…entre nous soit dit…

between me you and the gatepost.

Ssssstudy mode….

Ok well I kind of fail at it….


… and I don’t do algebra or whatever that is…


But I am doing my ‘English: Crime and Violence in American Literature’ essay.

Topic of choice:

‘American culture regards sexuality, not physical violence, as the main arena of crime.’

Hello A Streetcar Named Desire by Tennessee Williams… and a perfect night in writing an essay instead of out celebrating my last night in this horrid town for 5 weeks and the end of exams (well sort of).

Yes. Who really wants to go out and have fun when you can do this instead?

Hello sarcasm, my old friend.
Oh, how I adore you so. 




June 19, 2010 Posted by | fun, Going Out on the Town, Literature, procrastinating, university | Leave a comment

The Homer Chronicles of a Cafe

homer simpson and homer illiad

I saw this at the cafe that we went to this morning for our weekly sunday family breakfast, and I thought it was rather quite brilliant. So I took a photo of it so the rest of the world could see the awesomeness of it as well.

July 5, 2009 Posted by | food, idiotic, just a quick note, just for shits and giggles, Literature, Uncategorized | 2 Comments

My first Publishing! ….well maybe

Joyful Joy!!
I’ve been sent a letter from the Curriculum Council asking for my permission for one (or possibly more) of my essay answers from the 2008 Literature WACE  exam to be considered for inclusion in the Literature Good Answers Guide, produced by the English Teachers Association.
You have to score above 85% for your essay to be considered for this publication, because it is supposedly only the most original of the best and the best of the best that are published. While there’s no guarantee that one of my essays will be chosen to be published, it’s still exciting to know that my essays (well at least one of them) were scored high enough to be considered.
It would be my first piece of published work anyway.
That’s definitely exciting enough for me.

March 1, 2009 Posted by | exams, Literature, school, School Work | Leave a comment

English Lit: Medea Quotes





Nurse: With Jason mad for him (p1)

Tutor: He’s no love left for any who live here. (p3)

Jason: you could have stayed here, kept your home (p15)

Jason: You’re lucky exile’s your only punishment./ I tried to calm him, to make him let you stay. (p15)

Jason: …d’you know why I’ve come?/ To do my best for those I love. (p16)

Jason: I know. Hate if you must,/ I care no less for you because of that. (p16)

Medea: D’you think it noble, think it brave/ To savage those you love, then visit them? (p16)

Medea: Well, Jason, you love me. (p17)

Medea: I made enemies/ Of those I loved, for you, hurt those/ I had no need to hurt, for you… (p17)

Chorus: What anger worse, or slower to abate,/ Than lovers’ love when it has turned to hate? (p17)

Jason: But it was Aphrodite’s weapon, passion,/ That made you save my skin. (p18)

Jason: …this royal alliance… I’ll show how good it is/ For all of us – me, you and the children too…. What better safeguard could I find than this… (p 18)

Jason: You’re wrong. I don’t want her… Our sons, yours and mine, are enough for me./ I want security, prosperity (p19)

Medea: If this marriage was so sensible,/ Why not tell me before you started? (p19)

Jason: You can’t control your fury as it is. (p20)

Jason: I marry/ not for sex… But as I said: to care for you… To protect us all. (p 20)

Jason: Must you take personally what helps us all? (p20)

Medea: And I? Exiled, betrayed, alone. (p20)

Jason: You brought it on yourself (p21)

Jason: Your cursed the royal house. (p21)

Jason: If you or the children need anything… ask./ I’ll be generous (p20)

Jason: I’ve done all I could – for you, for them… You kicked our help aside. Your mad. (p21)

Medea: My husband’s the vilest man alive. (p23)

Medea: Lust, yes: for power. He pants for a throne. (p24)

Medea: I’ve ben a fool. Why rant and rave/ at those who only want to help?.. Who think only of what is best for us? (p 30)

Medea: …I’m grateful for your foresight,/ All you’ve done for us. I’m a fool. (p31)

