okonkwo is warned by a respected elder to have no hand in the boy’s death because Ikemefuna calls him ‘father’. However, afraid of being thought weak, when Ikemefuna runs to Okonkwo in hope of protection, Okonkwo delivers the fatal blow. Ikemefuna’s brutal death deeply distresses Nwoye who becomes afraid of his father. 

At the end of Part One, Okonkwo accidentally kills a clansman at a funeral after his faulty gun explodes and is exiled to his motherland, Mbanta. During his exile, British missionaries arrive in Mbanta and establish a church. Nwoye, disillusioned with his own culture and Gods after Ikemefuna’s death, is attracted to Christianity and is an early convert . This is a heartbreaking disappointment to Okonkwo. When Okonkwo and his family return from exile after seven years they find that the missionaries and colonial governors have established Umuofia as the center of their new colonial government . Clashes of culture and morality occur, and as the British make the Igbo more dependent on them through introducing trade and formal education, the Igbo way of life is continually undermined . When a Christian convert unmasks an egwugwu during a tribal ritual, a sin amounting to the death of an ancestral spirit, the egwugwu burn down the village church. The men who destroyed the church are arrested and humiliated by the District Commissioner, and Okonkwo beheads a court messenger at a village council in rebellion. When none of his clansmen rise with him against the British, Okonkwo realizes his culture and way of life is lost and commits suicide in despair. Suicide is a crime against the Earth Goddess, Ani , so Okonkwo is left to rot above ground in the Evil Forest, like his father Unoka – a shameful fate he spent his life desperate to avoid. The final paragraph, written from the perspective of the District Commissioner, reduces Okonkwo’s life to a single sentence about his death in his planned book The Pacification of the Primitive Tribes of The Lower Niger . Achebe has filled an entire novel with evidence of the complexity and sophistication of Okonkwo’s individual and social life and the District Commissioner’s casual dismissal and belittling of him causes us to flinch with horror and dismay. This is a metaphor for the reduction of Igbo culture in the eyes of its colonizers.  

The title gives away the plot of the novel and anticipates the collapse of Okonkwo and his society. Things Fall Apart is about the connection between the tragic downfall of Okonkwo , who fate and temperamental weakness combine to destroy, and the destruction of his culture and society as the Igbo way of life is assailed by forces they do not understand and are unprepared to face . 

A Full and Fair Representation of Ibo Traditional Life

The first part of the novel presents the traditional world of the Ibo with specificity and vibrancy . The imbedded descriptions of the patterns of interaction, daily routines and seasonal rituals of Ibo life creates an overwhelming impression of community and shared culture. We see the established system of values which regulates collective life and how closely related this is to natural cycles and environments. The Ibo’s moral values are contained in sayings and stories, rituals and festivals. Achebe depicts a comprehensive and sustaining social, spiritual, economic, agricultural, and legal order. (Chapters to consider: 1, 2, 3, 5, 6, 10, 12, 19)

While Ibo society is marked by the internal coherence of its organization and the poetry of its rituals, this coherence is partially formed by the repression of the individual and the inflexibility of social norms. Achebe shows the violence, dehumanization, and discrimination vulnerable groups experience in Umuofia due to the rigid adherence to tradition and superstition. This includes the customary abandonment of newborn twins, the sacrificial murder of Ikemefuna in the name of justice, and the discriminatory caste structure that denies inclusion to the osu (Chapters 7, 18).

Obierika’s questioning of the stern logic of some customs suggests that many laws are enacted from a sense of duty and inevitability rather than from a firm conviction in their justice or efficacy (Chapter 13). The cultural demand for conformity places a huge moral and psychological burden on individuals who must reckon with the sometimes heartless will of the gods . This internal tension is epitomized in the character of Okonkwo, discussed below.  

Clash of Cultures

When the Ibo are confronted with rival institutions a mirror is held up to their society. Fall Apart honestly considers and reflects on Ibo practices, customs, values, and beliefs. The novel is a frank articulation of the nature of the African past and its relevance to the present and future . Achebe wants to illuminate Ibo culture to dispense with lingering colonial prejudices, but he is not sentimental or nostalgic for the past. Instead he is shifting through it to identify the valuable aspects of Ibo culture to bring into the future and help define Nigeria’s post-independence identity .

Achebe recognises that the colonial encounter which led, swiftly and seemingly inevitably, to the disintegration of Ibo culture revealed its profound weaknesses. Achebe suggests that with the arrival and contrast against another culture, a cultural reckoning was inevitable for the Ibo. However, cultural reckoning and revaluation is not the same thing as destruction and erasure . The British colonialists were a hostile force seeking cultural domination. By pointing out some of the weaknesses of the Ibo tradition, Achebe in no way excuses or justifies colonial domination or diminishes the pain and tragedy of the cultural erasure that occurred.

Colonial Domination

The anti-colonial position and purpose of the novel is powerfully clear. Achebe depicts the process of colonial initial establishment and the resultant cultural suspension of Ibo society. The British colonizers believed in their inherent cultural superiority and arrived in Umuofia with the intention to “bring civilization” (p.151) to Africa. They wanted to achieve full control by supplanting Ibo religion and culture with their own.

The British arrived quietly and non-confrontationally with their religion and the clans allow them to stay, misinterpreting their silence as peaceability . An Ibo proverb warns that there is danger in silence and nothing to fear from someone who reveals their motivations (Chapter 15). Obierika recognizes how the white man’s strategy disguised their intentions and gave them the freedom to grow and fortify. He explains the political consequences for the clan, now divided by the new religion, they can no longer act as one (Chapter 20). Without strength in unity, the Ibo are vulnerable to further encroachment of British control in their other institutions .

As only a small number of Ibo initially converted to Christianity, the church was only able to establish itself firmly in the villages because of the Ibo’s religious tolerance (Chapter 2, 22). Mr Brown learns about Ibo religion and his willful blindness to its complexity shows how the colonizers justified their colonial rule and imposition through labelling their subjects ‘primitive’ . Mr Brown understands that Christianity held no appeal for people well integrated in Ibo society, concluding that “a frontal attack on it would not succeed” (p.132) and thus introduces education as a new method of cultural displacement and erasure . Additionally, trade also increased the Ibo’s dependence on the introduced economy (Chapter 21).

From the very first introduction of the colonizers we understand that violence and fear were tools of oppression and dominance , forcing the Ibo to submit and keeping them unresisting (Chapter 15, 20, 23). Not only do the British impose foreign rule on the Ibo and judge them by standards they do not recognize, the District Commissioner’s personal brand of ‘justice’ is corrupt and hypocritical. When the elders are arbitrarily and falsely imprisoned, he tells them that what they have done “must not happen in the dominion of our queen” (p.141), combining personal corruption with a state apparatus of paternalism, hegemony, and occupation (Chapter 20, 23).

Dogmatic zealot, Reverend Smith, encourages fanaticism in his converts, motivating them to insult and humiliate the clan (Chapter 22). Under Reverend Smith’s wrathful guidance, the colonial agenda becomes transparently aggressive . The grief and pathos of the Ibo’s situation and collective trauma is displayed evocatively in the final episodes as Achebe depicts this painful moment of acute crisis (Chapter 22, 23, 24, 25).

A recurring thematic question in Things Fall Apart is to what degree the collapse of the Ibo and the downfall of Okonkwo are due to their own internal weaknesses or the whims of a pernicious fate . 

The Ibo understand fate to be in a dynamic and somewhat ambiguous relationship with personal agency . This is evident in their proverb “when a man says yes his chi says yes also” (p.20) which acknowledges and privileges the role of an individual’s choices in shaping their destiny (Chapter 4). The saying “as a man danced so the drums were beaten for him” (p.135) also relates this idea – fate is a response to one’s behaviour. Okonkwo is warned that killing Ikemefuna, his surrogate son, is the “kind of action for which the goddess wipes out whole families” (p.49).This demonstrates the clan’s belief that the goddess’s (or fate’s) punishments are not arbitrary but the result of individual action (Chapter 8).

Although there is an element of chance in Okonkwo’s gun accidentally exploding and killing someone, his exile carries the suggestion of just comeuppance in its echo of the guns failure to shoot when purposely aimed at Ekwefi (Chapter 5, 13). Likewise, although the arrival of the Christians was unexpected and chanced, Nwoye’s rejection of his father is traceable directly to Okonkwo’s choice to kill Ikemefuna (Chapter 7). The desertion of people injured by Ibo traditions is a blow to the clan that feels equally earned (Chapters 16, 17, 18).  

After his exile, Okonkwo believes his chi has turned against him (Chapter 14). He renunciates the wisdom of his elders by denying the active role he had in directing the course of events. His refusal to reflect on the connection between his actions and punishment reflect his fatal flaws: hubris and willful lack of self-knowledge. By refusing to self-analyze and self-correct, Okonkwo loses the opportunity of redemption. Comparably, the Ibo, despite believing in a relationship between action and fate, do not reflect on the cause of their kinsmen’s desertion to Christianity. Achebe provides numerous examples of the clan’s dogma and brutal traditions denying people such as Ikemefuna or twins control over their lives (Chapter 2, 7). It was the shortcomings of the Ibo social and religious order that made members susceptible to the attraction of a competing value system with a more articulated concept of individuality. The Ibo’s cultural lack of self-apprehension meant they could not adjust their traditions to save themselves .

However, just as Achebe shows how individuals in the clan are at the mercy of rigid overarching authority, he shows how the fateful forces of history constrain human agency . The British’s hostile intention to erase and supplant the Ibo way of life is a punishment greater than the Ibo deserve and a force stronger than they can rise to. In his description of the grief and trauma of colonial imposition, Achebe demonstrates his compassion and sorrow for the Ibo as they faced the sweeping and unforgiving forces of change in their moment of historical crisis . 

1. "Things Fall Apart demonstrates how the values and customs of a society help us to deal with the familiar but not with change." Discuss.

2. "Traditional ideas of honour dominate Okonkwo's life and finally they destroy him." Discuss.

3. "Nwoye knew that it was right to be masculine and to be violent, but somehow he still preferred the stories his mother used to tell." How does Achebe explore masculinity in Things Fall Apart ?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our Things Fall Apart Study Guide to practice writing essays using the analysis you've learnt in this blog!

A+ Essay Topic Breakdown

Let's look at an essay prompt in this video below:

In Things Fall Apart , women suffer the most and are victimised by men. Discuss.

Whenever you are breaking a prompt down. Ask yourself...

• What are the key words/ ideas that you need to address?
• Which theme is the prompt referring to?
• Do you agree with prompt? Or do you disagree with it?

The keywords of this prompt would be women, suffer,, victimised and men. The prompt requires us to address the role of women in the text and the ways in which they suffer in a society that is pervaded by patriarchal values. It also asks us, ‘Who is to blame?’ Are men solely responsible for the maltreatment or are there other causes to their suffering? The word ‘most’ in this prompt is actually there to give us a bit of room for discussion. Yes, women do suffer, but do they suffer the most? Or do men suffer as well?

Now that we’ve thought about the prompt, we can move on to the second step of the THINK part of the THINK and EXECUTE technique. To find out more about this unique strategy, I’d recommend downloading a free sample of our How to Write a Killer Text Response eBook!

Now, before we write our ideas in beautiful topic sentences, it’s often easier to simplify everything first. One way to do this is to work out whether the paragraph agrees or disagrees with the prompt at hand. We could follow this structure…

‍ Yes, the prompt is true because X Yes, another reason it is true is X While it is true, it is limited by X

By elucidating the ways in which women are seen as inferior to their male counterparts, the writer establishes his critique on a society that victimises and oppresses women. From the outset of the book, Okonkwo is characterised as a violent man who ‘rules his household with a heavy hand’, placing his wives in perpetual fear. The frequent beating and violence fortifies the portrayal of him as a man who is governed by his hatred of ‘gentility and idleness’, further showing the terror that his wives are forced to be living in.

"Do what you are told woman. When did you become one of the ndichie (meaning elders) of Umuofia?"

He also sees his wife’s mere act of questioning as disrespect, as evidenced through the ways in which he implies that she is overstepping her role.

“There were many women, but they looked on from the fringe like outsiders"

This simile also shows how women are often marginalised and treated as outcasts, underlining the overarching yearning for social justice throughout the text. This pitiful image of women looking ‘on from the fringe’ also helps Achebe relay his criticism of gender double standards and the unfairness that Igbo women are forced to live with. Achebe’s sympathy for women’s suffering and condemnation of men’s mistreatment towards are also evident through his depiction of a society that normalises misogyny.

‘His mother and sisters worked hard enough, but they grew women’s crops… Yam, the king of crops, was a man’s crops’

The personification of the crops, in particular, the men’s crops, the ‘yam’, being the ‘king of crops’ establishes this gender hierarchy in yet another way. More specifically, the position of men in the social hierarchy is highlighted and the negative connotation attached to the ‘women’s crops’ undermine their hard work, rendering it in significant. While women are the main victims of Igbo gendered prejudice, Achebe does not disregard the undue burden that societal expectations impose on men.

‘He was afraid of being thought weak.’

Achebe explores the burdens of unrealistic expectations that are placed on both men and women. This quote exemplifies societal expectations on men to be strong, powerful and fearless leaders who never show emotions. Achebe’s sympathies regarding these expectations show us that this is an important critique in Things Fall Apart that we can analyse.

If you find this helpful, then you might want to check out our Things Fall Apart: A Killer Text Guide where we cover 5 A+ sample essays (written by a 50 study scorer!) with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

With contributions from Lindsey Dang.

The Lieutenant is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Grenville’s novel follows the life of protagonist, Lieutenant Daniel Rooke in his journey with the first fleet. Rooke’s primary conflict is his choice between his moral conscience and duty as a soldier. Because he is aware from an early age that he is out of step with the world, he tends to be more reasonable in his way of dealing with conflict. His final response to his inner conflict is to stand strongly by what he believes.

The Lieutenant at its core is a journey of self-discovery as Daniel Rooke navigates the immoral waters of British imperialism and its impact on the indigenous Australians. Becoming closer to Tagaran, Rooke attempts to bridge cultural barriers through the transformative power of language. Rooke observes the scissions created by violence and the perhaps misplaced Western superiority and is perpetually torn between his moral intuitions and his obligations and duty as a Lieutenant.

TIP: Have an understanding of the historical context behind The Lieutenant as well as the real life people that Grenville loosely based her novel off of. This means having a grasp on the first fleet, the British colonisation of Australia and important figures such as Bennelong.

Tip: i have included some examples from the text but this list is by no means exhaustive, occasionally there is a repetition of examples. it’s important to remember that examples are versatile and can be applied to many different themes and ideas. feel free to add and explore how other examples might enhance these themes..

Language dictates commonality and communication, yet to Rooke he discovers that central to the power of language is the willingness to cooperate, patience and respect. Throughout Grenville’s novel, however, it is clear that language can not only dispel the lasting vestiges of misunderstanding but it can also form the basis for racism and violence. It is through our language itself that reveals our biases.

