Australian Gothic and Describing Emotions, Atmosphere - Academic Assignment Help

Assignment Task

Literal meaning
The writer ‘christos Tsiolkas’ describes 24 hours in the life of the character ‘Ari’ who is gay and Greek. The novel plots out his travels across Melbourne while taking cocaine, speed and smoking marijurana. Ari is to trying to escape the pain of not being accepted by his community and family.Ari is stuck between two worlds, the first world his family, being an immigrant, Greek and then you have the other world were he is drinking, partying, doing drugs, trying to dull the sense and or pain out as the same time as trying to fit in. “she looks right into my eyes and grins. Brother flying high, is he?” “living in my family it was a consistent, passionate, pathetic. Cruel word. Crude threats”.The assumptions made I found throughout this text a similar critique can be made of multiculturalism’s official manifestations: in their codification and application by government agencies, these policies function as a form of difference management, containing diversity in the service of the nation without becoming disruptive of it. In effect, official multicultural policy promotes a form of cultural heritage that is ossified and stagnant, fixing difference through the emblem of community.However, belonging to such an immutable community seems impossible for the queer subject of Christos Tsiolkas’s Loaded. The protagonist, Ari, is the nineteen year-old son of Greek-Australian migrants, and the novel follows his movements across Melbourne over the period of a day. Fuelled by drugs, dance and sex, Ari actively resists the values of his parents and the community that they represent: work, marriage and family. And yet his anger and sense of alienation are not the simple products of a generational defiance, but seem more fundamentally tied to a deeply troubled self-conception.

Ari rejects delimiting identity categories, including those of ethnicity and sexuality—“I don’t like definitions” (Tsiolkas 115)— in a way that mirrors the very problems of reductiveness that Kamboureli has noted in official discourses of multiculturalism. At the same time, Ari is himself unable to reconceive of his own subjectivity apart from a paradigmatically GreekAustralian identity that ties sexuality to an aggressively hetero-normative masculinity. Thus his sense of self, like the city through which he roams, is characterized not by strength in diversity, but rather a geography of unremitting division that nonetheless underscores the limits of his anger and nihilism. Loaded is consequently a nuanced work, one that recognises the origins of Ari’s alienation, while suggesting at least the potential for a more productive alternative.Further, this linguistic concern emphasises how official constructions of multiculturalism, despite their stated celebration of difference, also act to “manage” it. The repeated references to integration in the discourse of multiculturalism assert that nation is a collective identity to which all must ascribe, even while space is allocated within this for diversity. Official multiculturalism thus seeks to reinforce a binary conception of national identity between the dominant culture and all others (including indigenous cultures). What Loaded never makes clear is whether or not the forms of masculinity that Ari eroticises will lead him to anything other than an apparently passive and debilitating alienation. Ari ends the novel by describing himself as “a runner,” “[r]unning away from a thousand and one things people say you have to be or should want to be” (149), and his dedication to running is perhaps the reason he is alone at the novel’s end, staring at the ceiling. For in running from others’ attempts to define him, he also runs from the possibility of change. His friend Johnny, for example, encourages him to move out, to break from his parents, describing his nihilistic anger as both empty and “gutless” (146).
More profoundly, there is the possibility of love with George, a friend of his brother’s, and the positive act of self-assertion in acknowledging this: “I fantasize that when I get home, I’ll yell at Mum and Dad that I am leaving, that I’ve found a man and I’m going to move in with him. I can feel myself smiling in the open street, dreaming of a little house by the sea with George and me in it” (146). But the chemicals that have provided Ari with an escape also prevent him from making any real change: “I smell solvents and the fantasy evaporates under the hot sun’s glare. I’m so slow from the come-down that I couldn’t say a word to my parents. I couldn’t make a sound” (146). Nor can he bring himself to risk the dissolution of his masculinity by telling another man: “I love you. I want to say the words, but they are an obscenity I can’t bring myself to mouth. I’ve never said those words. I’m never going to say those words” (131).