Medea: For my children’s sake/ I’d sell my soul, and what is gold to that? (p33)

Jason: I’m here to hide my sons,/ Before Kreon’s family kill them/ to avenge their mother’s crime. (p44)

Chorus: You’re sons are dead. Their mother killed them. (p45)

Jason: Die! I know you know,/
I knew you not before… You killed them – for sex! For jealousy! (p46)

Jason: … A tigress, no thing of flesh and blood,/ A hound of Hell, you outsnarl them all. (p46)

Medea: All wrong./ Tigress. Hell-hound. Name me your names,/ I have your heart! (p46)

Jason: Your pain, no less than mine. (p47)

Medea: Your pain: my comfort. (p47)

Medea: When you’re old you’ll feel it. (p48)

Jason: Love made you murder them? (p48)

Medea: That you might die of it. (p48)

Nurse: …she’s as cold as stone (p1)

Nurse: Know her, fear her, unsmiling heart (p2)

Nurse: She’ll do such things… No pliant victim here (p2)

Nurse: Pray God she hurts/ Her enemies, not those she loves! (p4)

Nurse: Your mother’s tearing herself apart… She’s wild. Hate’s in her blood (p4)

Medea: Die, children. Damned. Destroyed (p4)

Medea: Thunder split my sull./What use is my life? (p5)

Medea: Hateful life, be gone! (p5)

Chorus: Has she gone mad? (p5)

Medea: I’ll see him die, him and that girl –/ I’ll see them in pieces on the floor. (p6)

Medea: My lovely life is lost; I want to die. (p8)

Kreon: Frankly you frighten me./You can do things…. I’ve reasons for my fear:/Your cunning; malice is your trade. (p10)

Kreon: Better see you angry now/ Than stroke you gentle and later hear you snarl. (p10)

Medea: Best do what I do best… Poison. I touch, they die. (p13)

Medea: But kill I shall, and none shall do me down. (p14)

Medea: Then eveil be our good and I its queen! (p14)

Medea: Still childless after all these years? (p23) (to Aigeus)

Medea: This desire of yours, your desire for sons –/ The gods will grant it… I’ll cure your childlessness. (p24)

Medea: let the children stay… it’s not that I mean to leave them… They’re my trap… (p27)

Medea: They’ll take her my wedding gifts… soon as the pretties touch her flesh, she dies,/ And all who touch her die aswell. (p27)

Medea: I can’t say it. Do such a thing. I must./ I’ll kill the children. My children. (p27)

Medea: I’ll kill my darling sons, and run./ Vile. Vilest. Yes. I’ll do it. (p27)

Chorus: How will you dare?/ How stiffen yourself,/ Hard heart, hard hand,/ To do such things? (p29)

Chorus:  Your sons!… Look them in the eye, and murder them?… How will you dare/ To strike them down? (p29)

Medea: The pain of it! The pain/ of what I have in mind… It breaks my heart. I can’t. I must. (p31)

Medea: Am I a coward?/ Shall sentiment melt me – am I so weak?… my hand won’t falter now. (p36)

Servant: Horrible! Inhuman! Vile!… (p38)

Medea: What’s happened? (p38)

Servant: They’re dead… Your poison. Dead. (p39)

Medea: Good news! Well done!/ You’re my friend forever. (p39)

Servant: Your mad./ You plotted this, you did it –/ And now gloat? (p39)

Medea: What’s next, my friends, is clear:/ I must kill the children quickly and be gone. (P42)

Medea: Necessity’s their judge; they die./ I gave them life and now I’ll give hem death -/ My heart all dagger. Do it./ Don’t flinch. You must. (p42)

Medea: No weakness. No… memories. Flesh of your flesh!/ Forget you loved them. For one short day, forget. (P42)

Chorus: Soon, soon, she’ll lift her hands,/ red with her own sons’ blood. (p43)

Chorus: You’re stone, you’re iron -/ you began them. You ended them. (p44)


Nurse: …weeps for home,/ the country she betrayed (p2)

