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Analysis of "Homecoming" by Bruce Dawe
. !n "spea#ing for those who ha$e no means of spea#ing%& Dawe has succee'e' in writing poetry
that has uni$ersal appeal.
!n "Homecoming%& poet Bruce Dawe uses $i$i' $isual an' aural poetic techni(ues to construct his
attitu'es towar's war. He creates a specifically Australian cultural conte)t where sol'iers ha$e
been fighting in a war in *ietnam& an' the 'ea' bo'ies flown home. Howe$er the poem has
uni$ersal appeal in that the insensiti$ity an' anonymity accor'e' to +recious li$es re'uce' to bo'y
bags are common attitu'es towar's sol'iers in all historical conflicts. Although Dawe ma#es
se$eral references to the *ietnam ,ar& the sense of moral outrage at the futile& 'ehumanising
aspects of war is a uni$ersal theme. He also spea#s on behalf of the mute& 'ea' sol'iers who ha$e
no way of e)pressing their suffering an' loss of hope. By "spea#ing for those who ha$e no means
of spea#ing%& Dawe ultimately e)poses the brutal hopelessness of sol'iers caught up in foreign
conflicts an' the shoc#ing impact on families.
-he title "Homecoming% is use' effecti$ely to contrast the tra'itional uni$ersal implications of the
wor' with the shoc#ing reality of 'ea' sol'iers flown home from *ietnam to grie$ing families.
-he wor' "homecoming% usually implies a celebration or Heroic reception for a great
achie$ement& with a return to roots an' family. !t woul' further in$o#e a sense of anticipation for
the return of a lo$e' one whom has a real i'entity an' a place in the hearts of those awaiting his
arri$al. Howe$er& the title operates ironically because the "homecoming% 'escribe' in the poem is
relate' to 'eath& mourning an' loss an' the arri$al of a nameless bo'y is (uite 'ifferent from the
heartfelt .oy e)ten'e' to a lo$e' one. By establishing !rony through the globally un'erstoo' ritual
of homecoming celebration& Dawe generates uni$ersal appeal.
-hrough the use of /epetition& Dawe establishes the inhuman& machine0li#e processing of human
bo'ies& a ghastly reality common to all conflicts that use innocent sol'iers as cannon fo''er. -hese
sol'iers will ne$er ha$e an opportunity to $oice their protests or their sense of loss& hence Dawe
offers a shoc#ing e)pose of the futility of war an' is able to $oice his concerns of those who
cannot articulate their $iews. /epeate' use of the pronoun "they1re%& hints at the impersonal
relationship between the bo'ies an' their han'lers. /epetition of the suffi)
"0ing% in "bringing%& "2ipping%& "pic#ing%& "tagging%& an' "gi$ing%& 'escribing the actions of the
bo'y processors& establishes irony. -hese $erbs imply life an' $itality& in star# contrast to the limp&
lifeless& col' bo'y that they han'le each 'ay. /epetition is use' effecti$ely to highlight the
shoc#ing brutality that has manifeste' in all wars throughout history.
,or' choice in "Homecoming% further un'erpins the poem1s uni$ersal appeal where Dawe
foregroun's the lac# of i'entity an' in'iscriminate slaughter of young men in the *ietnam ,ar.
/eferences to green bo'ies in "green plastic bags%& shows the lac# of in'i$i'uality. 3ol'iers are
being categorise' as "curly0hea's& #in#y0hairs& crew0cuts& bal'ing non0coms%& a 'etache' an'
anonymous image& establishing the i'ea that class& race or bac#groun' is no fa$our in war& further
reinforcing the loss of i'entity. !t is shoc#ing that "they1re gi$ing them names% since a name is one
of the few i'entifying features left on the plethora of otherwise anonymous& mutilate' bo'ies& "the
mash& the splen'our%. -he separation of sol'iers an' their i'entity is a worl'wi'e concept&
successfully illustrate' through wor' choice.
Dawe uses $i$i' $isual imagery to emphasise the emotional 'amage cause' to frien's a family
through the loss of a lo$e' one& a 'eep suffering that is often left unrecor'e' in the annals of
history. "-elegrams tremble li#e lea$es from a wintering tree% an' "the spi'er swings in his bitter
geometry%& e)emplify the arbitrary grief that affects those who recei$e notices. +ersonification of
the telegrams shows them as "trembling% un'er the bur'en of the news they must 'eli$er& en'ing
any hope for families wishing their lo$e' ones shall return ali$e. -he relation of telegrams to
lea$es falling from a "wintering tree% is a powerful image& pro$i'ing the rea'er with some i'ea of
the immense number of 'ea' sol'iers. Dawe further suggests that a "wi'e web% .oins all countries&
with none able to escape the "spi'er grief% associate' with war. By e)posing the 'estructi$e an'
'ehumanising aspects of war& Dawe appeals to the masses& remo$ing it from its falsely glorifie'
position.
-hrough the further use of imagery& Dawe succee's in writing poetry that has uni$ersal appeal by
un'erscoring the sa$age nature of war. -he 3imile "whining li#e houn's% emphasi2es the
'estructi$e characteristics of war& also 'epicting 'ogs as sympathetic feelers of human emotion.
4or these 'ea' sol'iers& there is no big para'e an' music& only "the howl of their homecoming%.
-he worl' famous twenty0one gun salute is also moc#e'& "mute salute%& further establishing the
worl'wi'e notion of 'ogs as mans best frien'& who unfortunately cannot $oice their grief in wor's.
Although these men ha$e ma'e the ultimate sacrifice by gi$ing up their li$es& the fact that they get
no recognition for this act e)cept from their 'ogs& emphasi2es the global concept of war as
'ehumanising.
-he setting Dawe 'escribes in "Homecoming% is characteristically Australian but the issues relate'
to the horrors an' futility of war are uni$ersal in their implication regar'less of the cultural
conte)t. /eferences to the "#nuc#le' hills% an' "'esert emptiness% of the Australian lan'scape
un'erscores the irony of the "homecoming% since sol'iers are unable to appreciate or comprehen'
the uni(ue beauty of their lan'. +ersonification further foregroun's the human (ualities ascribe' to
hill an' the lan'scape& whereas the sol'iers are ironically 'e$oi' of all life an' humanity. -he
"'esert emptiness% not only refers to the $astness of the Australian interior& but also to the empty
futility of war. ,ith the ai' of imagery& Dawe establishes the pointlessness of war& in that of all the
men who ha$e e$er 'ie' in battles shall ne$er see their homelan's again.