The language of racism

• Weymark refers to the Indigenous men during their first encounter as “mister darkie” etc. each a patronising euphemism concealing his arrogant notions of superiority

The limitation of language to accurately portray and convey a moment

• “what had passed between Tagaran and himself had gone far beyond vocabulary or grammatical forms” (pg186)

The language of violence

• “what it said was I can kill you. He did not want her to learn that language. Certainly not from him” (pg224)
• “Violence had an enlivening effect. As long as someone else was the victim it made the blood pump, gave the world an edge of glamour” (pg239)
• “ Gamekeeper. He wondered whether that word had killed Brugden” (pg240)
• “The gun is the only language the buggers will understand” (pg241)
• “war was a species of conversation” (pg108)

Assumed cultural superiority of British empire

The hierarchical nature of British Society stands in diametric opposition to the community-oriented system employed by the Indigenous Australians. This hierarchy defines their people by their contributions to “Her Majesty” and shames and “punish[es]” all those who fail to comply with the loose morals and violence condoned by the British colonists. This notion is elucidated through the exploitation of the natives and the nations reliance on oppression and servitude to maintain its imperial status, put simply: their strength is an accident arising from the weakness of others. It is on this foundation that Grenville explores the violent treatment of the natives by the British and even their treatment of their own people.

• “In the world of Church Street, Benjamin Rooke was a man of education and standing and a father to be proud of. At the Portsmouth Naval Academy a mile away, he was an embarrassment” (pg6)
• “So we punish…. Every man is the same. If he steals, he is punished… It was interesting to hear that magnificent idea – the product of hundreds of years of British civilisation – spelled out so plain”(pg195)
• This was justice: impartial, blind, noble. The horror of the punishment was the proof of its impartiality. If it did not hurt, it was not justice.” (pg197)
• “By god they are savage… Dirty too, look at the filth on them”
• “they may be savages, we call them savages. But their feelings are no different from ours”
• Weymark resorts to derogatory name calling, urging on “my black friend” and “Mister Darkie” in his base supplications

Power of conscience

The morality that is ingrained in Rooke from the onset aligns quite naturally with our own moral standards. Yet Grenville encourages readers to explore the difficult choice between morals and disobedience. Rooke faces such a choice. To obey an order to accompany an expedition to capture or kill six indigenous men, this forms the central conflict of Grenville’s novel. As elucidated through both Rooke and Gardiner, moral acts that defy the expectations and “orders of Her Majesty” are deeply frowned upon.

• “But Rooke, think: this is not a request, it is an order” (pg246)
• “…spell out the consequences of refusal.” (pg248)
• “… the service of humanity and the service of His Majesty were not congruent” (pg249)
• “I am sorry to have been persuaded to comply with the order. I would not for any reason ever obey a similar order” (pg285)
• “your orders were a most gravely wrong thing, I regret beyond my words my part in the business” (pg285)

Violence is central to the operation of imperialists as the British tightens its grip on the Indigenous Australians. Grenville emphasises that the power sought out by the British empire will always come at the expense of the natives. Violence and force are used to assert power, confirm boundaries around usurped land, promulgate fear and discourage resistance. The gun becomes a symbol of the violence and force of the settle and they show little intention of relinquishing the dominant position that the gun affords them.

• The punishment for the mutineers of the Renegade reinforces Rooke’s understanding of institutional power and violence as one lieutenant is hanged in a gruesome spectacle and the others dispatched into a nameless void.
• Weymark is determined to affirm his dominance and establish the white man as a powerful force
• Brugden’s increased freedom with a weapon results in violence towards the natives which culminates in the kidnapping of the two native men who are “grabbed” against their will
• Brugden’s unchecked brutality, and Gilbert’s excessive use of force, highlights the colonialists’ use of violence as a means of achieving their goal

Duty, service, obedience and the military life

Conforming to the pressures of the British Empire, Rooke joins the marines and complicitly serves without attempting to question the morality behind his actions. Importantly, he joins the marines not out of patriotic pride, but because he believes it will aid him to pursue his academic curiosities and steer away from violence. Yet it only brings him closer to the reality that lurks behind the ostensibly moral quest of British imperialism.

TIP: Whilst The Lieutenant focusses on Rooke’s experiences, you can’t neglect the minor characters in the novel, they are there for a reason! Think about how these characters are similar or different, how their stories contribute to Grenville’s overall message and their relationship with the central protagonist Rooke. ‍

Daniel rooke.

• Lieutenant on the first fleet
• Struggles to articulate his thoughts and emotions as he is afraid of being “out of step with the world”
• From a young age, Rooke’s interactions with others has made it clear to him that he is different. As such this dictates his response to conflict: blaming himself or withdrawing. His connection to Tagaran through mutual empathy demonstrates his ability to overcome conflict through mutual respect
• Rooke is bound by duty to Her Majesty yet finds his missions in conflict with his innate instinct for moral righteousness

Supporting quotes

• “quiet, moody, a man of few words”
• “he had no memories other than of being an outsider”
• Captain on the first fleet
• Stands in contrast to Rooke in every respect
• Storyteller that is obsessed with his narrative
• Ignores the cruelty and violence of the Imperialist expedition in favour of an interesting story
• Blinding opportunism that undermines his integrity
• His tendency to gloss over the violence committed in the name of Her Majesty reflects his loyalty to the expedition
• “man whose narrative was so important to him”
• “a storyteller who could turn the most commonplace event into something entertaining”
• Connects with Rooke through their mutual love for learning and language
• Tagaran voluntarily engages with Rooke in his quest to understand their language, this surpasses the clumsy and mandatory lessons imposed on Boinbar and Warungin.

Supporting quotes ‍

• “Forthright, ferless, sure of herself, she looked to him like a girl who had already mastered whatever social skills her world might demand”
• “a clever child like Tagaran was the perfect choice: quick to learn, but innocent. Curious, full of questions but only a child”
• Gardiner acts as a foil character to both Silk and Rooke, sharing the same trials and tribulations as Rooke however responding differently than Silk
• Rooke’s friendship with Gardiner establishes the grounds for their later discussions on language, the treatment of the natives and the imperialist machine as Gardiner sets an example of the consequences of going against the duties required of him
• Brugden is portrayed as an essential element of colonising and the survival of the British fleet. As an embodiment of violence, Grenville suggests that integral to the operation of imperialism is crude and unwavering violence
• “Brugden, out there in the woods, that powerful chest… He would be an efficient killer”
• “Something had happened out there in the woods about which Brudgen was remaining silent”
• “The prisoner, taller than anyone else, his powerful frame half bursting out of its thread bare check shirt…”  

Lancelot Percival James

• Family of slave owners, product of the empire
• Rooke’s inability to understand James is symbolic of his values not aligning with that of the British empire. It foreshadows his later conflict with the value of the empire
• James symbolises the derision of the British hierarchy
• “Gamekeeper! The word suggested the society that Lancelot Percival James had boasted of at the Academy… But New South Wales was no gentleman’s estate… and the gamekeeper was a criminal who had been given a gun” (pg91)

Interesting Points of Analysis

Silk’s Narrative

• Why is Silk obsessed with documenting the first fleet? What does he seek when he writes?

Rooke’s job as an astronomer

• Initially signing up for the first fleet as an astronomer, Rooke’s job is supposed to be observing comets and stars yet when he arrives he is tasked with a multitude of laborious tasks that hinder his astronomical work. In what ways does this act as a microcosm for the imperialist mission in Australia?

VOCAB: microcosm - a situation or event that encapsulates in miniature the characteristics of something much larger.

Rooke’s life in Antigua

• Why did Grenville include this section? What does it add to Rooke’s journey? Why does Rooke choose to do this?

Third Person Omniscient Narration

• Written from Rooke’s perspective, whose opinion do we hear the least of? And what unique perspective does Grenville’s choice of narrative perspective offer us?
• Grenville’s language reflects Rooke’s love for language. Her choice of imagery reveals Rooke’s way of seeing the world. For example, “crescent of yellow sand like a punctuation mark” accentuates Rooke’s tendency to observe his world as a linguist might and  highlights Rooke’s deep connection with language. Likewise, Rooke’s perception of a gun that speaks a language that “does not require listeners” emphasises his natural tendency to think as a linguist. Grenville does not write in an overly complex, dense or poetic way in order to mirror Rooke’s tendency to view things logically

How does the setting that Rooke finds himself in mirror or parallel the emotions that he experiences?

• Naval Academy (Portsmouth)
• “just another world that wrenched him out of shape”
• “sucked out of his spirit and left a shell being”
• “closed in on itself”, “narrow”, “squeezed tightly”
• Sydney Cove
• “There is nowhere in the world that I would rather be”(pg97)
• "On the northern shore, high dark prows of headlands hung over the water, the sombre woods pressing down into their own reflections. To the south the land was lower, each bay and promontory shining with the glossy leaves of mangroves. Now and then between them a crescent of yellow sand was like a punctuation mark” (pg89)

TIP: Just like the minor characters I mentioned before, meaning and themes come from all aspects of a novel not just plot points and major characters. By including niche examples such as the setting or the narrative perspective, you can demonstrate that you have a really thorough understanding of the text!

Video Transcription

This video’s takeaway message focuses on tackling essay prompts that include quotations. The extra quote with the prompt can seem superfluous, but often, they can provide hints about how to tackle or challenge the essay topic. It is there for a reason, and if you are familiar with the quote, I would recommend that you try to incorporate it into your essay!

Before we unpack today’s essay topic, let’s have a look at background information.

Kate Grenville’s The Lieutenant explores the commonality of the human spirit amidst tumultuous conflict during the First Fleet’s arrival in Australia in 1788. Drawing upon the true experiences of William Dawes, a British astronomer and one of the lieutenants to travel with the First Fleet, Grenville crafts a work of fiction inspired by Dawes’ “two little blue notebooks” detailing his growing understanding of the Aboriginal language Gadigal and his conversations and connection with Patyegarang, a young Aboriginal girl.

The ability for two individuals from completely different worlds to transcend their differences in order to share cherished moments and understandings together is exemplified in The Lieutenant , alongside the rife external and internal conflicts which threaten such relationship.

Today’s prompt is:

“But a man could not travel along two different paths.”

How does Grenville explore Rooke’s conflict of conscience in The Lieutenant?

Start off with focusing on the keywords in this prompt, especially the phrases that resonate with you for Steps 1 and 2 of brainstorming (which I have previously covered in other essay topic breakdowns.)

In particular, let’s have a look at the phrase “conflict of conscience” as this captures the essence of the prompt and what you will need to discuss in your essay.  

Conflict of conscience suggests internal conflict, which implies that we will need to consider morality and the concepts of right and wrong, especially when a difficult decision must be made and ‘sides’ need to be taken.  

Conflict itself is a central theme of The Lieutenant , however, it is important to recognise that this topic considers conflict through the narrower lens of ‘conflict of conscience’. This means that in your discussion, the relevance to the prompt is crucial to keep in mind to ensure you are actually answering the question!  

But first, let’s analyse the quote:

“But a man could not travel along two different paths”

This quote alludes to Rooke’s realisation regarding the reality of his identity, not only as Tagaran’s friend or “kamara” but also as a soldier or “Berewalgal". The resignation and recognition of the impossible – that is, for Rooke to continue attempting to appease both ‘sides’ without making critical decisions about who and what he ultimately valued more - is evident in this quote. Hence, this quote refers to the conflict of conscience he experiences and provides us with an insight into not only his character but also conflict itself.

Why is it not possible for a man to travel along two different paths?

What would happen if he tried?  

Why was this realisation important for Rooke, especially for his character and development?

These are the kinds of questions coming to mind upon seeing that quote alone, which all provide hints as to how I might tackle this prompt.  

Now that we have looked at a few ideas related to the question, we’ll now move into potential paragraphs for this essay.

Paragraph 1: Grenville’s utilisation of Rooke’s perspective in detailing his thought processes, observations and realisations reveals the facets of Rooke’s character contributing to his internal conflicts.

Remembering this is a ‘how’ prompt, we want to be analysing ways in which Grenville explores Rooke’s conflict of conscience. In this paragraph, I have chosen to focus on the raw and intimate expression of his inner thoughts and consciousness as the ‘how’ aspect.  

The detailed perspective reveals Rooke’s naivety in assuming the possibility of maintaining a peaceful connection with Tagaran and the Aboriginal community amidst turbulent and violent times. Consequently, it highlights his realisations regarding the morality of the conflicts he is involved in, and how despite one’s admirable intentions, “a man could not travel along two different paths” without facing dire consequences for their actions.  

Questions I might ask myself here include: why does Rooke initially try to deny the reality of his situation? What does his preference for a peaceful and accepting approach towards the Indigenous Australians suggest about his approach to conflict?

This cognitive dissonance ultimately contributes to his internal conflict between the value he places in his connections with Tagaran and her community and in his duties and obligations as a lieutenant. As readers, we come to realise the duality of this conflict in Rooke’s mind through the limited omniscient third person perspective, which provides us with an insight into Rooke’s shifting understandings of Indigenous people, conflict and even himself.  

I would then continue unpacking these changing understandings, especially ones relevant to his character which reveal his internal conflicts further. ‍

Paragraph 2: In addition, the stark contrast between Rooke’s approach to his conflict of conscience and other soldiers’ approaches underscores the rationale behind his actions and the stakes ineluctably linked with his choices and morality.  

This paragraph’s analysis revolves around Grenville’s inclusion of a host of different characters and outlooks - from Indigenous Australians to intransigent Colonial perspectives. I would emphasise the importance of juxtaposition between these different perspectives as it elucidates the values and beliefs underpinning each individual’s choices, especially during conflict.  

Although the core of the essay discusses internal conflicts, highlighting the connection between internal and external conflict would add another layer of complexity to your essay. Rooke’s conflict of conscience results in his permanent departure from Australia, and fleshing out the ramifications of dissent and opposition towards other Colonials is key in demonstrating your understanding of the complex and intertwined nature of conflict.

Paragraph 3: Through the detrimental implications of Rooke’s initial conflict avoidance, Grenville’s focus on his subsequent self-awareness to unite his morals and his actions highlights the strength of his character to resolve his internal conflicts to prevent further perpetration of injustice towards the Aboriginal population.  

Here, I am having a closer look at how Rooke's encounters with his conflicts of conscience and the repercussions of his actions in attempting to take a ‘middle-ground’ stance catalyse his development as an individual - in particular, how it solidifies his moral stance and his decision to act in a manner that reflects his beliefs.  

By showing Tagaran how to load the gun but not how to fire it, or by accepting the navigator role but distancing oneself from the group, he endeavours to avoid conflict with either ‘side’. However, passivity is a stance within itself, and in the case of the treatment towards Indigenous Australians, Rooke’s silence in not rejecting the actions of other “Berewalgal” inevitably enables injustice to continue.  

It is only through his understanding that non-committal actions also incriminate him as a perpetrator that his choice to sacrifice his Colonial obligations for taking an active stance to fulfil his moral obligations comes to light. This reveals the role that internal conflicts may have in inciting powerful change and realisations in an individual.  

The complexity of internal conflict can be difficult to discuss, but by using the quote provided in the prompt and asking yourself questions about the implications of the quote, we are able to delve into and construct a sophisticated understanding of The Lieutenant and of conflict itself.