Tutor: Who isn’t guilty, then? It’s human;/ We all put self-interest first. (p3)

Nurse: Better a humble heart, a lowly life. Untouched by greatness let me live… Not   too little, not too much: there in safety lies. (p5)

Chorus: Who can stop grief’s avalanche/ once it starts to roll? (p7)

Medea: Don’t think ill of me…. What human being looks fairly on another?… And when you’re a foreigner: ‘Be like us’, they say. (p8)

Medea: Our lives depend on how his lordship feels… Women’s cunning? We need all of it. (p8)

Medea: Your city; your parents, your friends are here…. I am alone… a souvenir from foreign parts. (p9)

Medea: Your not the first… This reputation: the witch, the witch!… I’m such a woman… some fear my secret ways… (p10)

Medea: What, you fear me? A man, a king –/ How could I harm you? (p10)

Kreon: Now I trust you even less./ A raging fury – woman or man -/ is easily policed. But smiles…! (p11)

Medea: No crime in generosity. (p12)

Medea: Medea, grand-daughter of the Sun (p14)

Jason: No one denies your witchery (p18)

Jason: … more than you gave, you’ve got. (p18)

Chorus: …what you do/ Is far from just: deserting her. (p19)

Medea: Protection that tastes of death! (p20)

Medea: Who calls me pliant, powerless?/ I’m of another kind. (p27)

 Medea: But I’m a woman – I have to cry. (p32)

Conversation relayed by Servant:

Glauke: Why are they here? (p39)

Jason: I love them, your husband. You must love them too. (p39)

Servant: She saw the presents. ‘No’ was ‘Yes’:/ She agreed to all he asked. (p40)

Servant descriptions of Glauke’s death: (pages 40- 41)

·       ‘shaking, falling’

·       ‘White froth on her highness’ lip’

·       ‘Eyes rolling, blood sucked from her face.’

·       ‘she began to shriek and shriek’

·       ‘it was welded there, a shackle of gold’ (the crown)

·       ‘Eyes, face, oozing.’

·       ‘Flesh pulped by poison-fangs/ Slid from her bones…’

Servant: Father and daughter, corpse on corpse./ Who’ll not weep for such a sight? (P41)

Chorus: Rage tears the soul./ Why must you kill them, why? Blood poisons the ground, kin-blood… (p43)

Chorus: D’you hear them? Their cries?/ Stone heart, cruel fate. (p43)

First Child: Mummy! No! (p43)

Second Child: Don’t kill us! (p43)

Chorus: In childbirth grief begins. (p44)

Jason: Refused me their touch,/ The right to bury them. My sons! (p49)

Chorus: Expect the unexpected./What mortals dream, gods frustrate;/ For the impossible they contrive a way. (p49)

December 5, 2008 Posted by | Help for slack Lit Students, Literature, Notes, school, School Work | 3 Comments

English Lit: Cloudstreet Chapter Analysis

Cloudstreet: Burning the Man

(page 117-120)

  • Burning the man is a chapter about Guy Fawkes Night and the burning of a doll man made of ‘wild oats and dressed in moth eaten flour bags’
  • Guy Fawkes Night (more commonly known as Bonfire NightCracker Night and sometimes Fireworks Night) is an annual celebration on the evening of the 5th of November. It celebrates the foiling of the Gunpowder Plot of the 5 November 1605 in which a number of Catholic conspirators, including Guy Fawkes, attempted to blow up the Houses of Parliament in LondonEngland. Bonfire Night was also common in Australia until the 1980s. Celebrations took place in the form of both private and civic events. They involve fireworks displays and the building of bonfires on which “guys” are burnt. These “guys” are traditionally effigies of Guy Fawkes, the most famous of the Gunpowder Plot conspirators.