-he final line of the poem creates the i'ea of +ara'o)& further en'orsing the notion of senseless
life loss& a uni$ersal theme. "-hey1re bringing them home now& to late% because the chance to sa$e
their li$es has now past. Howe$er& it is also "too early% since all these sol'iers are too young&
lea$ing behin' an unfulfille' life. 5nfortunately these sol'iers will also ne$er recei$e the true
recognition they 'eser$e for their efforts that woul' ha$e been gi$en at the en' of the war. By
using the techni(ue of para'o)& Dawe ma#es a final attempt at clarifying international
misconception of war as beneficial.
Bruce Dawe successfully establishes the uselessness of war is his poem "Homecoming%. He can
be sai' to be "spea#ing for those who ha$e no means of spea#ing% in the way he presents the
attitu'es of the silent& 'ea' sol'iers being flown home from *ietnam. ,ith the ai' of aural an'
$isual poetic techni(ues he arouses sympathy& carefully manipulating the au'ience to reflect upon
his own $iews towar's war. !n this way& Dawe has create' a poem that is uni(uely Australian&
presenting issues of global concern an' generating uni$ersal appeal.
Bibliography
Dawe& B. 60007. Homecoming. !n Bernar'& *. 68'.7& 3ometimes 9la'ness 6p. :;7. 3outh
<elbourne: +earson 8'ucation Australia.
3mith& 9. 6=::>7. An appreciation of "Homecoming% by Bruce Dawe. ?,,, 'ocument@. 5/A
http://home.pacific.net.au/Bgreg.hub/lifecycle.html
3almon& C. 60007. +oetry of Bruce Dawe. ?,,, 'ocument@. 5/A
http://www.o2see#.com.au/8nglish59en/+ractice+apers/00D0=a.shtml.
http://lardcave.net/hsc/english.2ug.dawe.weaponstraining.html
Weapons Training
An' when ! say eyes right ! want to hear
those eyeballs clic# an' the gentle pitter0patter
of falling 'an'ruff you there whatEs the matter
why are you loo#ing at me are you a (ueerF
loo# to your front if you ha' one more brain
itE' be lonely what are you laughing at
you in the bac# row with the unsightly fat
between your elephant ears open that 'rain
you call a min' an' listen remember first
the coc#pit 'rill when you go 'own be sure
the ol' crown0.ewels are safely tuc#e' away what coul' be more
'istressing than to hol' off with a burst
from your trusty weapon a mob of the little yellows
only to fin' bac# home because of your position
your chances of turning the #ey in the ignition
consi'erably re'uce'F allright now suppose
for the sa#e of argument youE$e got
a number0one bloc#age an' a bran'0new pac#
of Gharlies are coming at you you can smell their rotten
fish0sauce breath hot on the bac#
of your stupi' nec# allright now what
are you going to 'o about itF thatEs right grab an' chec#
the maga2ine man itEs not a womanEs tit
worse luc# or youE' be set too late you nit
theyEre on you an' your tripes are roun' your nec#
youE$e coppe' the bloo'y lot .ust li#e ! sai'
an' you #now what you areF HouEre 'ea'& 'ea'& 'ea'
Notes per line
-he poem starts in the mi''le of a sentence& gi$ing the impression that we might ha$e fallen
asleep li#e one of the young recruits being shoute' at. !t ser$es to catch our attention.
Iote the use of spaces an' pauses: these in'icate a 'ramatic monologue& because they are
natural spaces to ta#e breath. Dramatic monologues gi$e insight into the spea#er& their
situation& an' the people aroun' the spea#er an' their reactions.
pitter-patter is generally a gentle soun'& but in this conte)t it is ma'e to soun' harsh.
are you a queer? 0 this (uestion reflects the tone of the whole poem: to be calle' a "(ueer" is
ob$iously insulting to these men. Also is the start of a whole string of insults littere' through
the monologue& 'eli$ere' in a blunt& confronting tone. -he (uestion mar# is also the first use
of punctuation& as the spea#er pauses for impact 0 an' breath.
8$entually we get to the heart of the matter 0 the instructions the sergeant is gi$ing:
"Goc#pit 'rill" where sol'iers 'rop to the groun' an' return fire& an' the weapon chec#s.
-he poem is full of cru'e se)ual references: "Goc#pit 'rill" an' "crown .ewels"& for
e)ample.
mob of the little yellows 0 the sergeant 'ehumanises the enemy by ma#ing a racist comment&
thus ma#ing it easier for the sol'iers to #ill them 6if theyEre not really people& it 'oesnEt
matter if they 'ie7.
turning the key in the ignition& apart from being an ob$ious reference to se)& ser$es to gi$e
the sol'iers hope by remin'ing them of coming bac# home.
-he sergeant has 'rife' slightly& with alright now he gets bac# on trac#& an' throws a
problem at the sol'iers& to ma#e them feel uncomfortable. -hey are conscript sol'iers an'
unusue' to the strict 'iscipline of the ArmyJ the sergeant must show his authority to impress
into them the necessity of listening to him: itEs the only hope theyE$e got of staying ali$e.
He 'rops bac# into 'ramatic monologue& using "you" all the way because in the en' it will
be up to the in'i$i'ual sol'iers to 'etermine what happens to them.
a number-one blockage refers to a certain technical problem. -he sargeant is teaching his
sol'iers to learn by terrorising them.
Charlies is a racist name gi$en to the *iet Gong. At e$ery opportunity he 'egra'es the
enemy: rotten fish-sauce breathJ they are ugly& etc.
it's not a woman's tit 0 bac# to se) references& reinforce' with worse luck 0 because in this
case& itEs ba' luc# itEs not a womanK
tripes is slang for "guts" 6which ! guess is slang for "stomach an' intestines"K7 Here Dawe
shows how bloo'y war is 0 this is a $i$i' image that brings to min' images of battle.