LSG-curated sample essay topics for The Lieutenant

Now it's your turn! Here's a list of essay topics for your studies:

• The Lieutenant demonstrates how an individual's true self emerges in the face of conflict.' Discuss. ‍
• ' The Lieutenant shows the catalysts for miscommunication and misunderstanding between the First Fleet and the local Aboriginal population.' Discuss. ‍
• ' The Lieutenant presents a society where sustained, amicable relations between the "Berewalgal" and the Aboriginal population were impossible.' Do you agree? ‍
• “But a man could not travel along two different paths.” How is Rooke's conflict of conscience explored in The Lieutenant ? ‍
• 'Rooke's own differences furthered his understanding of and connection with Tagaran.' Discuss. ‍
• "You did not learn a language without entering into a relationship with the people who spoke it with you." How is this concept explored in The Lieutenant ? ‍
• "The intention of evil was there which is all that God see when he looks into our hearts." 'Grenville explores the importance of intention over action in The Lieutenant .' Discuss. ‍
• Why are Rooke's realisations about and outlook on the world an anomaly? ‍
• ' The Lieutenant explores how social change can only happen with dissent and non-conformity.' To what extent do you agree? ‍
• How does Grenville construct morality in The Lieutenant ? ‍
• 'Rooke discovers that exploration of the self is crucial in shaping one's sense of identity.' Discuss. ‍
• 'It is easier to resist change than to enable it.' How does The Lieutenant demonstrate this idea? ‍
• 'In The Lieutenant , it is the individual who determines what is possible and what is impossible.' Discuss. ‍
• "If he were to go back to that night on the sand of Botany Bay, would he make the same choice again, knowing that this was where it would lead him...?" How does Grenville explore how and why difficult choices are made? ‍
• 'Intransigence and a sense of superiority ultimately prevent unity in New South Wales.' Do you agree?

8. Resources

All the Light We Cannot See is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Breaking Down an All the Light We Cannot See Essay Prompt

We've explored themes and symbols and provided a summary of the text over on our All the Light We Cannot See by Anthony Doerr blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

Here, we’ll be breaking down an All the Light We Cannot See essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Without further ado, let’s get into it!

‍ ‘In All the Light We Cannot See there is a fine line between civilised and uncivilised behaviour.’ Discuss.

Taking a look at this prompt, the first thing to note is that it is theme-based. Specifically asking about the line that separates civilised and uncivilised behaviour within the novel, this prompt focuses directly on the theme of human behaviours and how you ultimately interpret the fine line (i.e. seamless, difficult, changing, manipulative) between such ideas. Fundamentally, you have to discuss how this theoretical line drawn between the contrasting behaviours is explored within the novel in various ways throughout Doerr’s examination of humanity. 

The question tag of Discuss is the most flexible type of prompt/topic you will receive, providing you with a broad and open-ended route to pretty much discuss any ideas that you believe fit within the prompt’s theme of uncivilised and civilised behaviour. Although this may seem hard to know where to start, this is where Step 2: Brainstorm , comes into play. You can read through LSG’s Question Tags You Need To Know section (in How To Write A Killer Text Response ) to further familiarise yourself with various ways to tackle different prompt tags.

If you’re not sure what it is meant by ‘theme-based prompt,’ take a look at The 5 Types of Essay Prompts. 

A fundamental aspect of writing a solid Text Response essay is being able to use a diverse range of synonyms for the keywords outlined in the prompt. Our keywords are in bold. When you are brainstorming, if any words pop into your head, definitely list them so you can use them later. You may want to have a highlighter handy when unpacking prompts so you can do just this!!

‍ ‘In All the Light We Cannot See there is a fine line between civilised and uncivilised behaviour .’ Discuss.

• How people have grown up determines the civil and uncivilised behaviours shown by individuals of different backgrounds and childhoods - Bastian is symbolised as the eagle that circles the youth camp, which is an uncivilised /unwanted form of hawk-like behaviour . This compares to Fredrick's love of birds as a young boy which makes him a softer character. - Bernd had ‘no friends’ as a child - showing his isolated past - which could be described as the reason he leaves his father and goes off to join the Hilter Youth ‘just like the other boys.’ (find this analysis in the chapter ‘The Death of Walter Bernd’)
• There is a fine line that Doerr draws between the stereotypes of women and their ability to remain civilised despite being suppressed by uncivil livelihoods and experiences. - Jutta is characterised as a strong and independent woman instead of the traditional ‘pretty girl in a propaganda poster’. Society expects most women to stand on that side of human behaviour and representation however she defies this.
• The strength of women to cross/overcome the line of uncivilised behaviour is significant within the sexual abuse and misconduct driven by soldiers. Can remain true to oneself despite the horrific behaviours a woman faces. - The role of women on the homefront (i.e. Fredrick’s Mother) highlights the stark contrast between men fighting and thinking about the ‘men they killed’ and mothers who put on a ‘fake smile to appear brave’ (the line between barbaric behaviours of many soldiers and caring/loving behaviours of those on the homefront) - women and their sacrifices is an important topic here
• It is one’s ability to adapt to change that draws the line between civil and uncivilised behaviours . - Marie Laure’s ability to look past being a ‘blind girl’, and move on from this hardship. She adapts to the ‘changing times’ around her despite others who are suppressed in such an environment (e.g. Etienne and his ‘dread’).
• The game of flying couch is a symbol of escaping the uncivilised world around them (metaphorical line of the human imagination). - Werner is predominantly overwhelmed by the world around him, which reflects his inability to no longer ask questions as he did as a young boy. Instead, he succumbs to the uncivilised world of death and destruction as he is unable to change. 
• Symbolic use of Werner’s ‘soft covered notebook’ in epilogue - symbolises his loss of perspective and wonder of the world,
• Ultimately it is this line that makes the human existence so unique

After having brainstormed all the ideas that came to mind, I’ll be approaching the essay prompt with the following contention. 

In a world where society is grounded by behaviours both civil and uncivil, there is a clear distinction between humanity's response and representation of these behaviours.

Coming up with a clear contention allows you to put together a cohesive and strong essay that answers all aspects of the prompt question. 

Now, onto developing our topic sentences for each paragraph!

P1: Embedded within Doerr’s nonlinear narrative*, the environment in which individuals have grown up consequently influences their behaviours later in life.

*A nonlinear narrative is a storytelling technique Doerr uses to portray events out of chronological order. 

P2: Encompassing the social paradigms that pervade a woman’s existence, the strength and civilisation of females allow them to traverse a line of unjust behaviours that suppress them.

P3: In essence, it is the human response to change that divides individuals from ultimately displaying civil or uncivil acts in the world.

The art of recognising the ephemera of the human existence is painted by Anthony Doerr’s All the Light We Cannot See as a fine line between behaviours of civilisation and extreme brutality (1) . In the inordinate scheme of history, Doerr fosters the dichotomy between those who remain socially aware and others who are marred by desolation as a reflection on one's past. Further subverting the traditional depiction of women in a ‘war story’, the strength of women is established as a key turning point for individuals to escape barbaric behaviours and cross the line to civilisation. Fundamentally, however, it is the overall response to change that crafts human behaviours that Doerr underpins within society (2) .

Annotations ‍ ‍ (1) it is important to include synonym variation in your opening sentence to ensure that it does not look like you have just copied the prompt and placed it on your page. This idea should be carried out throughout your essay - vary your words and try not to repeat anything, this will ensure you are clear and concise!

(2) In order to improve the flow of your writing, the final topic sentence of your introduction can be a concluding statement on why/how the topic is OVERALL expressed within the novel. When you formulate your contention, it is not enough just to state it, you must also provide reasoning as to why you are writing from this point of view or how you came to this conclusion. For example, my final topic sentence here is a concluding sentence about how I believe a fine line between uncivilised and civil behaviour has an influence throughout the entire novel and Doerr’s intention, one’s response to change. As you read on, you’ll also see that this sentence relates to my final paragraph, thus linking together ideas throughout my essay.

Embedded within Doerr’s nonlinear narrative, the environment in which individuals have grown up consequently influences their behaviours later in life. The initial illustration of the ‘smokestacks hume’ and the ‘black and dangerous’ imagery (3) of the war paints a clear picture of the destruction and trauma that individuals have lived amongst, thus why people were ‘desperate to leave’. Empathising with an ‘old woman who cuddles her toddler’ on the streets, Doerr laments how young individuals who end up ‘surg[ing] towards one cause,’ which this toddler may similarly grow up to do in the Hitler Youth, directly reflects the ‘intense malice’ of their childhood. This idea that one’s past affects the future behaviours of a generation is further captured within the chapter ‘The Death of Walter Bernd’ (4) , which outlines how Bernd’s upbringing with ‘no friends’ promotes him to ‘just leave’, in order to experience something new, despite knowing this something new would bring unjust decisions into his life. Becoming ‘just like the other boys’, Doerr suggests that the line between civil and uncivil behaviours is so thin (5) that a mere need to escape one’s past is enough to create feelings of negativity and at worst death. Encapsulating the darkness that prevails over such individuals, the symbolism of Bastian’s ‘sharp eyes’ (6) poetically describes the eagle that circles the youth camp where Doerr seeks to paint a metaphorical cruel depiction of Bastian as a harmful hawk. Underpinning the fine line between human behaviour, Fredrick’s ‘love of birds’ is ‘so beautiful[ly]’ representative of his respectful nature and approach to life while Bastian’s immersion in ‘the self interest of the world’ ultimately explains how his fallacious behaviour towards others is embodied by his environment within the war. Overall, the behaviours displayed by humanity are a reflection of past experiences and how they shape the individual.

Annotations (3) Imagery is a key aspect of All the Light We Cannot See and goes hand in hand with the vast symbolism Doerr uses within his novel. When including imagery, it is great to include a few related quotes; however, you must then ensure you analyse and delve into how this technique (imagery) demonstrates the idea you are writing about. In this case, the imagery of the chimneys and foggy/dirty air illustrates the desolate environment individuals lived in during the war.

(4) This chapter is something not many students analyse or touch on so if you’re looking to add some spice to your writing I would definitely take a look and see what you can extract from some of those more unique and nuanced chapters!

(5) Referencing the ‘fine line’ continually throughout your essay ensures that you are staying on track and not talking about topics away from the prompt. 

(6) Symbolism is very important in All the Light We Cannot See . The use of the quote ‘sharp eyes’, really shows that you have considered not only how Doerr simply explores the behaviour of each character but also the physical interpretations of how individuals may demonstrate a certain persona within the novel. This focus on character description on top of dialogue adds extra layers to your writing. 

Encompassing the social paradigms that pervade a woman’s existence, the strength and civilisation of females allow them to traverse a line of unjust behaviours that suppress them. Instead of characterising Jutta as a ‘pretty girl in a propaganda poster’, whom the soldier will ‘fight and die for’, Doerr proffers the unconventional humanisation of women on the home front to pay tribute to the power of staying true to oneself (7) . Despite facing the barbaric reality of ‘sex crazed torturers’, Doerr illuminates Jutta’s capacity to ‘look them in the eye’ rather than shy away from them as a meditation on her own morals of (8) ‘what is right’. The tragic nature (9) of such abuse is specifically chronicled by Doerr to concatenate (10) the continual brave behaviours Jutta portrays even when succumbing to the line that attempts to draw women away from strength and independence. Further referencing her desire to ‘lock away memories’ of the past in her life after the war, the novel posits the importance of women during a period of inordinate history as a powerful force that remained civil even in times of ‘absolute blackness’. From the perspective of Fredrick’s mother, Doerr seeks to display how her ‘fake smile to appear brave’ outlines how many mothers and women had to remain strong for their children, such as Fredrick with brain damage, even though they were so close to falling into a world of sorrow and isolation. A clear segregation between soldiers who thought about ‘the men they killed’ and women who were made to ‘feel complicit in an unspeakable crime’ (11) they did not commit overall affirms the sacrifices women made during the war and without such sacrifices and strength the thin line between behavioural acts would be broken.

Annotations (7) Here I have included an analysis of Doerr’s message - what he is trying to say or show within his novel. Ultimately an author has a message they seek to share with the world. Providing your own interpretation of certain messages the author may be attempting to send to his readers adds real depth to your writing, showing that you are not only considering the novel itself but the purpose of the author and how this novel came to explore the fundamental ideas of the essay prompt.

(8) This quote directly relates to the keyword: civilised behaviour. Finding quotes that are also specific to your prompt is crucial to producing an essay that flows and has meaning. 

(9) The use of adjectives within the essay paints the picture of whether an act is civil or uncivil which is ultimately what we are attempting to discuss from the prompt. Here the phrase ‘tragic nature’, underpins the essence of unjust behaviours shown by the soldiers.

(10) Concatenate - link/connect ideas together

(11) Comparing aspects within the novel is a great way to show your understanding and how the same theme or idea can be shown in many different ways. 

In essence, it is the human response to change that divides individuals from ultimately displaying civil or uncivil acts in the world. Established by Marie Laure’s characterisation as a ‘blind girl’ who can ‘project anything onto the black screen of her imagination’, Doerr illuminates her ability to adapt to the ‘changing times’ around her. She is seen to be ‘carried away by reveries’ rather than a plethora of voices who ‘forgo all comforts’ and ‘eat and breathe nation’. Through the chapter and make-believe game ‘flying couch’ (12) , Marie’s nature to ‘surrender firearms’ with Etienne in their imagination is a symbolic adoption to escape the world around them, hence the uncivilised society they are learning to live in. Doerr’s congruent imagery of Etienne’s changing voice of ‘dread’ to ‘velvety’ as he becomes intertwined within ‘Marie’s bravery’ underpins the ability for individuals to seamlessly cross the line from a lack of cultured behaviour to a world of hope and prosperity. Contrasting this, however, Werner, an individual who was initially curious about ‘how the world works’, is so ‘overwhelmed by how quickly things are changing around [him]’ that his ‘interest in peace’ is stripped away and no longer exists due to his inability to change with a changing world. Doerr, therefore, laments the transmogrification of his character as a reflection of his uncivil thoughts and ideals as a soldier, ultimately resulting in his loss of ability to ask questions. This idea places emphasis on Volkheimer receiving Werner’s ‘soft covered notebook’ in the epilogue (13) where the translation of the book’s title ‘Fragen’ - to ‘ask’ in English - is symbolic of the moment Werner decided to ‘work, join, confess, die’ he immediately lost the open mind and curiosity he once had. Ultimately, the dichotomy between these two lives and their opposing character transformations resembles the line between remaining calm or acting out of haste when subject to change.

Annotations (12) Analysing not only the game but the whole meaning behind chapters and why Doerr has given them certain names is an interesting avenue to take. Here ‘flying couch’ not only underpins the imagination of Marie Laure but also symbolises freedom and bravery within just the name itself.

(13) The analysis and evidence used from the epilogue is a crucial part of this paragraph and is significant to Doerr’s novel. Unpacking All the Light We Cannot See , there is a lot of evidence and juicy ideas you can draw from the beginning and end of the novel. Here I have almost analysed the meaning of Werner’s ‘soft covered notebook’ to the bone; however, this adds a lot of depth to your writing as I’m sure your ultimate goal is to make your essays as unique as possible?!

As a project of humanism, Doerr seeks to portray a fine segregation in people's behaviours as the microcosm (14) of what makes the human existence so unique. Following the journeys of individuals who even ‘see a century turn’’ the novel displays how one’s past has an immense influence on how their future values, actions and behaviours grow and develop. Further subverting the stereotypical representation of women living in a war, Doerr establishes an acknowledgment of their roles and strength in the face of cruel situations. Ostensibly, it is the human capacity to adapt to change that marks the difference between what is just and unjust in a society that weighs both on a very unstable scale. 

Annotations ‍ ‍ (14)   Microcosm - a community, place or situation regarded as encapsulating in miniature the characteristics of something much larger.

If you find this essay breakdown helpful, then you might want to check out our All the Light We Cannot See Prompts blog post. You can have a go at those essay prompts and feel free to refer back to this essay breakdown whenever you need. Good luck!

3. Symbolism

4. Important Quotes (Parts 1-4)

5. Sample Essay Topics

6. Essay Topic Breakdown

On the Waterfront is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

On the Waterfront is a part drama, part gangster film that’s authentic and powerful in its approach. Set on New York’s oppressive waterfront docks, longshoremen are forced to play a game where the odds are always stacked against them. The film approaches concepts such as trade unionism, corruption, and racketeering, and is a story that stitches together other stories. As discussed later , Kazan used Terry Malloy as a representation for his own real-life struggles against the powers above. The film is also a depiction of the hardships of life on the docks in 1940s America.