Overview of the Chapter

  • The chapter starts with Rose pickles sitting in the window of her room as she observes the Lamb girls in the yard below building the bonfire with fruit crates.
  • Mrs Lamb offers for the Pickles to join them in the festivities, but Dolly seems uncertain and doesn’t know how to accept this offer. When Mrs Lamb changes her voice to a ‘low pitched and friendly’ tone and tries to encourage her by saying “oh carm on”, Dolly looks ‘confused and embarrassed’ and only talks to Rose who takes charge, grabs her brothers and joins the Lambs.
  • The two families sit around the bonfire eating blackened potatoes and setting off fireworks as they play games and sing songs/listen to Mr Lamb play the accordion.
  • Rose doesn’t show the same disdain, disgust or hatred for the Lamb families merriment and singing as she did after the war was announced as ending. Instead Winton writes, ‘She couldn’t remember when she felt so happy before.’
  • Even the parents (including Dolly and Sam) are happy on that night – ‘[Rose] could hear he mum and dad laughing’
  • When they bring out the doll ‘Rose clapped and exclaimed’ and ‘everybody yelled and cheered’ when it was thrown on the fire. Then Fish begins to scream and cry about the burning man.
  • The rest of the short chapter describes Oriel and Quick dragging Fish up to the piano room where he eventually calms down enough to just play the piano.

Points of View Displayed

  • The burning of this doll becomes symbolically important within this small chapter as Winton describes it quite graphically from a few points of veiw – the normal narrator’s point of veiw that follows Rose and from the spiritual sense of Fish.
  • This scene is a perfect example Spiritual Fish speaking about the Physical Fish and trying to show that his behaviour is not (what is deemed to be) “retarded”, but its in fact a way of communicating to his family not to abandon their faith. This view provides a broader understanding of what is happening to the families and their members because it describes Fish in the Physical world.

Narrator POV (following Rose)

    • This describes the burning of the doll quite graphically:
      • ‘the head was tilting and one of his arms was gone’
      • ‘flames shot out of his collar’
    • This is the way that everyone else present saw the event and after Fish’s reaction and leaving of the group, ‘everything went quiet and strange’ and ‘the party died’.

Spiritual Fish’s POV

    • This description gives a more spiritual and symbolic look at the man being burnt.
      • ‘Man with arms out Jesus arms, stiffy and funny’
      • ‘burning the Man an now theys fire out his mouth and  eyes.’

Descriptions of the Scenes

  • Winton uses pituresque words and descriptions with use of the senses:
    • Sight: ‘rippling yellow mass making silhouettes’
    • Sound: ‘organised a mass whistling of ‘God Save The King’…[Chub]whistled like an emphysemic lung’
      ’Rose screamed and giggled… everyone gasped at the colour and noice’
    • Touch: “Yous burning the man an now theys fire out his mouth and eyes.”
    • Smell: ‘that sweet musty smell came out, Quick felt crook to his guts’

·       A personal interpretation of Cloudstreet includes the characters similar values, the narrator of the novel and the symbolic images, which make up the novel. It represents unity, familial harmony and energy.

·       In the burning of the Guy Fawks doll “Fish wants a whacko but out come the Man with arms out Jesus arms, stiffy and funny. Spiritual Fish “From the broad vaults and spaces you can see it all again because it never ceases to be” tells the readers that time is ongoing and is a never-ending cycle. The narrative is always changing, engaging the reader into the story.

·       After Fish’s accident they lose all faith in God. “The army was the nation and the nation gave her (Oriel) something to believe in”.

Religious symbolism

‘Fish wants a wacko but out comes the Man with arms out Jesus arms.’

·       It closely resembles the crucifixion of Jesus Christ.

·       The reference to ‘He the Water Man’ could mean many things, but biblically, Jesus used water as a symbol of spiritual cleansing and healing (which can e seen as a symbol throughout the book). This can also be seen as reference to Jesus.


·       Middle C represents the balance of the household –> it’s an ironic reminder o the disharmony and lack of balance. The different times are contrasted by the types of music played.

o   Discontent = the louder and more obvious it is

o   Rest of the time = melodious tunes.