Like I said ... you're dead dead dead : the message of this poemJ lea$es us with a sense of
forebo'ing& that most people in this group will en' up "'ea' 'ea' 'ea'".
General Notes
Dawe shows the realities of war: ali$e one moment& 'ea' the ne)t.
too late ... your tripes are round your neck ...
you know what you are? You're dead dead dead.
Here we see the e)plicit cru'ity of the sargeant& an' the reptition of "'ea'" emphasises the
message the officer wants to 'rill into his sol'iers. -hey are taught to hate& fear& an' listen to
authority& so they wonEt .ust go out an' 'ie nee'lessly. -he officer 'oes this by asserting his
authority an' con$incing them that war is real& not a game: they are sent out not only with a
weapon& but as a weapon.
-he sol'iers nee' to be numbe' of all emotion when on the fiel'. Gru'e& racist .argon is
use' so they will $iew the enemy as subhuman an' feel no emotion for them.
-he officer is not malicious: he is 'oing his .ob& an' he will 'o anything he has to to #eep
the boys ali$e.
-here is no clear structure an' the rhyme scheme is unobtrusi$e& which emphasises the
monologue form of the poem: 'espite the rhymes& the poem still soun's li#e human speech.
-he repetition of "-" an' "!" soun's in wor's li#e "clic#" an' "pitter0patter" are
onomatopoeic an' soun' li#e weaponry. -he sol'iers are being turne' into weapons
themsel$es 6so that their gun is merely an e)tension of themsel$es7.
-his poem is not ironicJ the use of $oice is almost a paro'y of a sargeant& but the e'ge to the
tone gi$es away his fear that these sol'iers will .ust go an' 'ie.
Questions
,hat initial impression 'o we get of the instructorF
,hat is our attitu'e to him an' what he representsF
How 'o we #now it is the $oice of somebo'y who has power or control in this situationF
,hy 'oes the instructor raise the issue of protecting the genetaliaF
,hy 'oes he spea# about the enemy in the way he 'oesF
,hat 'o you thin# the instructor hopes to achie$eF
!s your attitu'e towar's the instructor change' by the en' of the poemF
http://lar'ca$e.net/hsc/english.ug.'awe.enterwithoutsomuch.html
HSC Notes: 2 Unit General English: Bruce Dawe
Enter Without So Much as noc!ing
Memento, homo, quia pulvis es, et in pulverem reverteris.
Blink, blink. HOSPITAL. SILENCE.
Ten days old, carried in the front door in his
other!s ars, first thin" he heard #as
Bobby $a%%ler on Channel &'
Hello, hello hello all yo( l(cky )eo)le and he
really #as l(cky beca(se it didn!t ean a thin"
to hi then...
A year or t#o to settle in and
"et ac*(ainted #ith the set+(), like e-ery other
#ell+e*(i))ed soothly+r(n ho(sehold, his incl(ded
one econoy+si%e .(, one Anthony S*(ires+
Coolstrea+S(er#ei"ht $ad, alon" #ith t#o other kids
strai"ht off the /(nior $e)artent rack.
0hen .o #on the
L(ck!s+A+1ortch Tricky+T(ne 2(i% she took hi sho))in"
in the "ood+as+ne# station+#a"on 34 567 de). at 8eno!s9.
Bee), bee). 0AL:. $ON!T 0AL:. T;8N
LE1T. NO PA8:IN<. 0AIT HE8E. NO
S.O:IN<. :EEP CLEA8=O;T=O11 <8ASS. NO
B8EATHIN< E>CEPT B? O8$E8. BE0A8E O1
THIS. 0ATCH O;T 1O8 THAT. .y <od 3bee)9
the con"estion here @(st "ets 3bee)9
#orse e-ery day, no# #hat the 3bee) bee)9 does
that idiot think he!s doin" 3bee) bee) and BEEP9.
Ho#e-er, #hat he en@oyed ost of all #as #hen they
#ent to the late sho# at the local dri-e+in, on a clear ni"ht
and he co(ld see 3beyond the fifty+foot screen #here
"iant faces fore-er snarled screaed or ake
inco)rehensible and onstro(s lo-e9 a )(re
(nad(lterated frin"e of sky, littered #ith stars
no+one had "ot aro(nd to fiAin" () yet' he!d #atch the
circlin" abo(t in l(ino(s "ro()s like kids at the circ(s
#ho ne-er "o *(ite close eno("h to the ele)hant to "et kicked.
Any#ay, )retty soon he #as old eno("h to be
realistic like e-ery other "odless
oney+h(n"ry back+stabbin" iserable
so+and+so, and then it #as "oodbye stars and the soft
cry in the corner #hen no+one #as lookin" beca(se
I! tellin" yo( strai"ht, /i, it!s N(ber One e-ery tie
for this chicken, hit #here-er yo( see a head and
kick #hoe-er!s do#n, #ell thanks for a lo-ely
e-enin" Clare, it!s "ood to "et a#ay fro it all
once in a #hile, I ean it!s a real battle all the #ay
and a an can!t hel) b(t feel a little soiled, hiself,
at ties, yo( kno# #hat I eanB
No# take it easy
on those c(r-es, Alice, for <od!s sake,
I!-e had eno("h for one ni"ht, #ith that Clare /ess(),
hey, ease (), #ill yo(, #atch it ++
Probity C Sons, .orticians,
did a really first+class @ob on his face
3e-eryone #as -ery )leased9 e-en addin" a
healthy tan he!d ne-er had, li-in", "a-e hi back for kee)s
the old a(toatic sile #ith nothin" behind it,
#indin" the #hole sho# () #ith a
nice ride o(t to the (nder"ro(nd etro)olis
)eranent residentials, no )arkin" tickets, no taAieters
tickin", no Bobby $a%%lers here, no do#n )ayents,
nobody "rie-in" o-er halitosis
flat feet shrinkin" "(s fallin" hair.
SiA feet do#n nobody interested.
Blink, blink. CE.ETE8?. Silence.