Inspired by real-life incidents, Kazan has created a world where workers live under the iron fist of corrupt trade union bosses. Let’s take a deeper dive into what this world looks like and the events that form the basis of the film.

Power Corruption

Johnny Friendly’s maintenance of power involves controlling several aspects on the waterfront – from the operations to the stevedores. Firstly, threats are repeatedly made against all the longshoremen in an effort to ensure that if anyone dares to act out against Friendly, they are sure to meet dire consequences. Their fear is reinforced through the various murders committed by the gang, most of which are the deaths another longshoremen, thus warning the workers that any one of them may be next. Although Friendly is clearly behind the homicides, the longshoremen and their families are unwilling to speak to the authorities, as they know full well that they would be risking their lives. This demonstrates their lack of protection and vulnerability in the hands of the union leader, which is exactly what he has aimed to establish.

Faith is a strong underlying theme set forth by Father Barry and the church. The priest’s constant remainder of what is right and wrong urges the men to step outside Friendy’s grasp and begin to think about themselves. When Father Barry conducts the congregation, the interruption caused by the mob falters the longshoremen’s hopes, since Friendly’s power can even reach as far as a church, where people are supposed to be ‘safe’. To do what is morally correct is a simple concept but one that is difficult for the longshoremen to embrace. It is only when they begin to have faith in their actions that things begin to change on the waterfront.

The film poses the question, what is true loyalty? Friendly pretends to be looking after the longshoremen by sending out loans and offering them better work positions, for example, Terry on the loft. However, in reality Friendly uses this action to manipulate the men to his advantage. It is a tactic to ensure that the longshoremen believe that they in return, have to support Friendly. An additional tactic of Friendly’s manipulation is shown though the infiltration of the longshoremen’s minds. The words ‘rat’ and ‘stool’ prevent the men from speaking out since they believe that they will betray one another. Terry believes that he will ‘rat’ on his friends when in fact, he is simply telling the truth. He ultimately learns that instead of abiding by Friendly, he needs to be loyal to himself, and this eventually saves himself and the other longshoremen from the clutches of the union leader. The name ‘Friendly’ is ironic since he is hardly a ‘friend’ but a ‘nemesis’ of all those who reside on the waterfront.

Ambivalence

Throughout Terry’s personal journey, it is clear that he is uncertain about his feelings and thoughts in regards to various aspects of his life, from his low-ranking position as a stevedore, Joey’s death and Friendly’s involvement, the longshoremen’s lack of rights, to Edie’s unique perspective. His initial ambivalence after Joey’s death is highlighted through the thick mist that covers the city and consequently obscures the people’s vision. At the end of the film when he is finally resolute on overthrowing Friendly, the omnipresent fog that sweeps over Hoboken suddenly disappears, reflecting that his mind has now ‘cleared up’ or that he has an ‘unclouded vision’. His behaviour shifts from an introverted person who appears uncomfortable in his own skin as he refuses to look people eye-to-eye and constantly chews gum, to someone who possesses a confident stance, standing tall and proud.

On the Waterfront  emphasises that it is never too late to redeem oneself. The religious imagery of Joey, Dugan and Charley ascending to heaven demonstrate that although they had spent much of their life turning a blind eye to the indiscretions of Friendly and his men, their actions at the very end of their lifespan allowed them to compensate for their sins. ‍

Bird symbolism is heavily embedded throughout  On the Waterfront . The longshoremen represent pigeons, as they are docile and delicate in the hands of Friendly, who is portrayed as the ‘hawk’ who swoops above at them, keeping his watchful eyes on each and every pigeon in case they misbehave. Kazan often films Terry positioned behind Joey’s Coop fence, therefore characterising Terry as a pigeon stuck in a cage, as if bound by Friendly into a small world that he cannot escape. When the longshoremen await work on the docks, the recurrent high-angle shots peer down at them, depicting them as a flock of birds, rummaging around. Much like pigeons, they compete with one another when ‘pecking’ at the tabs that Big Mac throws at them, as if the tabs are like ‘seeds’.

Instead of being ‘D and D’, those who ‘sing’ or in other words, speak out against Friendly are labeled ‘canaries’, since these birds are most notably recognised for their singing behaviour. Canaries were once used as a barometer for air quality down in mines. If there were toxic gases in the mines, this would subsequently lead to the canary’s death as this type of bird is extremely sensitive to air borne pollutants. Thus, this would be an indication for miners of whether or not it was safe to work in the pit. The bird’s self-sacrifice parallels that of Joey and Dugan, who tried their best to help out the other longshoremen, yet both met their deaths after ‘singing’ out against Johnny Friendly.

Originally named The Hook but eventually changed to  On the Waterfront , the sharp tool is an important representative of Friendly’s power over the men. All the longshoremen carry silver hooks on their shoulders as part of their work on the docks, but from another view, it is as though Friendly has ‘hooked’ onto the men – and thus, they cannot escape the union leader. Like many other words used in the film, it is a pun, as ‘hook’ is also a term used in boxing, meaning a short swinging punch with the elbow bent.

Hudson River and New York City

The river is always subtly lurking in the background of several scenes throughout the film. It acts as a metaphorical barrier that prevents the men from escaping Friendly’s grasp as they appear to be ‘trapped’ on the Hoboken docks. The ever-present fog is a veil that manages to conceal Manhattan on the other side of the river. Since the city’s silhouette barely peeps through, it portrays a sense of mystery and unknown to the stevedores who can seemingly never leave Hoboken. At the end of the film however, when Friendly no longer exerts any control over the men, the shot of the Hudson River and the city on the other side is crystal clear. The outlines of the skyscrapers, which were once unidentifiable, are now easy to recognise, demonstrating that the men are free, as their vision is no longer clouded by Friendly.

Gloves have significant meaning in two key scenes in  On the Waterfront . Most notably, Edie’s white glove symbolises a ‘good’ world, a place that is peaceful and pure. It reflects Edie’s personality as she conducts herself virtuously and with amiability. When Terry wears one of her gloves, it demonstrates that he is ‘trying on’ her perspective of life, where ‘everybody [should] care about everybody else’. On the other hand, when Charley and Terry share an intimate conversation in the taxi, Charley’s black gloves represent Friendly’s ‘evil’ world. Charley begins to feel uncomfortable in his clothing and removes a glove when he confronts the truth about being solely responsible for coercing Terry into forfeiting his career and subsequently becoming just another longshoremen. His removal of the glove depicts the notion that Charley will no longer be manipulated and controlled by Friendly, and is essentially, taking a step out of Friendly’s oppressive world.

Windbreaker

On the surface, the windbreaker is simply a jacket that is passed amongst the longshoremen, in particular, from Joey to Dugan to Terry. The sharing of the jacket represents camaraderie and brotherhood, since the men have little money to spend on buying warm clothes and as a result, most of their clothing has been worn through. This is a stark comparison with the mob, who are proud owners of long thick coats with scarves, hats and gloves to protect them from the Hoboken bitter cold weather. Symbolically, the jacket motivates the three men stand up to Friendly. Firstly, Joey talks to the Crime Commission yet before he is able to do any damage to the mob, he is found dead. As a result, his jacket is passed to Dugan, who later on musters the courage to continue in Joey’s shoes and reveal thirty-nine pages worth of notes about Friendly’s operations to the Crime Commission. Unfortunately, Friendly manages to successfully silence Dugan. The windbreaker is ultimately passed to Terry who testifies in court and defeats Friendly once and for all. The jacket demonstrates that even with murder, the truth cannot be silenced.

Important Quotes

Joey's death (part 1).

"Maybe he could sing but he couldn’t fly."

"I kept telling him, "Don’t say nothing. Keep quiet, you’ll live longer.""

‘I’ve been on the docks all my life boy, and there’s one thing I learned. You don’t ask no questions, you don’t answer no questions unless you want to wind up like that."

"Did you ever hear of a saint hiding in a church?"

"We got the fattest piers in the fattest harbour in the world."

Joey’s Coop (Part 2)

"They sure got it made. Eating, sleeping, flying around like crazy, raising gobs of squabs."

"Be careful. Don’t spill no water on the floor. I don’t want them to catch a cold."

"Johnny Friendly the “great labour worker.""

"Why don’t you keep that big mouth of yours shut."

"I’m poorer now than when I started."

Terry and Edie (Part 3)

"Your brother was a saint, the only one who ever tried to get me compensation."

"You don’t buy me. You’re still a bum."

"Who’s calling me a bum?"

"Don’t pay no attention to him. He’s drunk, he’s falling down. Everything. He’s just a juicehead that hands around the neighbourhood. Don’t pay no attention."

"It isn’t just brains. It’s how you use them."

Terry’s Confession (Part 4)

"Favour, who am I kidding? It’s “do it or else.”’

"It’s like carrying a monkey on my back."

"Question of “who rides who.”’

"If I spill, my life ain’t worth a nickel."

"And how much is your soul worth if you don’t?"

1. Edie is depicted as an angel that saves Terry. To what extent do you agree?

2.  On the Waterfront  portrays a world where people are only successful through money and violence.

3. We are able to understand the moral struggles of the characters through the cinematic devices used in  On the Waterfront .

4.  On the Waterfront  demonstrates that silence cannot be achieved through murder.

5. The actions of only a few individuals can result in a revolution. Discuss.

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our On the Waterfront Study Guide to practice writing essays using the analysis you've learnt in this blog!

Theme-Based Essay Prompt: On the Waterfront shows that power and money can destroy a man’s soul.

Step 1: analyse .

This essay prompt is an example of a theme-based prompt . It specifies ‘power’, ‘money’, and ‘soul’ as ideas for you to consider. When faced with a theme prompt, I find it most helpful to brainstorm characters and author’s views that are relevant to the given themes, as well as considering more relevant themes that may not have been mentioned in the prompt itself.

Here are some of my thoughts scribbled down:

• We cannot discuss power without also touching on redemption, as those that subscribe to power corruption are morally defeated, whereas the characters that reject power and money are somewhat martyred. Faith is also important: what happens to those who place faith in money and power versus those with religious faith? 
• The prompt is asking us to show (and essentially prove) the point that power and money are destructive. 
• How are power and money intertwined? 
• Souls are ambiguous and intangible, although in this film it can be interpreted as the character’s moral code and how the film validates those morals. 
• A soul destroyed is one that has been chipped away, whittled down and eventually broken to pieces. Power doesn’t wear a soul down in an instant, it’s progressive. 

Power & money 

• In capitalism, money is a tangible representation of power. Money talks. Having lots of it seemingly makes you powerful over those that don’t. 
• Friendly controls the docks because he has the money (and the power) to do so. 
• Chasing money (for survival, status or ego) can lead a man to do unethical and problematic things.

Those that chase power & money 

• Charley, Friendly and the rest of the mobsters. They’re faithless.  
• Terry to a certain point. His loyalty is “bought” and “owned”.  
• Charley follows Friendly wholeheartedly which results in his own bitter end. 
• Friendly embodies power & money and ends up beaten and alone. 
• Mr. Upstairs turns on Friendly in an instant. 

By contrast, those that reject power & money 

• Edie, Father Barry
• Dugan and Joey, both die for their beliefs. The film validates their actions by treating them as martyrs throughout. 
• Dugan’s body ascending with Father Barry after he dies under whiskey barrels 
• Joey’s jacket being handed down from one heroic dockworker to another 
• Terry after a certain point

Contention: On the Waterfront uses its characters to show that having faith in power and money can destroy a man’s soul, whereas having faith in the greater good can lead to redemption. 

P1: Having faith in power & money destroys Johnny Friendly and Charley.

P2: Rejecting power & money and having faith in the good of people is rewarded (Dugan, Joey, Edie, Father Barry, for example).

P3: Terry sits in between these two notions for most of the film. His soul is redeemed when he rejects power & money and chooses to do the right thing. 

As you can see, in this structure, each paragraph grapples with the theme in a way that links each character and the film’s treatment of them.

If you find this essay breakdown helpful, then you might want to check out our On the Waterfront Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

False Claims of Colonial Thieves is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Why Is Context Important?

When studying a text, it is very important to comprehend its context. Context will help you to understand what the text is about and what the author’s point of view is - key components of doing well in VCE English! Context is especially important for False Claims of Colonial Thieves because the authors frequently reference Australia’s history. Even the title is a nod to its context - it is all about the ‘false claims’ made by Australia’s ‘colonial thieves’, or in other words, Australia’s colonial settlers. Understanding what these false claims are will help you better understand the context and therefore, do significantly better in your English essays and assessments.

Treat this blog as a starting point only . There is so much to learn about these topics, and I recommend you do your own research in addition to reading this blog. To help you do so, I have provided a reliable external source for each topic, so you can start exploring these claims in more depth.

Terra Nullius

One of the biggest ‘false claims’ that Papertalk Green and Kinsella refer to throughout their collaboration is the colonisers’ claim of Australia being terra nullius . When the British came to Australia, they claimed that the country was ‘no man’s land’, denying that the Indigenous Australians had actually lived here for thousands of years. By pretending that no one lived in Australia, this supposedly gave the British ‘legitimacy’ to assume control over the land and those already living on it - i.e. Australia’s First Nations Peoples.

Terra Nullius was used against the Indigenous peoples for many years to justify their horrific treatment. The principle was only overturned in 1992 when an Indigenous man, Eddie Mabo, challenged this claim in the High Court of Australia. Nowadays, we recognise that the Indigenous people were here significantly earlier than the colonisers and that their sovereignty (i.e. their power over the land) was never ceded.

External source for further reading: https://australian.museum/learn/first-nations/unsettled/recognising-invasions/terra-nullius/  

The Stolen Generation

Another false claim was that the Indigenous people were inferior to white people. This claim led to the forcible removal of Indigenous children from their families, so they could be raised by ‘superior’ white people and taught white cultures/languages - these children are referred to as the ‘Stolen Generation’ because they were taken away from their families without their consent.

It was thought that placing Aboriginal children (especially mixed-race Aboriginal children) with white families would make it easier to teach Aboriginal children the ‘proper’ (British) way of living. They were either placed in institutions or adopted by white families, and often faced terrible treatment, including violence, neglect and assault. Neither the children who were removed nor their families have fully recovered from this appalling policy that continued until the 1970s.

Indeed, the effects of the Stolen Generation can still be felt today. One of the major consequences discussed by Papertalk Green and Kinsella is that a lot of Indigenous culture was lost. Many of the children who were taken away were forbidden from practising their cultural traditions or from speaking their Indigenous languages. This ban led to many traditions going extinct and is a tragic effect of this heinous false claim.

External source for further reading: https://aiatsis.gov.au/explore/stolen-generations  

Missions and Reserves 

Another claim explored in the text is the idea that Indigenous peoples could not look after themselves and would be better off with white people ‘protecting’ them. This led to the government forcing Aboriginal people to leave their ancestral lands and relocate to newer, smaller areas - a process known as land alienation. There were two types of this land - missions and reserves - and Aboriginal people faced poor treatment on both.

Missions were usually run by Christian groups so they could convert the Indigenous people to their religion. There was a strong degree of control exercised over these Indigenous people, who were expected to learn the skills required for menial jobs (such as cooking and cleaning). Contrastingly, those living on reserves were not typically subject to as much control. These people were sometimes provided with rations from the government, but there were not usually officials to oversee them.