December 5, 2008 Posted by | Help for slack Lit Students, Literature, Notes, school, School Work | Leave a comment

English Lit: Cloudstreet Notes: Gender & Class

Cloudstreet: Issues of Class and Gender

·       Issues of class and gender explored explicitly through the text.

·       Dedicated to one social group.

·       Understanding is gained from internal workings

·       Need of employment, education and stereotypical conformity

Working Class

·       Working class defined by his occupation/assert power by means of occupation.

·       Working class value family survival through participation

·       Women work as well –> Rose is expected to have a job.

·       Female children support family by job –> but marriage changes role to domestic occupation

·       Still a notion of male bread winner and female house builder

·       Stereotype when Rose and Quick get married (expected Rose to quit work –> p327)
Quick: “You’ll be quittin, I spose.”
Rose: “Not this girl.”

·       Working class value of participation over rides stereotypes

·       Childbearing shown as female need –> (p291)

·       Women defined by their relationships with men and the children they bear


·       Narrative –> working class perspective, slang, course language.

·       Economic stratification of society has propagated a social stratification sue to education 
–> ie Toby and Rose à Rose unable to further education:

Þ    no money

Þ    has to look after family / become domestic

·       rose is marginalised in Toby’s society

·       Women are the only ones associated with learning

Þ    Rose reads in the library all the time –> ‘I love books. My room is full of them. I read the whole Geralton library from end-to-end when I was a kid.’ (p 288)

Þ    Oriel quotes Mary Gilmore and reads the newspaper –> “if the rich gamble, they do it with money filched from the wage earner. If the poor gamble, they play with their children’s bread. Where, indeed, is there a class that may gamble and rob none?” Mary Gilmore (p130)

·       Difference in attitude between men and women in education


·       Strength of family most vivid

·       Family construction doesn’t conform to the traditional patriarchal model

Þ    Weak male figures –> ie Quick, Sam, Lester, FIsh

Þ    Strong female figures –> ie Rose, Oriel, Dolly

·       Anti stereotype representation of the working class

·       Only distinguish the stereotypes by its omissions –> ie suffering of Lambs and Pickles concentrated on, but happy match between Hat and Geoffrey Birch ignored.


·       Military service

·       Males must have a job

·       Male children defined by their job  –> Quick running away  –> Lon is a plumber

·       Toby Ravens not entirely defined by job à social connections and ideas play big influence.


December 5, 2008 Posted by | Help for slack Lit Students, Literature, Notes, school, School Work | Leave a comment

English Lit: Cloudstreet Quotes



What They Say

What Others Say

Rose Pickles


· Female à 1935

· Middle child à Pickles family

· Slender brown girl à dark straight hair cut straight across her forehead à pretty (p8)

· Good relationship with Sam à openly   loves and protects her from Dolly.

· Doesn’t get along with Dolly

· First falls in love with fish à he has no   boundaries or expectations on her.

· Rose’s relationship with Toby highlights her emerging womanhood and desire to rise above Dolly

· Very rational about sex à goes ‘melancholy and fanciful’ (p291)

· Deprives herself of food to spite and punish Dolly à reflects pain and loss she feels (loss of family)

· Death of baby allows her to relate to D.

· Her desire for a new house with quick indicates rejection of her life and identity… eventually realises she doesn’t want to leave. (p418)


·   ‘She feels tough all of a sudden and grown up’ (p14)

· ‘felt tough sometimes’ (p121)

· ‘she was hot in the face like she was holding something back.’ (p16)

· “I can’t bear to think of any of us leaving. We belong to it… and I want to stay.” (p418)


· ‘the woman and the daughter do not speak’ (p16)

· ‘Rose loves that weird boy, she knows it.’  (p158)

· Sam: “Jesus, Rose, you look like a corpse these days.” (p159)

· ‘Dolly tried not to think about how she hated Rose these days… when you know all of a sudden that someone of your own flesh and blood cant find a spark of worth to your name – then you harden up.’ (p154)

· ‘some of [her] will be forever watching [Fish] on the landing’ (p290)


Quick Lamb


· Male à 1934

· 3rd youngest à Lamb family



· “Of course I read the bloody paper. I want to fight evil.” (p327)

· ‘Quick thought of his room at Cloudstreet, the victims dancing on his wall, all the things there were to be stopped.’ (p327)


· ‘Quick Lamb reads the paper every day and sees the long lists of missing believed killed… he picks up sadness like he’s got a radar for it.’ (p89)



· Dual persona:

o  Temporal Fish: physical mentally retarded child in a man’s body.

o  Spiritual Fish: the warrior of light, able to be everywhere, see everything, anytime.