Epigraph: "emem#er$ man$ that thou art dust$ and unto dust thou shalt return.
Stan%a &
'lin!$ #lin!. ()S*+T,-. S+-EN.E.
3pea#s of a baby wa#ing into life. -he sentences are 'eliberately short an' simple. -he baby
ta#es in the hospital& sees signs an' e)pectations.
-he first thing that he hears is not a lo$ing mother& but the $oice of materialism.
L58/H 0 Bobby Da22ler collo(. for "super" in the 40s an' ;0sF
-he colon at the en' of the line mar#s a pause an' a change in tone.
Bobby Da22lerEs false heartiness reflects the false& materialistic nature of the worl' into
which the chil' has been born. !ello" hello" hello all you lucky people. -his is
imme'iately followe' by a cynical comment from the narrator 6and he really was lucky
because it didn't mean a thing to him then7 0 Bobby Da22ler 'oesnEt ha$e an impact on the
chil'Es life 0 yet: the chil' is luc#y because he is innocent of the falseness of society. Iote
the irony of this comment in contrast to the rest of the stan2a.
-he trail0off sentences ha$e con$ey three meanings: they show cynicism& are similar to
rhetorical (uestions& an' lea' into the ne)t stage of his life.
Stan%a 2
# year or two to settle in and
get acquainted with the set-up
-his is systematic& col'& an' impersonal. Gontrast this to the usual warmth an' sense of
uni(ueness associate' with the birth of a chil' 0 the chil'Es life& .ust li#e the rest of society& is
mass0 pro'uce'.
$ell-equipped" smoothly-run" economy-si%e: these compoun' wor's are commonly use' in
a'$ertising& as if the life is being sol' to the chil'. -his is reinforce' by the use of a list& an'
the use of stereotypes& both of which are impersonal.
&conomy-si%ed 'um
... is a se)ist 'escription an' is a typical stereotype of the ;0s.
#nthony (quires -
Coolstream - (ummerweight )ad
Anthony 3(uires is an Australian bran' of suit.
(traight off the *unior )epartment rack.
-hese chil'ren ha$e no names& gen'er or 'escription 68)cept to point out that they are
wearing what e$eryone else their age wears7. 8$erything about the family is 'escribe' in
se)ist& stan'ar'ise'& 'epersonalise' tones. -he family has not grown 0 it has been bought
an' constructe'.
Stan%a /
Luck's-#-fortch +ricky-+une-,ui%
Iote the capitals: the emphasis is o$er0the0top. 8$i'ence of consumerism 6an' se)ism7
again 0 after winning the (ui2& <um chose to celebrate by ta#ing him shopping.
-ood-as-new station-wagon 0 more consumerism. itEs not "secon' han'"& itEs "goo' as new".
-he price of 4:; poun's woul' ha$e been $ery e)pensi$e for a car. Also note that a station
wagon is room enough to carry the .D chil'ren that was the national a$erage.
.eep" beep.
8)periencing the worl' through the eyes of a chil' in the car. -he series of imperati$es
6$#L/. )01'+ $#L/. +231 4 L&5+ 10 6#3/I1-. $#I+ !&3&. 10 4 ('0/I1-7 which
starts off realistically becomes satirical: 10 4 .3&#+!I1- &7C&6+ .Y 03)&3. .&$#3&
05 4 +!I(. $#+C! 02+ 503 +!#+.
Ioise an' aggression in the ne)t few lines. -he parenthetical beeps coul' represent& apart
from the ob$ious car horn& a censorship of swear wor's. !magery of the "rat race" 0 the
frustration culminates in a final .&&6.
!n general& the car .ourney coul' represent this manEs life.
Stan%a 0
!owe8er 0 (ualifying wor' signifiying a change of tone. -he poem slows aroun' this
change of 'irection& but (uic#ly pic#s up spee' again.
!e en9oyed 0 this comment on the chil'Es opinion is the first sign of any emotion in the
whole poem.
on a clear night and he could see ?...@ a pure unadulterated fringe of sky 0 -he boy is still
fairly imper$ious to the 'own si'e of things 0 he has not succumbe' to the material worl'&
yet. He is intereste' in natural beauty& magic#e' by the stars. -he comment in parentheses
here 6beyond the fifty-foot screen ... monstrous lo8e7is a remin'er of the worl' which the boy
will e$entually ha$e to face. -he fact they they are absorbe' in watching people ma#ing
"9rotes(ue& monstrous lo$e" shows the sor'i' nature of society. Iote the use of the $erbs
"snarle'" an' "screame'".
-he wor' "5na'ulterate'" is also use' in a'$ertising& an' its use here to 'escribe something
naturally beautiful is a contrast& an' illustrates an un'erlying theme of the poem 0 that of the
contrast between "-he horror of man an' the beauty of Iature."
Gonsi'er the alternati$e meanings of "stars" 0 mo$ie stars& aspirations.
-he wor' "littere'" has ba' connotations& an' is ironic because the stars are about the only
pure thing the poet has yet mentione'. -his is perhaps what "society" woul' say about them
0 an i'ea reinforce' with the comment stars no-one had got around to fi:ing up yet.
kids at the circus 0 the stars are too far away to be touche' by society& but this stan2a en's
sa'ly because the chil' is close enough& an' e$entually will get "#ic#e'".
Stan%a 1
Mnce more& there is a change of tone an' pace with the wor' "anyway". -his intro'uces a
collo(uial tone to con$ey the passing of time. -his is $ery cynical& because the poet mo$es
from early chil'hoo' into mi''le age& in a few lines.
-his in'icates that chil'hoo' is unimportant an' might as well ha$e not e)iste' 0 perhaps
the rest of the chil'Es 'e$elopment was so similar to e$eryone elseEs as to not ha$e been
worth mentioningF
-he harsh turns of phrase 6"bac#0stabbing"& "money0hungry"7 show that the chil' has
without 'oubt finally face' the real wor'& which is 'ominate' by these types of people.
goodbye stars... goo'bye the the worl' of natural beauty an' innocence 0 perhaps goo'bye
also to any 'reams of ma#ing a 'ifference the chil' ha'
... and the soft cry in the corner 0 no more showing emotion. A se)ist comment: !n this
society& men 'onEt cry.