Both missions and reserves are referred to in False Claims of Colonial Thieves , so it is important to understand the difference between the two.

External source for further reading: https://aiatsis.gov.au/explore/missions-stations-and-reserves  

Now that we’ve examined some of the more historical context , let’s take a closer look at the contemporary and modern background that Kinsella and Papertalk Green write about.

Close the Gap Campaign and Black Deaths in Custody

A key section of the text (particularly the latter third) explores current issues which Indigenous peoples face today. Two of these major concerns lie within the health and justice systems, so it is important to understand why Kinsella and Papertalk Green focus so heavily on these matters.

The Close the Gap Campaign (launched in 2007) aims to reduce the inequality in health and education that many Indigenous peoples face. It was created because the life expectancy is much lower for Indigenous than non-Indigenous peoples, and there is a significant difference between their expected levels of education. Unfortunately, many of these concerns have not been addressed today, and Papertalk Green discusses how her family is constantly dealing with death - a key theme in False Claims of Colonial Thieves that can be explained by this contextual understanding.

External source for further reading: https://www.pmc.gov.au/sites/default/files/reports/closing-the-gap-2018/executive-summary.html  

Similarly, there are a lot of concerns with the number of Aboriginal people in prison, and how many of them die while in police custody. There was even a Royal Commission into Aboriginal Deaths in Custody (i.e. a governmental inquiry) handed down in 1987, however, many of its recommendations have not been implemented to this day. This idea of unfair policing and laws that target Indigenous peoples is a key idea in the text, and Kinsella dedicates a poem to Ms Dhu, an Indigenous woman killed while in custody.

External source for further reading: https://www.theguardian.com/australia-news/2021/apr/09/the-facts-about-australias-rising-toll-of-indigenous-deaths-in-custody  

A key theme of False Claims of Colonial Thieves is mining, which refers to the practice of removing valuable materials from the Earth. Many of these resources are found on traditional Aboriginal lands, which are destroyed by the mining process. This is especially offensive to many Indigenous groups because many Indigenous cultures have a strong spiritual connection to their land (often known as Country). There is consequently a lot of tension between the Indigenous populations and governments, especially in Western Australia, where both of the authors live.

External source for further reading: https://www.aph.gov.au/Parliamentary_Business/Committees/Senate/Former_Committees/uranium/report/d07  

How Can You Use This in Your Essays?

Understanding a text’s context is very important in being able to analyse the text in appropriate depth.

For example, knowing that mining is often considered harmful to the lands to which Indigenous peoples have a strong connection, will allow you to discuss this concept in your essays. Indeed, Papertalk Green argues that mining is just as harmful to Indigenous peoples as earlier ‘false claims’ were, which is a sophisticated idea for you to use in your assessments.

As you begin to better understand and incorporate context into your essays, you can then take things one step further by examining how the author has used context as a means of demonstrating their authorial intent . For example, the effects of the Stolen Generation have been explored in several poems, and a possible viewpoint is that the Stolen Generation was used to demonstrate the devastating loss of Indigenous cultures and traditions.

When Lisa suggested that I blog about what teachers want in their students my immediate response was “Don’t we all want the same things!” We want our students to exhibit the insight and dedication that signals a top class learner. Additionally, it is obvious that teachers want students who are interested in the subject. Interested students make interesting lessons.

However, in my pondering on this question I have realised that for me students who are willing to engage with the text and commit to the task are always preferable.

Especially in English your teachers are looking for your willingness to explore your own ideas rather than rehash what others think. Your fresh perspective is welcome in a world where it’s all been said before… (and again!)

Another thing I like to find in a student is a unique style. There’s something sincere and credible about writing that speaks with its own distinct timbre, its individual structure and its authentic voice. This is the sort of writing that has you wanting to read on rather than doggedly plodding along to the end wishing that they had stuck to the lower word limit.

I can be a touch (*ahem*) pedantic and traditional in my views. I mean I love a page that is neatly written in a legible well-formed hand. There’s no chance of missing your meaning when your teacher can see what you’re saying. And something I instil in my students if they have not come to me already equipped with it is the ability to write on alternate lines only – I need a place to comment. You need a place to edit and this layout guards against sensory overload for your marker. Being willing to pay attention to apparently trivial details like this is the difference between a good student and a top student.

10 popular questions from VCE students answered by a VCE teacher

1. My teacher says I have problems with my expression. What can I do to fix this?

Lisa has already posted one of the best ways to fix your expression: that is to read it aloud. The natural rhythms of your expression will be clearer to you and you will find that your ‘mouth’ often makes corrections as you articulate your prose.

Another excellent way to find your voice is to read quality writing. Make it a habit to read a few pages every day. You can use the books on the VCE reading lists, you can go to your local library, find classics online and look at the opinion columns in the city newspapers. The more you read the better you will be at phrasing your ideas succinctly.

2. Teachers often say, “you need to develop your essay more”. What does this really mean?

This means that you look beyond what the topic statement or prompt demands that you address and explore what it invites you to consider.

Too many students are content to skim along the surface of the text. Take a deep breath and dive right into the depths of the ideas and points of views that are proposed in each text.

Formulate your own ideas and then develop them: explain and elaborate. Pick a thematic concern in one of your texts and follow its progress through the text; that way you will understand it with greater awareness of the author’s intentions.

3. In regards to Text Response, should students be ready to write on both their texts for the exam?

I would encourage students to be prepared for both texts. Apart from the extra analysis practice you get by preparing for both texts, you can never be 100% sure that you have adequately covered all options for the type of reading and responding topic you may face.

However, if you know your text intimately, if you have explored its nuances thoroughly and are so familiar with its narrative that it’s like your best friend then, yes, going into the exam with the plan of responding to one text will be possible.

4. Is it important to make my essay ‘sound’ good by using ‘sophisticated’ language?

One of the criteria for a successful response and a regularly commented upon aspect of a successful essay is your ability to show “strong language skills”.

Having a broad vocabulary base – a word bank – will enable you to express your ideas fluently and with eloquence. Additionally, used appropriately (no Malapropisms please like the student who wrote that “parents these days pamper to their children’s every desire”) some sophisticated words will add gloss to your piece. Think of BIG words as the seasoning of your essay – there to enhance, to titillate your reader to continue, not to overpower her. This is definitely a case where  “less is more”. A little advanced vocabulary adds depth and interest; too much and meaning is sacrificed to effect.

5. In regards to Writing in Context, which is the easiest form to score well in? (for example: short story, essay, poem, speech etc.)

Note: This question is no longer relevant to the current English study design.

No one form is easier than another – it depends on the strength of the individual student. Find your strengths and cater to them. Perhaps you are skilled at taking a stance and validating that position with reasoned and logical rhetoric. If so then you should consider a form of the persuasive genre. If you are an adept storyteller with a flair for creating believable characters then opt for a type of creative response.

The way to excel is more about your authenticity as a writer rather than the type of text you produce.  

6.In regards to Writing in Context, would it be best to stick to a conventional essay structure or write  in the form of a hybrid? (for example, merging creative with expository writing.)

This reminds me of how subjective the marking process can be. I’m not a fan of hybrids, although according to the assessors’ comments there have been some successful results by students who choose to take this approach.

I think the hybrid type of response is better suited to the practiced, confident and polished writers amongst you.

Again, your score won’t depend on the form in which you decide to write your piece but on the degree to which you satisfy the criteria.

7. How should I prepare for the exam?

You should prepare for the exam by reading and rereading, watching and watching again, thinking and challenging those thoughts. You should do this until you come to a point where you know the text so thoroughly that you are equipped with enough knowledge about the text to enable you to respond to any topic with finesse.

You should discuss the texts with your friends, your fellow students, your teachers and your tutors.

You should look at study guides and compare your ideas to those you find in the many guides available.

You should brainstorm topics and write some full-length essays under exam conditions.

8. During the exam, ideally which essays should be approached first, second and last, and why?

There’s no set way of doing the exam. Some students like to attack the part of the exam that they are most confident about first – that can save valuable time for the more challenging section. Do it the way that you feel more comfortable with.

Others find it more useful to do the hardest first and get it out of the way. One successful student I know wrote half of each essay in order and then went back and finished each. Only attempt this approach if you are super confident about your voice and your capability for each section.

9. How can I avoid ‘retelling the plot’?

Only tell the story when it is essential for explanation and elaboration. A great tip was passed on to me by a student who attends one of the bigger boys schools: to test if you are telling the story see how many of your sentences express an opinion – the key word here is opinion, obviously.

Assume that your teachers and markers know the text and use the events from your selected novels, plays or films to validate your ideas. You are required to make relevant textual reference in your discussion as a means of evidencing your thoughts, so you cannot omit all elements of the narrative – just be fussy about what you include.

10. How can I make my conclusions more interesting?

A conclusion should be just what its name implies – it should show the position that you have reached having explored the topic (question, statement, media text). One of the most tedious ways to conclude is the one in which you summarise what you have already written. Another no-no is the restatement of your introduction.

You should make your conclusion show what you have deduced after your exploration of the required task. It is appropriate and useful to comment on authorial message in the conclusion. Just this one amendment from the tired old approach will raise your score.

This guide was written by a past VCE teacher who wishes to remain anonymous. Thank you ‘VF’ for your expert advice!

Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

There are a plethora of controversial issues in the current Australian media that may be perfect for your 2017 oral presentation! Below are just a few ideas to get you started on your way towards acing that SAC. Remember, pick a topic that you’re passionate and enthusiastic about. Don’t forget that there is no ‘right’ opinion, however, make sure you offer a distinctive argument, even if it means adopting an alternative point of view. Good luck!

• Should the Australian Government ban the wearing of the burka in public?
• Should the homeless be banned from Melbourne’s CBD? (Robert Doyle proposal)
• Should the Australia Government continue to fund the Safe Schools Coalition?
• Should gay marriage be legalised in Australia?
• Should the date of Australia Day be replaced/changed?
• Treatment of asylum seekers in detention centres (especially women and children)
• Is enough action being taken to diminish the sugar industry propaganda to minimise obesity?
• Should on – site pill testing be mandatory at all public events?
• Cultural insensitivity in Australia
• Is the development of technology and social media encouraging narcissism in young adults?
• Victoria’s legal system
• Stem cell research
• Is the development of technology and social media encouraging the sexualisation of boys and girls?
• Drug testing and drug control in Australia (Bourke Street attack)
• Fake news being published by researchers to the media
• Should Victoria’s juvenile justice system be improved by the Government?
• Do students learn as effectively with ebooks compared with traditional, hardcopy books?
• Should security footage of detention centres be released?
• Is Australia becoming an alcohol and sugar driven society?
• Has the notion of privacy been compromised in the 21st century? (internet, technology, terrorism)

Before you start writing your oral presentation, you can't miss our A+ tips that have helped hundreds of students get perfect marks in their SAC. Stand out from others with confidence now .

Ransom and Invictus are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

Introductions

Clint Eastwood’s 2009 film ‘Invictus’ centers on the events following the election of Nelson Mandela, South Africa’s first black President in the post-apartheid era. The film follows President Mandela’s attempt to infuse a deeply divided country with new energy, by supporting the South African rugby team’s victorious 1995 World Cup Campaign. The unlikely bond formed between President Mandela and Francois Pienarr, the captain of the rugby team, illustrates themes of unity and reconciliation in a divided nation. The film begins with the image of a deeply divided society in 1990, as Mandela is released from 27 years of incarceration. A poignant opening scene sees Mandela drive along a long dirt road that runs between two playing fields, on one side, young black children shout excitedly as Mandela passes. On the other side, immaculately dressed white boys stare vacantly, as their coach proclaims, “This is the day our country went to the dogs.” This tumultuous period in South African history is of central concern to ‘Invictus’, as Eastwood portrays the lingering racial prejudices imbedded in this society. The film portrays the tension between the bitter resentment of black South Africans towards their former oppressors, with the fear and uncertainty of white Afrikaners under Mandela’s political leadership. Eastwood masterfully depicts the true story of the moment when Nelson Mandela harnessed the power of sports to unite a deeply divided South Africa.

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction ‘Ransom’ seeks to explore the overwhelming destruction caused by war, and the immense power of reconciliation. Drawing on the Iliad, the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of his son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan war, as fatherhood, love, grief and pride are expertly recast for our times.

Malouf and Eastwood both depict societies on the brink: Troy faces annihilation by the Greeks, while South Africa faces an uncertain future as it emerges from the injustices of the apartheid era, both worlds are in dire need of true heroes to bridge the great divide. Together, these two texts echo the significance of hope in the enactment of change. To learn more, head over to our full Ransom Study Guide (covers themes, characters, chapter summaries, quotes and more).

The power of shared human experiences

Both texts are centrally concerned with the significance of the universal experiences of love, loss, grief and hope to unite a divided people. Both Invictus and Ransom explore how societal forces divide people into different, often conflicting groups – whether this be race, history, culture, or war. Each text appeals to the universal experiences that define the human condition, and emphasise the significance of opportunities to cross-cultural divides.

In ‘Ransom’, Malouf is centrally concerned with the theme of fatherhood. This concept links the mortal and godly realms, which King Priam straddles over the course of his journey. The relationship between Priam and Somax illustrates this complex theme most clearly. The two men, despite being deeply separated by their class, education and power, share their common familial experiences. Priam confronts the poignancy of their shared experience of losing sons, questioning whether it “meant the same for him as it did for the driver”. Malouf thus presents Priam as initially lacking in terms of his understanding, Somax’s friendship and stories are the catalyst for Priam to engage in deeper, empathetic understanding. Somax’s trivial yet symbolically significant story about the griddle-cakes represents a moment of anagnorisis for Priam, wherein the shared bond of humanity in fatherhood allows Priam to obtain insight, and progressively grow as a human and as a leader. This incident fuels the journey to appeal to Achilles “man to man”, Priam’s insight into the power of empathy allows him to appeal to their shared bond as suffering fathers.

Just as Priam goes to Achilles “as a father”, using their common quality, fatherhood, to further understand each other, Mandela, too, emphasises the point that you must “know [your] enemy before [you] c[an] prevail against him” and thus he “learned their language, read their books, their poetry”. Mandela attempts to unite Black and white South Africans, despite the mutual animosity and distrust fostered by decades of apartheid. Black and White South Africans share almost nothing in common, with significant cultural and societal barriers to their reconciliation, including different dialects. Rugby emerges as the most poignant manifestation of this divide as the White South Africans support their national team, but the black south Africans barrack for the opposing side. The scene wherein Pienarr and Mandela meet over tea is symbolic of this sentiment of fostering unity amongst deep divisions. President Mandela literally hunches over to pour the tea for Pienaar, this inversion of status demonstrates his willingness to reduce his dignity as a superior and speak with Pienarr, and by extension, white south Africans, on an equal level, modelling an example of how race relations in his nation should be carried out. This equality is also symbolised by the passing of the tea to Pienaar, the close up shot where both arms of the individuals are depicted on an equal level reinforces this sense of mutual equality and respect, extolling the virtues of empathy and integrity as a uniting force.