Despite Ari’s attempts to articulate himself throughout the novel, he ultimately lacks the courage to say at least some of the words that have guts. To do so could, in Foucauldian terms, constitute a productive transgression that dissolves discourses of subjectivity through a potentially unending crossing between self and other, a movement that Ari is as yet unable to make.Who is Janet, what is Aris mothers attitude to her and why does Ari mother have this attitude?Janet is Peter’s(Ari’s older brother) girlfriend. Ari is pretty close just with his mom. His parents are opposite of each other. Naturally, Ari is more talkative and open with his mom than he was with his dad. Ari's mother has Greek roots but is born in Australia. She feels that her sons in particular have abandoned her, which makes her angry. However, instead of doing something about her pain, she nourishes it because it adds drama to her otherwise boring life. Ari does not consider her very intelligent as well: “Mum is part of the television generation as well, and she knows shit about anything except what the television and magazines tell her. Brain dead. For her the real world begins every day at seven in the morning with ‘Good Morning Australia’.” Ari’s mum’s attitude is family is everything, she loves her family and her children. Mum, there's no work here. Maybe I can get work in Greece. My mother looks sad. Please, Ari man, don't say that. I don't want the family to split up. She is like this as she is describes to be caring and how she was raised entailed her to be like this.Why does Ari watch films on Tv? What does he dislike about Tv? And What does he like about Tv?Ari watches films on tv as that was how pop music videos were shown. But what resonates most is Ari’s sense of alienation — from his parents (in particular, his father’s Greek background), his older brother (who is studying at university and is not afraid to stand up against his domineering parents), his friends (who have gainful employment) and himself (never quite sure if he is gay or straight).This alienation is reflected in the city he sees around him — the narrative is very much tied to Melbourne’s suburban enclaves and is split into four parts named East, West, South and North — which he loves and loathes in equal measure. I particularly enjoyed his references to suburbs and places I know from my time living in Melbourne (which is about the same time that events in the book take place) and thought his descriptions of the Eastern suburbs (which are more affluent than the West) — with their “continuous loop of brick-veneer houses form In the East, in the new world of suburbia there is no dialogue, no conversation, no places to go out: for there is no need, there is television.ing a visual mantra” — pretty much spot-on.

Describe the text and what the purpose of the text is?
Jennifer Maiden (born 1949) is an Australian poet. She was born in Penrith, New South Wales, and has had 35 books published: 27 poetry collections, 6 novels and 2 nonfiction works. Her current publishers are Quemar Press in Australia and Bloodaxe Books in the UK. She began writing professionally in the late 1960s and has been active in Sydney's literary scene since then. She took a BA at Macquarie University in the early 1970s.[1] She has one daughter, Katharine Margot Toohey. Aside from writing, Jennifer Maiden runs writers workshops with a variety of literary, community and educational organizations and has devised and co-written (with Margaret Cunningham Bennett, who was then the director of the New South Wales Torture and Trauma Rehabilitation Service) a manual of questions to facilitate writing by Torture and Trauma Victims. Later, Maiden and Bennett used the questions they had created as a basis for a clinically planned workbook.Shown in the text The winter baby by Jennifer Maiden there is a perceptibly acute power of observation at play. The knowledge that Jennifer Maiden also paints (the book's cover has her own oil painting of Katherine at twenty one months) came later but with little surprise - the artist's eye for detail is obvious. A reader’s initial experience of the poetry might focus first on the overwhelming presence of war at various levels in the poems, secondly on tendency of the earlier books to contain poems which are not meditative but rather brief, fragmented and compressed narratives (the frequency of these seems to have diminished with time perhaps because Maiden has found that up to now prose fiction can deal with this aspect of her interests) and thirdly on interpretive uncertainties caused by Maiden’s deployment of metaphor. In a sense all of these are related but the third of them, the question of metaphor and its effects on the experience of reading does make a useful point of entry. Time and again metaphor in Maiden has an unsettling effect, often because the alternative world of discourse which metaphor brings into play remains disturbingly present.
Thematic analyse:
Australian vernacular
Australian vernacular is addressed language/style of writing) expressions and form, diction, syllables, stresses, paradoxes, images. However, early readings capture the mind in grasping the sights and scenes, thought and their articulation, and entice it into coming back to unravel the mysteries of the form that make all this more effective.So, the mother's diary takes on an enhanced personality, extending powers of precise observation and expression to thought. 'First Tea Set' ends with a mother's realization that somewhere in the near future empty miming will no longer satisfy. 'The Rocker' compares the control of this child's rocker to the wild abandon of a rocking horse, the "less thrills / and fewer accidents" to a "harder to master" but a more exhilarating liberty of action and thought. "Vulnerability', true to the professed "ripe-mooded for metaphors", ponders on the brittleness of a glass stick with scratches that can be snapped into two as a metaphor for human vulnerability born of "tension" that "tears". A deceptively innocent title, 'Nursery Rhymes' (Maiden, 50-51) addresses theology and mythology. 'The Process' (Maiden, 56) charts in charming detail a child's sketching that parallels the process of the development of "a sense of personality" - and perhaps even is a comment on art in our world as these sketches.

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