Iote the intrusion of the chil'Es a'ult $oice here. -he first time this has happene'& an'
re$eale' is a harsh& selfish& "realistic" a'ult.
1umber 0ne e8ery time 0 a collo(uial e)pression 0 care for yourself before you care for
anyone else.
+his chicken& signifying himself& is an Australian collo(uialism. -he rest of the line& kick
whoe8er's down& reflects again the selfishness of the a'ult& who in turn reflects the nature of
society 0 as long as !Em alright& it 'oesnEt matter whom ! hurt.
+hanks for a lo8ely e8ening Clare 0 the su''en change of tone here hints at the insincerity of
this comment& which is reinforce' in the ne)t stan2a.
# man can't help but feel a little soiled" himself" at times" you know what I mean?
-he real worl' is awful& an' the man has been soile' 0 ironically& soile' too much to really
un'erstan' what he is missing.
Stan%a 2
Iote that there is no mention of lo$e or romance or marriage or attraction before this stan2a&
which starts with him in a car with a woman who is probably his wife. -his reinforces the
theme of o$er0ri'ing materialism 0 husban's an' wi$es are ac(uire' .ust li#e a house or a
car.
-he tone has change' bac# from con$ersational to har'ene' an' cynical. !n'icati$e of his
relationship with his wife.
He bac#stabs Glare& in'icating his hypocrisy. He is being 'ri$en home by his wife& an' he is
possibly 'run#.
-he punctuation mar# 0 a 'ash 0 at the en' of the paragraph lea$es the car acci'ent entirely
to the imagination. He was not in control& an' the unfinishe' sentence has been cut short
'eliberately to show the 'ifference between life an' 'eath: a short blin# an' you miss it.
Stan%a 3
*ro#it4 5 Sons$ Morticians$
6robity is uprightness an' honesty. Hence this paragraph is $ery ironic& because +robity N
3ons promote the faca'es of society e$en in 'eath 6a healthy tan& for e)ample7.
Another change of tone 0 bac# to narrator an' obser$er.
-he callousness of e$eryone aroun' him 0 a person has .ust 'ie'& an' people are paying
attention to the ma#e0up on his face. Gonfirme' by the apathetic an' unemotional reaction
of obser$ers: ;&8eryone was 8ery pleased< 0 heEs 'ea'& but he looks goo'.
the old automatic smile with nothing behind it0 shows the e)tent of the faca'e he ha'
'e$elope' in or'er to fit in with society& which #ills genuine emotional responses an'
in'i$i'ualism& an' encourages conformity. -he whole i'ea of the funeral 'irectors ma#ing
him loo# goo' ties in with the theme of the hypocrisy of society 0 the ultimate comment on
society is that with "that automatic smile with nothing behin' it"& the man might as well
ha$e been 'ea' e$en before the acci'ent: "He was 'ea' before he was #ille'".
winding the whole show up 0 this manEs life was li#e a -* show& which is now finishing&
hence the .o#ey& happy tal# show host0style narrati$e& with un'ertones of bitterness an'
irony. -his also win's up the poem.
2nderground metropolis 0 ie& the necropolis. 8$en in 'eath& the man cannot escape the
metropolis.
Ai#e a tal# show host or an a'$ertisement& the narrati$e bree2es o$er items& as if to generate
interest: permanent resi'entials& no un'ergroun' par#ing& etc. 8$en 'eath is cheapene' an'
sol'.
-rie8ing o8er halitosis 0 9rie$ing is a $ery 'eep an' powerful emotion& associate' of course
with 'eath. !t is not usually associate' with worry about halitosis ?ba' breath@ an' in'icates
the placement of societyEs $alues. Iote that there is grie$ing o$er halitosis in the li$ing
worl'& but no grie$ing for the 'ea'. !n fact& people are please' 0 because he has been ma'e
up so well.
(i: feet down nobody interested 0 he 'oesnEt affect peopleEs li$es anymore& so nobo'y cares.
'lin!$ #lin!. .EMETE"6. Silence.
As the chil' blin#e' into life& the man blin#s into 'eath an' whate$er is after it 0 in this case&
silence. -he final soun' coul' be reminiscent of a cemetery gate shutting.
Generall4
+eople are too ashame' to ha$e a soft cry in the corner because they ha$e surren'e' to a
society which is emotionally ban#rupt an' centre' on faca'e.
-he general attitu'e: Gonsume& be silent& 'ie.
-heme of the cyclical nature of life 0 note the similarity of the beginning an' the en' of the
poem.
Mther themes: Gonformity& consumerism& materialism& an' its effect on in'i$i'ualsJ
mortality of man& man ma'e $erus natural beauty& innocence an' its loss& the shallowness
an' hypocrisy of mo'ern i'eals an' $aluesJ faca'es of society& loss of personal $alues.
!magery: Human life as a gameshowJ family as an a'$ertise' pro'uctJ 3tars li#e #i's at the
circusJ the cemetery as an un'ergroun' city.