Leadership and Sacrifice

Mandela and Priam symbolise how leadership must inevitably entail familial sacrifices. Both leaders self-identify with their nation and people. Priam embodies Troy itself, his body is the ‘living map’ of the kingdom.  The ‘royal sphere’ he embodies is constrained by customs and tradition, full of symbolic acts that separate him from the mortal world. To an extent, these royal obligations and ritual suffocate Priam’s individuality and he is unable to show his true nature, or connect with his family in the way he would desire to. He regards intimate relationships with his children as “women’s talk” that “unnerves him” as it is not “his sphere”. This articulation of the disassociation of the “royal sphere” with natural human bonds of family reveals the secondary role that family and love must take when one’s role as a leader is paramount. Similarly, Mandela claims “I have a very big family. Forty-two million people”. Unlike Priam, Mandela seeks human connection, predicating his leadership on democratic ideals. This takes a physical and emotional toll, as shown by Mandela’s collapse in his driveway. The cost of leadership here is evident, as Mandela has effectively sacrificed his family for the good of his nation. His strained relationship with his daughter Zindzi further reinforces this, as she disapproves of Mandela reaching out to Pienarr, likening him to one of the white “policeman who forced (her) out of her home”, showing the disconnect between father and daughter due to the sacrifices necessitated by Mandela’s life of leadership, including his 27 year imprisonment.

Fatherhood and Masculinity

In ‘Ransom’ Malouf presents an enclosed, limited and unemotional masculine world, with particularly stringent expectations for men’s behaviour. This is a world characterised by war, wherein the expectations of violent masculinity are paramount. In presenting Achilles inside of “a membrane stretched to a fine transparency”, Malouf reveals the constant tension between the emotional, domestic human nature inside Achilles and the hierarchical violent external society that he is expected to abide by, revealing the constricting nature that the society has on defining men’s actions. Malouf uses words like “knotted” and “rope-like” when describing Achilles’ muscles, implying that his conventional great strength, the source of his fearsome reputation, represents a confinement that the society enforces on him and other men. Further, through a degree of compassion, Priam is able to touch the “sore spot whose ache he has long repressed” in Achilles, a symbol of the emotions that have been supressed by the dominant patriarchal nature of this society.

Whilst the world of ‘Invictus’ is less overtly masculine and patriarchal, the narrative of the film is primarily focused on the male experiences, with female characters assuming a largely secondary role. Zindzi’s strained relationship with her father exemplifies the sacrifices involved in leadership. Whilst Mandela is seen to have sacrificed a close connection with his daughter, this is suggested to be in service of the nation, “I have a big family. Forty two million people”.

Character analysis and comparison

Character analysis/comparison.

- aging king of troy

- individuality has been subsumed by the ceremonial functions of his high position

- self-identifies with nation

- life of obligation

- foregoes convention and embraces chance with his proposal to offer ransom for his son’s body

- becomes more attuned to the natural world

- gains a greater appreciation of his true self as a man, rather than a symbolic figurehead

- historic figure, symbol of peace

- spent 27 years in prison for sabotage and conspiracy to overthrow the government while he was trying to gain civil rights for all south Africans

- tackled institutionalised racism, poverty and inequality

- suffered under apartheid

- pursues reconciliation, prepared to face down calls for retribution

- in his speech to the sports council, he defends the traditions of the people who persecuted him

- interacts easily with people of all social standings

- charismatic, in touch with the people

 Comparison

- embody essential role that leadership plays in achieving just resolutions to conflict

- sacrifice family for leadership

- illustrate that effective leadership takes a toll on the individual

- exemplify that reconciliation requires unexpected and difficult acts. Such as Mandela’s embrace of the Springboks and Priam’s appeal to Achilles “man to man”

- both show effective leadership involves expressing empathy and understanding the humanity of your enemies

Literary and cinematic techniques

- In one of the first scenes in Mandela’s office after he is elected President, Eastwood strategically frames the racial segregation and tension between the two groups via the mise-en-scene; they stand on separate sides of the room, wearing distinctly different clothing and calling Mandela either “Mr President” or “Madiba”, representative of their own identity. The lingering tension between the two groups permeates the entirety of the film, and the microcosm of the bodyguards acts as a symbol of the chasm within the wider nation.

- The deeply symbolic scene wherein Mandela and Pienaar have tea, Eastwood strategically uses a close up shot to frame the passing of the tea cup so that both arms of the individuals are depicted on the same level, reinforcing this sense of mutual equality and respect. It is this sharing of hope that ignites Pienaar to reciprocate Mandela’s egalitarian actions. As Pienaar brings a ticket for Eunice, recognising that “there’s a fourth” family member, he mimics Mandela’s value that “no one is invisible”. Consequently, it is demonstrated that regardless of skin colour, characters reciprocate Mandela’s empathy and compassion, revealing the limitless power such human qualities to reach across the boundaries of division.

- The wide shot of the passing of the trophy from Mandela to Pienaar is framed against the large crowd, metaphorically representing South Africa’s support with the unity of the black and whites, reflecting Mandela’s desire to “meet black aspirations and quell white fears”. Their diegetic cheers work to create the idyllic depiction of the lasting power of this change, implying the true limitless nature of hope in their society.

Learn more through Caleb (English study score 47) about Invictus Film Technique Analysis - How Can I Write About It?

- Priam’s moment of anagnorisis in which he discovers the concept of “chance”, marks the beginning of his enactment of change through the power of hope. Despite his family who wishes that he would “spare [himself of] this ordeal”, Priam’s vision guides him to overcome familial and societal obstacles in pursuit of reconciliation.

- Symbol: Griddlecakes – represent pleasure in common things, but also the growing realisation within Priam of his distance from such pleasures. The love and care with with Somax’s daughter cooked the cakes has a value that surpasses the conventional riches associated with the ruling elite. This is a catalyst for a moment of realisation for Priam.

For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis .

[Video 1 Transcription]

Hey, guys. You can see that I am holding a stylus, which means we're doing something different today. Today's the first time that I'm going to be analyzing an article. Because I know that a lot of you are actually studying analyzing argument or basically language analysis, where you get an article, usually it's called material, and you have to analyze what persuasive techniques the author is using. Now, this is actually my favorite part of the English course. So I don't know why it took me so long to do this, but I'm actually really excited to start this sort of segment. If you do enjoy what you've watched at the end of this video then give me that like. Because I'll really appreciate it because I'll know if you guys actually do like it or not, and I'll make more of these if so. Basically, the way I'm doing this is very much like how I teach my students inside my tutoring sessions with them. I'm going to be going through the article with you and highlighting language techniques we see and then interpreting them. So, trying to understand why it's persuasive or trying to understand why authors try to use these persuasive techniques to persuade people to agree with their argument. Now, obviously, it's not going to be exactly like a tutoring session because I didn't want this video to be too long. So, I'm going to go through it a little bit of haste, but hopefully still with enough detail for you to be able to take away and be able to do more of it on your own. I'm going to be looking down because I have a stylus on me, which I borrowed from my lovely nephew, Alex. Thank you, Alex. And actually uses this computer for school. Lols. I have attached the PDF to this article in the description box below. Now, this is a very old article from VCAA, back in the year 2000. Now, the reason why I chose such an old article was because: one, it's still really relevant despite its age. The things that we're doing today, in today's study design, is still very much so similar to what they did back in the day. The second thing was, I didn't want to do an article that I felt a lot of you had already done. I wanted to be able to offer you something new and bring something new to the table, basically. So before we get started, what I want you to do is download this article in the description box below. Make sure you have a read of the article, and then try to analyze it on your own before we actually get started. This way you can compare the things that you've found versus the things that I found, and I think you might be very surprised to see that we'll probably have different interpretations. The focus of today's video is really just to identify language techniques and to try to understand why they've been used. There are other elements of the criteria that need to be covered and they will be in due time. But that's just something that I wanted to focus on first because I want to make sure that you guys have got the fundamentals down pat. As always, reading background information is critical for your understanding of the issue. As you can see here, we've got a report of Ms. Smith, principal of Anyton Secondary College, to the annual general meeting of the school council. So it's clear from her report that she is very concerned this year at the rising level of absenteeism among the middle school students. Also, it says, "How can students learn if they're not in class?" In the end, she writes: "So I urge the school council to devise a policy that will enable us to put an end to this epidemic of truancy. We need to take a firm line to ensure all our students are in school." Okay.  So now that we've read the background information and we understand the context of the situation, let's now move into the first article. So the first article has been written by a parent, Tom Frost. So automatically, we can see that he is a parent, which goes to show that there are some credentials there. So credentials, basically, is what's the title of the person who's writing the article. The fact that he is a parent goes to show that he is someone who is actually invested in the education of students, so we as readers may be more inclined to believe him or trust him because he obviously has a child at that school, and so he wants the best for that child. So, let's hear what he has to say. "I'd like to speak against the proposal of the principal, Ms. Smith, to come down on truancy like a ton of bricks." Okay. So, automatically, we can see that he has labeled truancy and Ms. Smith's proposal like a ton of bricks. Now, if we think about a ton of bricks, to me, a ton of bricks is an idiom. An idiom is like a saying. So it's related to the idea that something is a burden, and so he's making truancy seem like a burden, so something that's not a good thing. So, from the get-go, he makes Ms. Smith's proposal of a policy on truancy something that has negative connotations. Next, he says, "Let's not get too carried away with this truancy issue." The fact that he uses let's is inclusive language. This should be quite easy for you guys to pick up. Whoops. If only I knew how to spell language. Okay, fine. I'll spell it properly. So, why do we actually use inclusive language? Inclusive language usually involves words like let's, we, our. And these create the sense that there is a collective responsibility that we hold. So, potentially as readers, we could even be parents ourselves who feel like we need to get involved in the issue in order to actually have an impact on what's happening here. The fact that he doesn't just say, "Ah, I'm not going to get carried away with this truancy issue," and he says, "Let's not get carried away," automatically includes you on his team and so may make you more inclined to support his idea. To add onto the sense that there is quite a bit of credibility, he says, "I've got three kids here." So, I believe that that compounds his credentials; his authority in this matter. So, as a parent, he should know what's good and what's not so good for his children, unlike the principal who is just an authoritative figure. He then goes on to say, "I'm not sure they need to be chained to their desks all day." This is a great one. This is a metaphor. This metaphor of the children being chained to their desks all day, it doesn't sound great, does it? To be chained to something implies that you've been imprisoned or that maybe it's even likened to slavery. So if we're thinking of kids as being imprisoned and enslaved, obviously, this is something that we definitely don't want, and so he really pushes us from supporting Ms. Smith's policy and feeling sympathetic to these students. Seven days a week itself also compounds on this metaphor. I would say that by saying it's seven days a week, he really leaves no room for there to be argument. To me, this is exaggeration. Why? Because students are only at school five times a week, so to say seven days is already an exaggeration. But he does this in order to really stress this idea that this policy is definitely a no-go. None of us would want our children... We're not parents, but let's just say, if we're in the position of a parent reading this article, none of us would want our children to be chained to desks seven days a week, would we? He goes on to say, "Is it so bad to wag school?" Here we have a rhetorical question. Sorry. I switched from a thicker pen with exaggeration back to the normal one because I think it's a little bit too thick. Rhetorical questions are generally put there in order to get you thinking. And rhetorical questions tend to have an obvious answer that you should be agreeing to. So, when he says, "Is it so bad to wag school?" it's not the same as openly asking, "What do you think about wagging school?" where you're then open to the opportunity to support it or not to support it. Whereas, the way that he phrases it, "Is it so bad to wag school?" is already urging you to say, "Ah, of course not." So, at the same time, he belittles this issue. He dismisses the issue of wagging school and turns it into something that is just to be thrown away; something that shouldn't really be a concern of parents. So, at the same time there, I'm going to say that there's belittling there. He then goes on to say, "After all, most of us have wagged school without coming to grief or causing trouble, haven't we?" That's generalization, right there. Whoops. Why can't I write on this side? Generalization is done when we want to make it sound like something is super common. By saying "Most of us," he collectively involves everyone to make it seem as though everyone has wagged school before, so really, what's the issue? Next, he says, "In our house." Okay. This, I believe, really draws upon family values. By now including his home, he is saying that this is an issue that just goes beyond just kids wagging school or kids not being at school. It's a family value. "The fact that they don't go to school is something that they call mental health days." He puts a positive spin on the negatively connotated truancy, and because a lot of people are advocates for mindfulness, meditation, and looking after ourselves, this is something that may encourage readers to agree with the author. Okay, continuing on. "Seems to me there are good reasons why kids play truant." Play is a really interesting word choice. By using the word play, it definitely dumbs down the issue and makes it seem something super lighthearted. Because when kids play, of course, it's just fun. It's joyful. And so, he's making this issue of truancy, basically, a game. So again, it's like it's not a serious issue and it underplays the principal's point of view. If we skip ahead a little bit, he even says, "I can see from your nods." So here, again, it's like the collective response. He's already indicating, through his speech, that everyone pretty much agrees with him and so should you. Then there's rubbish. Rubbish has negative connotations. You get reminded of words like waste, garbage, and nonsense, which undermines the idea of independent and flexible learning, as though it's something that actually isn't really that helpful. He then continues to say, "Kids decide to find out about life firsthand." What he's saying here is that kids actually need to experience things themselves. Let's move into our final paragraph. He says now, that "School started out as places to educate kids and then became kind of a childcare for big kids." The imagery there... I would say imagery, you don't have to use imagery. You could say negative connotations. You could say metaphor. You could label it whatever you want. For me, I get this picture of a childcare with really old kids that are like teenagers running around in the cradles, kids in cots, playing with little games, and it's just nonsensical. In addition to this, by saying that school is like a childcare, he suggests that school isn't really a place that has children's best interests at heart; now they're part of the remand system. Remand is legal jargon. I actually didn't even know what this word meant, so I had to look it up. But if you use jargon, you're using words from a certain field that most people won't be familiar with. So lawyers, obviously, will be really familiar with terms like being on being on bail, custody, defense, prosecution. Words like that, that say, for me, as an everyday person who might only know a little bit about the law, because I've watched quite a few legal dramas on TV, that's when it becomes jargon; when it's vocabulary that's beyond just the everyday person. So, here you could say that it's legal jargon and that he is now creating the picture of a school, not as a place for education, but a place where people are in custody. So, they're in custody of the school, which sounds terrible, doesn't it? He goes on to keep using inclusive language. So, that is some repetition that is used throughout his piece. To sum up, he says, "You hear all these things about drop-in centers, buddies, big sister programs, peer support, and other schemes. Why can't we try some of these than hounding students endlessly?" Rhetorical question. It's interesting that he has now offered alternative solutions. This is something that may encourage other people to agree with him because he's not just slamming down the principal's suggestion, but he's offering his own solution to the problem. Which implies that he has carefully thought this through, and he has thought about other ways they can improve on absenteeism. Moreover, you could even say that maybe the principal hasn't been doing her job because if she had been trying drop-in centers, buddies, big sister program, maybe she wouldn't be at this point where she's trying to enforce the truancy policy. That's just where I'm going to leave it today. I didn't want this video to stretch out too long for you guys, so I didn't go into as much detail as I could have. But that's to say that there are plenty more language techniques for you guys to pick up. It's your job now to have a read of it again and see if you guys can find anything else. I'm going to respond to every single one of you who has analyzed something and left it in the comment section below. I also wanted you guys to know that I have an online course called How to Achieve A+ in Language Analysis. If you're somebody who struggles with language analysis and you've found this video helpful, or you've liked my teaching style, then I encourage you to check it out. I've just updated some of the videos for 2018 so that it's up to date, and I share with you all the secrets that I discovered when I achieved A+ in my own language analysis SACs and in the exam when I was in year 12. I'll put it down in the description box just down below. And next week, we're going into part two of this article, where we're going to analyze Rosemary Collins' letter, so I'll see you guys then. Bye!