· In the end the two aspects come together again when he does drown.

· Main authorial voice à agency passed around to each character though.

· Omniscient and omnipresent

· Throughout, he seeks the water à symbolic to him as a place of healing and achieving oneness.


· “Fish wants a whacko but come the Man with arms… Lestah, you burnin the Man, Quick you burnin the Man… No. Quick? You burning  He, the water Man.’ (p119)

· ‘Fish Lamb. Perfectly. Always. Everyplace. Me.’ (p424)

· ‘Oh Rose you loved me…And some of you will be forever watching me on the landing.’ (p290)


· ‘It’s like Fish is stuck somewhere. Not the way all the living are stuck in time and space; he’s in another stuckness altogether. Like he’s half in and half out.’ (p69)

Dolly Pickles


· Alcaholic.

· Doesn’t appear to have as many compassionate emotions or seem like a very good mother à R & D = -_-

· Appears more stereotypically masculine because of lack of emotional attachments to family

· Able to relate to her in modern society.

· Constructed in sensual/sexual terms and relates to the world in this way

· Antithesis to Oriel
Her sister was her mother.

· Associates self-esteem and worth with sexual attractiveness.

· Drawn to the railway tracks all the time à symbolic of her desire to escape.

· Degree of envy between D and Oriel à she feels superior to the asexual, bossy woman but envies how she copes so well with the circumstances of life.

· In the end seems more understanding and compassionate.



Sam Pickles


· Fatalist à believes fate will determine their future

· Optimist à always believes things will turn in their favour.

· Doesn’t believe in creating your own luck à Rose & Dolly call him “hopeless”

· Generous, forgiving and loving:

o Tries hard to find excuses for all Dolly’s behaviour

o Tries to fill gap left by Dolly à shows love & concern for Rose especially

o Knows what his kids needs and wants are à ie Rose = pens desk etc


· “I didn’t go through a fuckin depression and a war to see my children turn their nose up at food.” (p160)

· “Everythin’s easier to believe in when it comes a man’s way.’ (p99)

· “Like I’m winnin. Luck. It’s a light shinin on you. You can feel it.’ (p99)


·  ‘sam knew damn well that when the shifty shadow is about, you roll yourself a smoke and stay under the sheet and don’t move til you see what happens.’ (p9)

·  Rose: ‘She didn’t know whether to put a cool hand on his brow or shake him by the throat… but she loved him.’ (p16)

·  ‘Rose stood in the yard and looked back at him and it didn’t seem so strange to love him’ (p85)

Lester Lamb


· Helps Sam out after Sam’s gamble debt

· Feels guilty after affair with Dolly.

· Despite being weak and a show off, he is a devoted father to his six children and it is the family that kept him alive

· Believes in fate: “knife never lies.” (p54)

· Wants to help and save everyone, yet he is too submissive and compliant à allows Oriel to take over him life.



· The family is the reason he lives: “it’s why I don’t shoot myself quietly in the head with the old Webly.”

· “He’ll never play the ponies again, no more grog” (p114)

· ‘Why was it that he didn’t know a thing about the underlying nature of people, the shadows and shifts, the hungers and hopes that caused them to do the tings they did?’ (p262)


· ‘… he’d spent years arresting people for things both mild and manical. He’d been to war ad lived a Depression on the land, been a father and a husband, and this week, even an adulterer.’ (p262)


December 5, 2008 Posted by | Help for slack Lit Students, Literature, Notes, school, School Work | Leave a comment