http://www.7uia.com/8g//9323list.html
The *oetr4 o: 'ruce ;awe
!nclu'es Homecoming& EAcci'ent an' Ambulance sirenE& ECatrinaE&
EBrea#throughE& E-he Iot 3o 9oo' 8arthE an' E8nter without so much as
Cnoc#ingE
-ools
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to my
account
80mail to a
frien'
4in' other
acti$ities
3tart o$er
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central concerns life& me'ia& materialism& contemporary
worl'
style/techni(ue accessibility& familiarity&
informal/collo(uial& or'inary sub.ect
matter
use of humour sarire& pun& irony& paro'y& sarcasm&
blac# humour
-he Iot so 9oo' 8arth Otheme those who can be entretaine' by other
peopleEs suffering
Acci'ent an' Ambulace 3irenOtheme mirrors one of our 'eepest fears 0 'eath
8nter ,ithout so much as
Cnoc#ingOtheme
people un'er me'ia or peer group
pressure use cliches supplie' by
pressure groups intea' of thin#ing out
their own $alues an' the emptiness of
our li$es
CatrinaOtheme e)presses competently an' honestly the
(uality of absolute& un(ualifie' lo$e&
which is for all of us our 'eepest nee'
HomecomingOtheme elrgy about the 'eep trage'y of any war
Brea#throughOtheme the impact an' influence of a'$ertising
on our e$ery'ay li$es
-he Iot 3o 9oo' 8arthO techni(ues clear an' unmitigate' satire& irony&
o)ymoron
Acci'ent an' Ambulance
3irenOtechni(ues
figurati$e imagery& metaphor& limite'
punctuation& rhetorical (uestions
8nter ,ithout 3o much as
Cnoc#ingOtechni(ues
'ramatic presentation& cliches&
humourthrough absur'ly e)aggerate'
e)amples& emphasis through repetiton&
emphasis on first wor's of lines&
figurati$e language& light hearte'
flippant tone
CatrinaOtechni(ues figurati$e imagery& metaphor& analogy&
structure' $ariation of the length of
lines
HomecomingOtechni(ues figurati$e imagery6mostly metaphors7&
slow reoccurring rhythm& repetition&
alliteration& listing& hea$y impersonal
monotonous tone& para'o)
Brea#through Otechni(ues incongruity& e)aggeration& contrast&
figurati$e language
3atire ,itty sarcasm
,n appreciation o: <-i:e=.4cle< #4 'ruce ;awe
-his ten $erse poem is a testament to a 'istinctly Australian in$ention& Aussie /ules football.
4ootball is portraye' as a religion& is foo' an' 'rin#& is the life0cycle itself. 4ootball nourishes the
young an' renews the ol'. !ts mythology is life0sustaining. !t brings "sal$ation"& the punch0line of
the poem.
-he poet sprin#les the language of football liberally: "barrac#ing...Garn ... streamers...scarfe'
...Demons...3aints...la''er...final term...three0(uarter0time...boun'ary fences". -he argot of the
gran'stan's is hear' in Garn the Haw#s.. Garn the Gats...Garn the Bombers." Dawe li#ens the
initiation of a baby to the game when he is hel' aloft at his first game as spectator li#e young
wrigglers swimming to the surface in the floo' of light an' soun' in the roaring hea$en
6"empyrean"7& of the <G9 no 'oubt. -his football has epic an' heroic connotations.
DaweEs tone is e$er so slightly moc#ing but gently so. He respects the strength of footballEs cultic
life an' the life0sustaining (ualities it offers. He #nows it is a life0gi$ing religion offering an
initiation& a .ourney& a we''ing& a honeymoon an' sal$ation. He 'oes not 'eny its worth nor 'oes
he fully si'e with its rituals. He respects the fact that Australian football is a perpetually renewing
mythology an' although the 'ancers change& the 'ance goes on.
! en.oye' this poem an' rate it a public statement of a fact. -he power an' passion of *ictorian
football in its homelan' is won'erful to behol'. Dawe recor's it all for prosterity.
by 9. 3mith: P/8/:>
3ee also Ioel /owe 'odern #ustralian 6oets =::4& Gh. D A8=.D0: /M,
-----------------------------
,n appreciation o: <(omecoming< #4 'ruce ;awe
Dawe here 'ramatises the homecoming of Australian $eteransE bo'ies from *ietnam. -his is
clearly an anti0war poem& repro'ucing in the se$enties the sentiments of the 4irst ,orl' ,ar poets.
!n ; lines of bro#en $erse presente' in one 'eman'ing stan2a& Dawe recounts how "they are
bringing" home the bo'ies "in 'eep free2e loc#ers"... 2ippe' up "in green plastic bags" "bringing
them home& now& too late." He pic#s out the rituals an' conse(uences of this e$ent on a relati$ely
stable an' uncaring society bac# home 6in Australia7. !ronically& he celebrates their coming home
across the cur$atures of the globe an' across the international bor'ers as they fly homewar'
boun'. Homecomings are usually consoling an' familiar particularly in the American culture
where "homeE ac(uires $ery many strong associations of rest& trust an' i'entity. But here the term
is 'eliberately turne' upsi'e 'own as the 'ea' return home 0 a telling commentary on the *I war
an' what it 'estroye'.
-he 'iction is plain li#e prose& the pace is relentless an' the tone is ironic. -he 'rama of the
historic present moment is e)presse' in many present participles: "pic#ing... bringing....rolling ...
whining..." !n ; lines& the poet 'ri$es us across many 'etails& many particulars in the fi)e' 'rama
of 'eath. DaweEs point of $iew is not uncritical. ,e are en.oine' not to be passionless spectators
but to feel this great in.ustice to our young men. -he irony is that the young are brought bac# to
the ol' ri'iculous cur$atures of our ol' continentEs coasts an' into the cities an' small towns where
they were raise'. -hus a spi'er web of grief "in his bitter geometry" sprea's across the lan'
catching us all.
Dawe uses powerful o)ymorons to highlight the bitterness an' irony of what is happening:
"sorrowful (uic# fingers hea'ing south"& an' "bringing them home now& too late& too early" to
emphasise that their return is premature an' "the mash& the splen'our" their napalm 'eaths are
unnatural para'o)es. Dawe 'ri$es home the con$iction that the whole war is a contra'iction:
"6'ea'7 fingers are tracing a course southwar's" an' "the howl of their homecoming" 6in the .et
engines7 moc#s a tic#er tape para'e they are owe' if they ha' returne' as homecoming li$ing
$ictors. Io won'er they recei$e only "mute salute" from 'ogs not their fellow countrymen.