[Video 2 Transcription]

Hey guys, welcome to part two of the article that we'll be analyzing today on the topic of truancy. If you haven't watched my previous video where I analyze the first article in this language analysis, then I'll just put it in the card up above. But if you have, then you're ready to join me on this next part. Last week, we looked into Tom Frost's speech, whereas this week we're going to be looking at Rosemary Collins. I will be looking down here, so don't mind me, and I'll be annotating live for you guys as we do this. So just to reinforce on what I said last week, I can't possibly go through every single language technique here with you, especially because I don't want this video to be too long. So I'll just be choosing the ones that stand out to me, and I'll be sharing with you the language technique that it's called or how I would call it, and why I think the author might use that in an attempt to persuade the audience. So let's begin here with Rosemary Collins. So Rosemary herself is... I thought I can expand it. That's cool. All right. So Rosemary herself is a parent. We know that because of this down here. So she automatically uses her credentials from the get-go. So as somebody who uses their credentials, we may be more inclined as the audience to agree with what she's saying because, one, she's a parent, so she has a child at the school, and so therefore has their best interests at heart. Now, unlike the first article, what we can see here is an image. It's a key and on it says, "Key Educational Consultants," and it has the address. I think this image is really interesting because keys are usually indicative of safety, of the answer, or something that is trustworthy. So it definitely shines a positive light on Rosemary Collins, who is some sort of Key Educational Consultant. So not only is she a parent, but she seems to hold quite a high position when it comes to something involving education. She is a consultant herself, so maybe that means that she shares her advice with other people and people actually pay her for this, so therefore maybe we're more inclined to support her point of view. Additionally, we could also identify a pun here. Further credibility. The final thing I would say here is that there as a pun. So with key, it's not only the physical key, but it's the key as though it's the answer. So as you can see just from the one image, we've been able to find at least three different language techniques. So don't be afraid to go into this much details, teachers actually love this. So we've already established that she's writing as a parent and we've talked about that. Now she goes on to talk about how she's a consultant, so I feel like we've touched on that, so I won't go into that again. But then she goes on to talk about how it is a complex issue and that it will not be solved by a punitive model of discipline, one which is both ineffective and... Woops my camera turned off. Sorry, lost the battery. So let's make this super quick. By saying punitive model of discipline, punitive itself means punishment, so here essentially she's saying that it's a form of punishment, which actually reminds me of Frost's comment earlier, that students would be chained to their desks. So you call that negative connotations, if you would like to. One of my favorite ones. One of my favorite language techniques to use. Okay, the word alienating is interesting as well. School should be a place that's welcoming, it should be inclusive, comforting, but not alienating, going against everything that school should represent. So the portrayal of this discipline model is a negative one. So if we jump ahead into the next body paragraph, I'm just going to group a few things together. She uses research and statistics, particularly in Victoria as well. So we know from early on that she is a researcher, so that's credible within itself, because she is someone who's experienced in the field and someone who has done her research and she's knowledgeable. She uses statistics, and statistics itself is seemingly factual, it's something that we can't refute and, therefore, we may be more inclined to agree with her based on those facts. Moreover, she includes the fact that they're in Victoria, so this means that it's relevant and applicable to us as readers because pretty much all the students who'll be doing this article will be from Victoria. Because it affects us directly, we might be more inclined to therefore agree with what she's saying. She also mentioned that students who do not attend school regularly are disengaged socially and educationally. So what this does is it absolves students of the blame, as though it's not their fault. There is a reason why they don't show up at school. And so the concern and the focus should really be on that, rather than just punishing them even more and therefore alienating them even further. This might connect with parents who especially don't want their children to be unfairly blamed. In her last sentence, she says that students absent from school due to an impediment are equally deserving of attention according to their needs. So again, this is reinforcing the fact that it's not the student's fault, but we need to work harder at lifting them up, so that they do receive equal attention. And it's implied that this hasn't been happening. She says our school. In our last video, we talked about inclusive language and how that encourages people to agree. She talks now about a holistic approach to absenteeism. So like Frost, she offers her own solution to the matter, rather than just slamming down the principle's policy. Now we're looking at something that is about the entire community. So if we go ahead with a holistic approach, it's as though everyone wins and as readers, we might be more inclined to agree with this because we always want the best for everyone's interests. She elaborates by talking about alternative curriculum options, positive community service experiences. So by offering her own solution, she now is encouraging readers to agree with what she's saying. And she ties it in with four other students going to show that it's not just a one-size-fits-all. Every student is different and so, therefore, the way that we go about helping them should be different as well. Oh my gosh. I'm so sorry. I just realized that I forgot to annotate the articles. I'll do that in a second and attach the PDF to this annotated version for you in the comment section below. The last thing I would want to talk about is how she mentions, "I would be happy to be part of a working group." So she's not just talking, but she's actually going to walk the talk. Therefore, we should trust her judgment because even she is a willing participant of her own solutions. So if that's the case, then we're more inclined to agree with her. Lastly, she concludes with her credentials. So of course that ends up on that high note to ensure that we do trust for her and to show that she is somebody who is deserving of our trust. So that ends off my analysis of this particular article. If you wanted more information or you like the way that I teach language analysis, then you might be interested in my online course, How to achieve A+ plus in Language Analysis. It's had over 300 students participate and an overall rating of 4.5 stars, so I'm really happy to say that I believe this course has been doing really well at helping those who struggle in language analysis. So if you're somebody who struggles from the basics of not knowing how to identify a language technique to somebody who is unsure of how to explain how it persuades or somebody else who struggles with analyzing the argument and seeing how the argument comes together and develops, then I would strongly encourage you to go ahead and check it out. Otherwise, there are plenty of language techniques that I haven't covered just yet. And I'm sure that you guys have interpreted some of the language techniques I've found here differently. I'd absolutely love to hear what you guys have to say. Leave it in the comment section below, and let's all work together to do well in language analysis over this next term. Can't wait to see you guys next week. Bye!

[Video 3 Transcription]

Hey guys. So what am I talking about? So recently, I released a new segment where I talk about analyzing argument and I analyzed an actual article with you. I haven't done it before, but from what I can see, you guys are actually really enjoying it. I want to remind you guys that I am doing a analyzing argument livestream next Friday, the 27th after school at 5:00 PM. So if you have any questions for me I encourage you to start asking away. I'll put the link to the livestream below for you guys so you can hit that link and then go and set up a reminder for yourself. There's also a chat section there for you to actually start answering your questions. So do that because you know, I need questions to start off with, to answer. If you get in early, then I'll probably start off with yours. So heck yeah, let's answer this. Asa has asked me, "Hey, Lisa. This video was super helpful, but I was wondering if next time you could include a section where you translate annotations and put it into a paragraph. I know in order to get a high mark you shouldn't be focusing too much on the techniques, but rather in a more holistic way. It'd be pretty cool to see which ones out of the bunch you annotate you choose to include in your analysis. Thank you." I eventually wanted to get up to this point and talk more about structuring an essay and how to organize it in a body paragraph. But I was trying to figure out what to do for this video. Then I thought, "You know what, why not just do it now?" Obviously, with analyzing argument or language analysis, however you want to call it, it's a big section in the exam and there's a lot to cover. So I'm not going to go into too much detail about how I actually structure the essay for language analysis, because I think that is most suited to an entire video in itself. But I thought I would at least just create one paragraph for you guys just to give you a little bit of an idea of how I would go about it so you can walk away from this video with a little bit of extra knowledge to help you with your language analysis. So basically, in the paragraph that I've created, you'll see that I don't use every single language technique that I have found, and that's the whole point. You want to be at that skillset where you can find so many language techniques, but you're so good that you know that you can't analyze absolutely everything, so you go and choose the gems out of the lot. So choose the ones that you think will help you set yourself apart from other students. For example, I always try to encourage my students not to necessarily always talk about stats or rhetorical questions or inclusive language, because those ones are super obvious. They're the ones that everyone can find. So of course, you don't just strategize your essay and choose techniques that you think no one else is going to write about. Because, what if that rhetorical question is actually a really strong one where you could elaborate and say something really insightful about it, right? So it's all a balancing game. Let's just get into the paragraph and give you guys a look. What I do is I base paragraph according to ideas. Now, every single author who creates an article has a main contention, but what we're after now are the smaller ideas that the author makes in order to support that overall contention. One idea that I have chosen to talk about is the idea of what school has become, or the current school culture. In my paragraph, I have included a few language techniques that I believe fit into this overall idea. So Frost highlights the current and unpleasant school culture in an effort to rile support from other parents. You can see here that this is the idea that I'm focused on. His use of the metaphor, chained to their desk all day, suggests how children are being imprisoned by their schooling. Especially since it's seven days a week. This may deter parents from supporting the principal's absenteeism policy, as they feel as though their children are spending more than enough time at school. You can see here that I've included one language technique, and it's the metaphor. The main reason why I've included this metaphor is because the idea that children are chained to their desk all day really reflects the school culture and attitude of Frost's child school. Next I say, Frost compounds this idea of trapped children through highlighting that school is now a childcare for big kids, rather than a place to educate kids. The childcare works to portray the school, and by extension the principal, as incompetent at their job of raising an independent next generation. As a result, disgruntled parents may resist the idea of a truancy policy as it becomes apparent that more times at school is unlikely to equal better outcomes for the child. I've inputted a second language technique here, and I've really focused on the idea itself though. I'm emphasizing the fact that this school, as it is right now, is just not a good place to be. You can see that I'm being consistent with this idea, because I start off the sentence with, "Frost compounds this idea," showing the link with my own sentences. Then I move on. Moreover, Frost's declaration that school is now a remand system may further encourage parents to support his case, as it is implied that children are being held custody by the school. His passion may strike a chord with other parents who feel alienated by the seemingly impenetrable school culture, with which they find it difficult to contribute or influence. So I finished off this paragraph with a third and final language technique. As you can see here, what I am focused on more as a writer of this essay is the idea of school culture. With that, I try to find language techniques that work with it. I don't do it the other way around, where I base it off a language technique and try to cram, I don't know, just ideas into a language technique or try to make it work that way, because it's going to be a lot tougher for you. Focus on the ideas and see which techniques fit into it. Now, I found more techniques I think than the three, that could have fit into this body paragraph, but I felt like these three pointers were probably the strongest ones and the ones where I felt like I could really show off my analytical skills. So I talked about a metaphor. I talked about how the place is a childcare. The betrayal of the school, lack of childcare and the idea of trapped children or imprisoned children, I worked off this idea. Then I worked off this idea even further by talking about a remand system, which is legal jargon for custody. It's like these children are just being condemned to this school, which is something that no parents would want. And so, I really emphasized that. So yeah, that's pretty much it. I hope that answers your question, Asa. I only used three language techniques, but it's not about the quantity. It is about the quality of the work that you're portraying. Sorry, I keep looking down because I've written my stuff here for you guys, but you'll notice that these language techniques don't come one after another in the article, they're kind of all over the place. This is really important to enable you to be able to go and find different techniques from different areas of the article, rather than just confining yourself to, "Oh, this author has written this one paragraph. Let me try to find all these techniques in this one paragraph and transport that into one paragraph in my essay." You know? To sum up, main messages are, focus your paragraphs on an idea. It's not about quantity, it's about quality of your language techniques. Try to find the ones that are going to show off your skill. And fourth, you don't need to find language techniques in a chronological order. You can pick them out wherever you please. That's it. If you find this interesting or if you're not being taught this at school or you feel like the advice that I'm giving you is actually really helpful, then I'd encourage you to go and check out my study guide that I created with two other girls who achieved a study school of 50. So we have an entire section there about analyzing argument, from analyzing itself, language techniques, essay structure, writing up the essay, then showing you high essay responses with annotations to ensure that you know what you're doing. So I've got you covered, all right? Don't stress. So I will see you guys next week for the livestream. It will be on Friday the 27th at 5:00 PM. So as usual, I'm your Friday girl. I'm always here on Fridays and you guys can ask me any of your questions related to analyzing argument then. Speak to you guys then. Bye!

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The House Is on Fire

67 pages • 2 hours read

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Chapter Summaries & Analyses

Part 1, Chapters 1-13

Part 2, Chapters 14-57

Part 3, Chapters 58-82

Part 4, Chapters 83-95

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“Sally and her sisters were instructed by their mother, Dorothea, who read little besides The Art of Cookery , but had managed that singular and spectacular feat of catching a husband equal to her in wealth and rank, which—in her opinion—made her eminently qualified to educate her daughters.”

This is one of the first mentions of how different the skill set provided to women in Sally’s social sphere is from that of men. That women like her are taught that the most important thing is to find a husband contributes to the betrayal Sally and other women feel in the aftermath of the fire .

“An attendant extinguishes the wall sconces in the gallery, and as the theater’s lights dim, Cecily can feel herself begin to disappear. She is in the theater and then she is back in the cellar, she is a little girl in the smokehouse and a tiny seed in her mother’s womb. She is all of these things and she is nothing at all, and by the time the curtain lifts, her face is wet with tears.”

Though Cecily is reacting in this moment to her fears for her future at Elliott’s hands, it also foreshadows her eventual escape. Just as she feels like she is disappearing as the lights go down, the theater fire really will give her the chance to disappear.

“‘It ain’t always gonna be like this,’ he whispers. He’s surprised by the way the words catch in his throat on their way out.”

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Essay on “A house on fire” Complete Essay for Class 10, Class 12 and Graduation and other classes.

Essay No. 01

A house on fire

6 Best Essays on ” A House on Fire”

On the evening of last Saturday, we were having a tea party in our house. All of a sudden, the happy atmosphere of the party was disturbed by a loud noise. The guests at the party started running out of the house in great confusion. I came outside and found that one of our neighbors had caught fire. The flames were rising high up towards the sky. Everybody feared that a big fire would spread in the whole colony. We got anxious to bring the fire under control. The wind fanned the flames. People want to put out the fire with buckets full of water and bags of sand.

The lady of the house was weeping bitterly. Her cries were heart-rending. Her only son was sleeping on the upper story. The fire had not yet reached there. But clouds of smoke were summing out of the window of that room. Going to that story to save the boy meant sure death. I wanted to rush to the help of the injured boy but I had an injured leg. A young boy offered to risk his life. The people put a ladder against the wall. The boy ran up like an arrow. He brought down the child out of the flames. Both the boy and the child were choked with smoke.

The fire began to die down. It took two hours to bring it down. The building was reduced to ashes. It was a terrible sight. Our neighbor was in great distress. None could say how the fire broke out. Some said that the fire was started by some mischievous people in the colony. Others said that it was due to the carelessness of the servant of the house who left a burning cigarette near some clothes. In any case, the owner of the house suffered a heavy loss. But God is thankful there was no loss of life. Everyone praised the young boy for his bravery.

Essay No. 2

A House on Fire

It was midnight when the hands of the clock join palms. There was deep silence everywhere. I was enjoying a sound sleep in my room with my younger brother. All of a sudden, I was awakened by the noise of footsteps outside. It appeared as if the people were running in the street. I got up and peeped down from the window. I came to know that the house of my friend Roshan was ablaze. I at once hurried to the spot.

The house was completely enveloped in flames. A strong wind formed the fire. The flames leaped to the sky giving out the clouds of smoke. The owner of the house was beating his breast, crying “ I am undone!, I have lost all!” the articles were lying scattered in the street. There were endless hurry and excitement. Many were busy in bringing buckets of water while others poured it on the fire.  I, too, joined them, we tried our best to put out the fire, but all our efforts were in vain. 

Soon the whole building with everything in it was burnt to ashes.

The fire brigade was rung up. In no time it was there. A crew of active men in brass helmets got to work and the fire was brought under control in half an hour. God be thanked, the neighboring houses were saved.