! li#e it when a poem has a central focus. DaweEs 'eft writing plays powerful chor's on our
emotions: the in.ustice of #illing young men an' its o$erwhelming reality is 'eli$ere' in many
obser$able 'etails. /ather than say ! en.oye' this poem& let me say ! appreciate what it is 'oing
an' rate it a powerful in'ictment of Australian in$ol$ement in *ietnam. !t is a memorable poem.
by 9. 3mith P/8/:>J 48P wor's
Iotes on Bruce Dawe from 0utrider pp. 80:>.
speech of the commonplace an' suburban poetry for the common man
wor#ing class origins& born =:D0 9eelong
$ariety of .obs an' self taught& part time stu'y
combination of sympathy an' satire
his battlers are ele$ate' to myth
'isturbs the rea'erEs sense of familiarity
many of his poems are elegiac successes
"a painful lac# of social awareness in 6Australian7 poetry"
"e)poses what he sees as a 'ehumanising forces& an' so to 'efen' an' celebrate
in'i$i'ualityE
self critical& a $ulnerable $ernacular poet
use of 'ramartic monologue 6-ood 5riday7
his faults: sentimentality n' simplicity
poets catches himself on the e'ge of belief
satirise an' celebrate football 6Lifecycle7
concerne' about the 'estructi$e ten'encies in tele$ision 61ot (o -ood &arth7
!omecoming is more elegy than satireJ pre'ominantly elegiac moo'
gi$es the in'i$i'ual a true $oice
ample use of ambi$alence
battler mythology
Australian nostalgia for myth
Iotes by this author 9reg 3mith
http://home.pacific.net.au/Bgreg.hub/lifecycle.html
'ruce ;awe>s *oetr4
,ritten by: 2nregistered
;iscuss 2 o: ;awe>s poems which illustrates his #elie: that ordinar4 things in li:e are a good
su#8ect :or poetr4.
Bruce Dawe poems illustrate his $ersion of "or'inary". -he poems ! ha$e stu'ie' of his wor# ha$e
been about life an' how people 'eal with e$ery'ay li$ing. 3uch poems as Drifters an'
Homosuburbiensis are goo' e)amples of how Dawe captures the meaning of "or'inary". Drifters
is about a family who mo$e from place to place& as the father nee's to mo$e by the 'eman' of his
.ob. -he young chil'ren are growing up to learn no other way of life& as they are all waiting for the
'ay they shall mo$e again. -he chil'ren get $ery e)cite' about this& as it is something 'ifferent an'
is of course an a'$enturous& in or'inary life.
-he el'est& she is seeing what she is missing out on an' is becoming aware that there noma'ic
li$es may ne$er change. 3he who once was one of those e)cite' chil'ren& realises she can not lea'
a normal teenage life as she is not statione' long enough& to become frien's with people her own
age. 3he is becoming frustrate' with her life. 3he becomes upset but #nows she has to accept the
ine$itable. 4rom the abo$e Dawe shows compassion for the el'est as she has to go through this
more than once. Also the young chil'ren are going to grow up to realise they will too go through
the same thing. Dawe also shows a serious si'e in the poem& as the mother .ust wants to settle
'own an' ha$e the bright future she has always 'reame' of. Dawe has a sympathetic outloo#
towar's the mother& by outlining her hopes an' 'reams& also as#ing her husban' -om to ma#e a
wish in the last line of the poem. -hus hoping he will choose the same path in life that woul' be
concrete an' will bring them closer together. Because this is a continuous e$ent the mother is
getting frustrate' as at the time of pac#ing once again she fin's that she has not unpac#e' from
there last mo$e.
-his poem is not e$eryoneEs or'inary life but a life the ha$e to lea' in or'er to stay functional. -he
family ha$e to ma#e sacrifices because it is more of a necessity. -his life they lea' is or'inary to
the young chil'ren but frustrating towar's the el'est an' the mother. Although they mo$e aroun'
itEs a $ersion of or'inary li$es. -his is a goo' sub.ect for poetry as it is continuous an' may be
ne$er en'ing& for this family. -he secon' poem calle' Homosuburbiensis0latin term for humans
that li$e in the suburbs. -he poem locates a typical suburban home set on a (uarter0acre bloc# with
a flower gar'en an' lawn in front an' a $egetable gar'en 6lawn7 at the bac#.
-he poem asserts that there is one constant $alue in a turbulent worl'. -he man is a suburban
househol'er stan'ing alone in his bac#yar' on a (uiet e$ening among his $egetables. DaweEs tone
seems humerous as it is "not much but itEs all weE$e got."
-he imagery suggests that Dawe is both celebrating suburbia& while in some ways puts 'own the
suburban househol'ers 'reams: -he rich smell of compost an' rubbish. -he space ta#en $astly by
o$ercrow'ness of $ines represent the o$ercrow'ing of suburbia.His thoughts are lost escaping the
pressures that come with life. -he traffic unescapable to his min'. Dawe shows a sympathetic loo#
towar's this person& as e$en in the retreat of his bac#yar' he still cannot escape the lifestyle of
suburbs.
-his is agoo' e)ample of an or'inary life as this particular person nee's to escape the pressures
which highlight -!<8&+A!I&AM*8& HA-8&A98&,A/&D8A-H&AA59H-8/&48*8/. All which
are present an' Dawe ma#es that aware of an "or'inary life". Being achie$e' in his fence' off
bac# yar'.
Dawe proposes that or'inary lifestyles are not .ust eat& wor#& sleep but the strains people ha$e to
face e$ery'ay. He goes into 'epths of peoples li$es an' ma#es their problems ob$ious to the
rea'ers. Dawe faces peoples problems that 'o not get bought up e$ery'ay an' are ignore'.
http://www.planetpapers.com/Assets/:D.php
B Bruce DaweEs +oetry B
Year 11 English assignment
PART 1 - Working in pairs:

Read the comments by others on the ollowing !oems by Bruce Dawe:
"ie#cycle
Homecoming
Enter $ithout So %uch as &noc'ing
Homo Suburbiensis
$ea!ons (raining
Discuss these comments and your own )ournal entries *rom your homewor'+, with
your !artner-
Share the outcomes o your discussion to the class .group oral/
PART 2 - Working individually:
Select any other !oem by Bruce Dawe and write your own commentary and
analysis- (hese res!onses will be con0erted into connected web !ages-
http://www.a'elai'ehs.sa.e'u.au/ahsintranet/sub.ects/8nglish/'aweOpoetry.htm
,n appreciation o: <(omecoming< #4 'ruce ;awe
Dawe here 'ramatises the homecoming of Australian $eteransE bo'ies from *ietnam. -his is
clearly an anti0war poem& repro'ucing in the se$enties the sentiments of the 4irst ,orl' ,ar poets.