 It is said that it was all due to the carelessness of the servant who was a heavy smoker. While smoking his pipe, he dozed off to sleep. The burning ashes from the pipe fell down and set fire to the bed. Soon the fire spread in the whole building.

The loss was estimated at more than five lakhs. Everyone had sympathy for the affected family. They were shifted to a nearby house and an emergency meeting of all the elders of the colony was called. It was decided that the house will be repaired as a joint venture by people.

 God save everybody from such a calamity but we have to be very vigilant to keep away from such an event and when we face one face it boldly as life is another name of a struggle.

Essay No. 03

A House on fire

I have often heard that smoking is injurious to health. It was, however, last Sunday that I realized that it could destroy a whole house and endanger the life of the dwellers.

Last Sunday, as I got up a bit late in the morning, I heard a loud noise outside in the street. At first, I dismissed it taking it for a noisy brawl between two quarrelsome neighbors who had recently shifted in our street from some other town.

The noise, however, was so loud that I could not help going out. To my great surprise, I found the people running towards the eastern side of the street. They had buckets of water and sand in their hands.

As I looked towards the east, I saw tall, forky flames of fire and clouds of smoke. Without wasting a moment, I rushed towards the side of the flames.

I was greatly shocked to learn that the famous tailor, Mr. Rahmat Ali’s house was on fire. It was learned that Ali being a chain smoker, could not resist smoking even while stitching costly clothes. They caught fire as a speck of burning cigarette fell on the silk and polyester clothes. The fire spread to the other occupant of the house, Mr. Pritam Kumar who happened to be a cloth merchant and had dumped bundles of cotton, silk, and polyester cloth in his rooms. He like Ali was also a tenant in the house.

Needless to say that the fire engulfed the whole house and within a short period of time, not only the costly cloth and stitched clothes but also all the furniture and wood articles such as doors, windows, ventilators, etc. were reduced to ashes. Meanwhile, the landlord also arrived. He beat his breast in vain. All the people’s efforts to control fire were also futile. I rang up the fire brigade. It came within a few minutes and controlled the fire after a hard struggle of about two hours.

Essay No. 04

In the evening of last Sunday, I found that the house of our neighborhood caught fire. The flames were rising to the sky.

Suddenly I heard shouts of “Fire, Fire!” I woke up at once and looked out in the street. I saw a house on fire.

I ran downstairs and reached the place. Many people had collected there. They were running with buckets full of water and bags full of sand. What a terrible scene I saw that day!

But it did prove of much help. A strong wind was blowing. Some cries were heard from inside the house. The house belonged to a doctor.

Soon some fire engines reached the spot. Two firemen entered the burning house. They helped the doctor’s family to come out. Fortunately, no one was killed.

The fire was brought under control. The building was reduced to ashes. The shopkeeper had suffered a great loss. It was a very fearful sight.

Essay No. 05

It was a winter night I was sleeping in the bedroom of my house. “A loud noise woke me up. I hurriedly put on some warm clothes and came down into the street. There were many people running helter-skelter.

One of the people stopped and told me that a big fire had broken out and that he was rushing to give a helping hand. I also joined him. We soon reached the house that had caught the fire.

It was a big fire. The whole house was engulfed in smoke. Flames were rising to the sky. Many people were throwing water on the fire. There was a strong wind. It fanned the fire and made spread to new areas of the house.

I rushed back and telephoned the fire brigade. The residents of the house were in a bad way. Women and children were crying. They were also shivering in the cold. Their cries touched every heart. Some of the people escorted them to a sheltered place.

One child was caught in the fire. Everyone feared for his life. Meanwhile, the flames were rising higher and higher

Luckily the fire brigade arrived in good time. The firefighters surrounded the house from all sides. They quickly placed the ladders and brought out all they could save from the fire. The child was also saved. Another big ladder was placed against the burning wall. A firefighter dressed in fire-proof clothing rapidly climbed up the ladder and went on the roof of the burning house. Therewith the help of an axe he broke the water tank of the house Three gallons of water rushed out from the broken water tank. It doused the fire from above. The firemen meanwhile doused the fire from below by spraying water from their water hoses.

The whole operation lasted about half an hour. The fire was brought under control. Soon it was put out. Fortunately, there was no loss of life. The loss to the property was estimated to be about fifty thousand rupees.

We came to know the cause of the fire three days later. It seemed that the residents of the house had left an angeethi burning to ward off the cold. A spark of fire from it had ignited a curtain and before anyone could react the whole house was on fire.

Essay No. 06

It was the night of June. I was sleeping on the roof of my house. Suddenly I woke up hearing a loud noise. I came downstairs and reached the street. I saw many people running.

I stopped a man. He told me that a big fire had broken out in a house nearby. I also ran with him and saw the house on fire.

It was a big fire. The whole house was engulfed in smoke. Soon flames were seen rising high. Many people were busy in throwing buckets of water on the fire. A strong wind fanned the fire.

The inmates of the house had come out. Women were crying loudly and children too were crying. Someone has rung up the fire station. The cries of the women and children were heart-rending. Everyone was moved by their utterances. One child was caught in the fire. None had the courage to go in and bring the child out. Everyone was worried for his life.

The fire-brigade bells echoed in the area. Soon the fire: men surrounded the house from all sides. One of them got into the burning house followed by another with a hose pipe of water pouring in the house. The child was first of all brought out of the burning house. The firemen, the water tank were placed on the roof of the house. Water gushed out from the rooftop which too helped in bringing. The fire is under control. The whole operation just took half an hour. Soon it was put out completely. Thanks to God that there was no loss of life. The loss of property was estimated to be more than eighty thousand. The cause of the fire was not known.

About evirtualguru_ajaygour

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I want to know composition

Big house/night/all sleep/loud cries/the house of fire/flames rise/wind blows/terrible sight/people try… To stop fire/throw water… Sand/child….catch…in the house/ parents.. Cry/ young man bring.. Child out/ praise young man/ fire Brigade.. Arrive control fire/ loss… Property/ but all lives… Saved/ ok

Sir send me immediately story in composition I send to u. Plz send to my mail id

it helps much

I want to need for 9 th class essay ‘A house on fire’

Hi Momina Khan Essay on ” A House on fire”

http://evirtualguru.com/essay-on-a-house-on-fire-complete-essay-for-class-10-class-12-and-graduation-and-other-classes/

Nice 😀😀😀😀😀🖒🖒🖒🖒🖒🖒🖒🖒🖒👌👌👌👌👌👌👌👌👌👌👌👌👌👌👌👌👌👌👌👌👌 It will increase other students level of junior class 😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😀😃😃😃🖒

Very interesting story but can I want building fire. ANYBODY DO YOU KNOW HOW TO DO THAT

Great sir quaid.azam ka essay bhi likhe class 6 ke liye

intresting but i want that it was not happend to me or near me i want that it was happened on that road or that country like that but surely it is goood

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Like a House on Fire

By cate kennedy, like a house on fire summary and analysis of "sleepers".

The story begins with the protagonist, Ray, sitting in traffic, which rarely exists in his small town. But developers from out of town are redoing the roads, and now there's a line of cars. Kennedy describes Ray's stalled, languished state of mind as mirroring the traffic. He thinks that if the developers were from the town, he could be working on a road crew right now; but they're not, so instead he works a part-time job and lives in his friend's shed. Seeing the road crew reminds him of the time he and his ex-girlfriend, Sharon, were driving to his sister's place for a barbecue, and they were also faced with traffic and a road crew. In the memory, a man holding a stop sign lets traffic through little by little, and Sharon comments on how the job must be the easiest out there. Ray feels like this comment is meant to be a subtle dig at him, because he used to work on a road crew. He replies by explaining how the job does, actually, have its challenges. People harass the sign holder, sometimes even run them down.

Ray then reflects on the end of their relationship. When Sharon broke up with him, he hadn't seen it coming, but to her, it was so obviously not working. In the moment, when he assumes she's moving out, "she’d rolled her eyes like he was the thickest kid in the class. ‘Not me, Ray,’ she’d said. ‘You. You’re the one moving out’" (128-129).

Ray finally rolls up to the sign-holder, acknowledges him, and drives on. The word SLOW drills into his brain as he watches the sign turn, let a few cars through, turn to stop, and turn back again. This monotonous process repeats until Ray passes through. Up ahead, he hears the loud cracks and rumbles of excavators breaking ground. He thinks he'll definitely be late for work, but he doesn't care. "So what if he was late?" Kennedy writes. "How many nested imitation terracotta pots could the public want in one morning?" (129)

Later that day, Ray finds himself at the pub with a few of his friends. They're all discussing the new development, particularly the fact that in tearing up the railroad tracks, the developers have made stacks of redgum railroad sleepers—long, wooden beams that Ray's friend Frank is sure would make fantastic firewood. The developers have cordoned off the area with orange flags, and the men in the pub agree that they're trying to salvage the wood to resell. If it were a local developer, the men are certain that they would allow residents to help themselves to the wood, but Frank has faith that people will take matters into their own hands. "You watch this town," he says. "Winter coming on and a pile of scrap wood like that. A little string of orange flags isn’t gunna stop anyone" (131). Talking about the sleepers makes Ray think about how his ex, Sharon, always wanted to do some landscaping to their house. Ray had seen yards trimmed with redgum sleepers and thought it looked quite nice, but he never saw the point in landscaping the yard of a rental home.

For weeks, Ray hears his friends and co-workers brag about how they've variously managed to take some of the redgum for themselves. They give him advice on how he should go about it. His friend, Steve, lines his yard with the sleepers, and Ray sees his handiwork at a barbecue that night. Ray admires Steve's work as Steve turns steaks on the grill. Ray feels awkward and lethargic, and Steve notices and asks him if everything is okay. Ray thinks to himself that he should probably get a blood test, exercise, diet—generally take care of himself. He can feel himself being observed by the women at the barbecue—wives and long-term girlfriends. He realizes that he's the only single one among his friends.

He reflects on earlier that evening, when he drove by Sharon's house. There was a car in her driveway, and Ray thinks it must mean that she's moved on. He thinks that he should probably move on too. That perhaps if she hears he's moved on, she'd contact him. Ray takes stock of his situation and concludes that he's not a very appealing option to the women around. They all know he's provisionally employed and that he lives in his friend's shed. The living arrangement began as a temporary thing, but slowly Ray has made the shed his home, adding a rug, furniture, and a space heater. He tells himself he's there to save money until he gets back on his feet and recovers from the breakup, but it becomes less temporary by the day.

As Ray ruminates around the barbecue, Steve's teenage son Sean calls him over. Sean is looking at the sky through a telescope, and he asks Ray to take a look. Steve calls over that it's not dark enough yet, but Ray looks anyways. Sean thinks he sees Mars through the telescope. Ray sees a blur of something in the sky. As he stands there with Steve's son, he thinks about when his father had a heart attack, "the way he'd staggered across the lounge room, his arm out, wordless" (135). Ray makes a passing commitment to calling the doctor the following day for a check-up.

After he leaves Steve's house, he considers driving past Sharon's place, where they used to live together. He imagines how she'd react to him pulling up to her driveway, and concludes that she would simply dismiss him as "just Ray" to whomever she's with. Ray then considers driving to the construction site and taking a few sleepers for himself. He imagines bringing the pile of sleepers to Sharon and building little flowerbeds with them, filling the beds with mulch to plant a garden, the way she always wanted him to when they were together.

He drives to the site and parks near the stacks of wood, get's a pair of work gloves from the bed of his ute, and loads the bed with ten sleepers. He thinks this should be more than acceptable, given the amount of wood he's heard about other people taking. After he finishes loading, he stands back to admire his work, and as he's looking at his truck full of wood, a police cruiser rolls up near him, blue lights quietly flashing. Kennedy writes, "he knew that they wouldn’t bother with their siren, because they could see that it was just him. Just Ray. They knew he’d turn around like this, and take what was coming to him" (138-140). The story concludes with the image of Ray standing down, awaiting arrest, and gazing at the pile of wood that would now be sold by the developer, instead of put to use by him.

Although the name of the town is never mentioned, Kennedy particularly evokes a sense of what Barry Lopez calls "literature of place" in "Sleepers," which, on the surface, is the story of a man in his mid-thirties struggling to get back on his feet after his girlfriend breaks up with him and he moves into his friend's shed. From an aerial view, though, the story expresses the fighting spirit and resilience—and at times the futile resistance—of a rural Australian town against encroaching corporate developers.

The story engages in parallelism in the sense that both the town and Ray are at a transitional moment, a juncture that will, depending on how they respond to the prompts to change, determine their indefinite future. Both the town and Ray toy with the prospect of their agency. Ray passively thinks about his "bottomed-out energy, the sapped, exhausted feeling as he watched Steve turning steaks on the grill," and as a way to address this, thinks, "he'd go and have a check-up. A blood test" (132). Later on during Steve's barbecue, Steve's teenage son, Sean, calls Ray over to look at what he thinks is Mars through his telescope, and Ray's sensory encounter of the boy puts him in physical distress: "The smell of him—grass and suncscreen, sweat and energy, all of it barely contained—registered in Ray's head with a sudden painful awareness. This shortness of breath, the pressure on his chest ... He thought of his old man's heart attack, the way he'd staggered crabwise across the lounge room, his arm out, wordless. Take him five weeks to get a doctor's appointment, anyway. He'd ring tomorrow" (135).

In addition to these moments of Ray fixating on his health, we also have moments where he fixates on how his ex-girlfriend, Sharon, would receive him if he tried to get back together with her. He imagines her dismissing him, imagines his own humiliation as she downplays his existence to the new person in her life. He imagines solutions, too—similar to the blood test and phoning the doctor—in which he could steal the redgum sleepers and landscape her yard like she always wanted him to do while they were together. However, these solutions are pre-determined to fail by Ray's own imagination. The same with his concerns about his health—the notion that even if he calls, it'll take five weeks to get an appointment, and the sense that he probably won't call at all, just like his promise that living in his friend's shed would only be temporary. To top off the fatalism, Ray remembers his father's heart attack, the moment of which Kennedy portrays in subtle, but aching detail. This gesture to Ray's genetic predisposition to heart failure introduces an inevitability to his personal narrative that we can then map onto the greater inevitability of corporate development of Ray and his friends' rural Australian town.

The town's collective effort to resist total domination and disregard by the corporate interlopers by stealing the redgum sleepers is, in a sense, similar to Ray's vague promise to himself to call a doctor, or to make amends with Sharon—grand but ultimately hollow gestures. The final line of story—"He waited there for them, next to the sleepers, lowering his bare hands for comfort onto weathered, solid old redgum, hauled up and discarded but with so much life in it, still, it just broke your heart to see it go to waste" (140)—gestures literally, of course, to the redgum wood, but also both to Ray and to the small town, waiting, powerlessly, but with a defiant spirit, to be "wasted" by the forces of time and capitalism.

Like a House on Fire Questions and Answers

The Question and Answer section for Like a House on Fire is a great resource to ask questions, find answers, and discuss the novel.

Why does this make their father sad?

THe fact that he is no longer mobile because of his bad back. He cannot even help lift the Christmas tree onto the car.

What caused Frank's inability to get around in Flexion?

Frank was weakened by pneumonia.

What is suggested about resilience in this story? Are husband and wife both fighters?

Which of the stories in the book does your question pertain to?

Study Guide for Like a House on Fire

Like a House on Fire study guide contains a biography of Cate Kennedy, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Like a House on Fire
• Like a House on Fire Summary
• Character List

Lesson Plan for Like a House on Fire

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Like a House on Fire
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Like a House on Fire Bibliography

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