!n ; lines of bro#en $erse presente' in one 'eman'ing stan2a& Dawe recounts how "they are
bringing" home the bo'ies "in 'eep free2e loc#ers"... 2ippe' up "in green plastic bags" "bringing
them home& now& too late." He pic#s out the rituals an' conse(uences of this e$ent on a relati$ely
stable an' uncaring society bac# home 6in Australia7. !ronically& he celebrates their coming home
across the cur$atures of the globe an' across the international bor'ers as they fly homewar'
boun'. Homecomings are usually consoling an' familiar particularly in the American culture
where "homeE ac(uires $ery many strong associations of rest& trust an' i'entity. But here the term
is 'eliberately turne' upsi'e 'own as the 'ea' return home 0 a telling commentary on the *I war
an' what it 'estroye'.
-he 'iction is plain li#e prose& the pace is relentless an' the tone is ironic. -he 'rama of the
historic present moment is e)presse' in many present participles: "pic#ing... bringing....rolling ...
whining..." !n ; lines& the poet 'ri$es us across many 'etails& many particulars in the fi)e' 'rama
of 'eath. DaweEs point of $iew is not uncritical. ,e are en.oine' not to be passionless spectators
but to feel this great in.ustice to our young men. -he irony is that the young are brought bac# to
the ol' ri'iculous cur$atures of our ol' continentEs coasts an' into the cities an' small towns where
they were raise'. -hus a spi'er web of grief "in his bitter geometry" sprea's across the lan'
catching us all.
Dawe uses powerful o)ymorons to highlight the bitterness an' irony of what is happening:
"sorrowful (uic# fingers hea'ing south"& an' "bringing them home now& too late& too early" to
emphasise that their return is premature an' "the mash& the splen'our" their napalm 'eaths are
unnatural para'o)es. Dawe 'ri$es home the con$iction that the whole war is a contra'iction:
"6'ea'7 fingers are tracing a course southwar's" an' "the howl of their homecoming" 6in the .et
engines7 moc#s a tic#er tape para'e they are owe' if they ha' returne' as homecoming li$ing
$ictors. Io won'er they recei$e only "mute salute" from 'ogs not their fellow countrymen.
! li#e it when a poem has a central focus. DaweEs 'eft writing plays powerful chor's on our
emotions: the in.ustice of #illing young men an' its o$erwhelming reality is 'eli$ere' in many
obser$able 'etails. /ather than say ! en.oye' this poem& let me say ! appreciate what it is 'oing
an' rate it a powerful in'ictment of Australian in$ol$ement in *ietnam. !t is a memorable poem.
by 9. 3mith P/8/:>J 48P wor's
HSC Notes: 2 Unit General English: Bruce Dawe
(omo Su#ur#iensis
5or Craig 'c-regor
One constant in a #orld of -ariables
++ A an alone in the e-enin" in his )atch of -e"etables,
and all the thin"s he takes do#n #ith hi there
0here the easeent r(ns alon" the back fence and the air
sells of toato+-ines, and the hoarse ras)in" tendrils
of )()kin flo(rish cl(sy #hi)s and their folia"e s)ra#ls
O-er the co)ost+boA, )oisin" ra)ant ()on
the )alin"s ...
He stands there, lost in a "reen
conf(sion, sellin" the soke of soebody!s r(bbish
B(rnin", hearin" -a"(ely the clatter of a disk
in a sink that co(ld be his, hearin" a do", a kid,
a far #his)er of traffic, and offerin" () instead
Not (ch b(t as (ch as any an can offer
++ tie, )ain, lo-e, hate, a"e, #are, death, la("hter, fe-er.
Stan%a &
Constant is a poisiti$e comment& he is alone with his thoughts& static an' unchanging& while
the worl' outsi'e continues on obli$ious.
6atch of 8egetables is his territory 0 a place where he can $ent his frustrations by gar'ening&
a place where he has total control& with things he has grown himself.
e8ening 0 ie& the man cannot be alone with his thoughts while 'oing the 'ayEs wor#& he is
only free after the wor# is complete.
!t is interesting to note that the mar# of a ci$ilisation in the ol' times& was the fact that they
ha' mastere' agriculture& in or'er to fee' the people through people specialising into
'ifferent fiel's. -his implie' 'ifferent classes& eg an e'ucate' class& a farming class& an' this
e$entually le' to ci$ilisation. 3ome ancient ci$ilisations& eg Babylon& pai' a lot of attention
to gar'ens.
Also note the parallel to the 9ar'en of 8'en.
#ll the things he takes down with him there 0 although not specifie'& "all the things" can be
the things he carries in his hea' 0 thoughts& feelings& emotional baggage& anything that nee's
to be though about an' sol$e' 0 the man can use his gar'en for tension release.
-he gar'en is a place for contemplation& me'itation an' wor#ing things through. ,e see an
emphasis in the poem on the manEs thoughts an' feelings.
Stan%a 2
$here the easement runs...: 8asement is a piece of lan' between properties.
,e can smell& see& touch an' hear the gar'en through $arious 'escriptions in this stan2a an'
the following one. Iote thtat the 'escription is slightly 'etache' 0 we are obser$ing the man
li#e a specimen in a tan#. -his is reflecte' in the title& a Aatin0soun'ing 6but in$ente'7 wor'
to 'escribe this type of man.
-he pump#in is almost ali$e 0 it is "clumsy" an' it "sprawls"& li#e the progress of human
ci$ilisation& $ery slowly e)pan'ing& an' e)pan'ing clumsily. Gontrast the action usually
associate' with whips 6ie& the whipcrac#7 with "clumsy whips" of the pump#in: the sprawly
of ci$ilisation may be slow& but it will progress as ine)orably as if it were 'ri$en with a
whip.
Stan%a /
-he 3ampant is significant in heral'ry& where heral'ic animals pose rampant on shiel's.
3uggests the way the $ines are curle' bac# on themsel$es 0 strong& prou'& an' potentially
'angerous.
the palings ... 0 the way the sentence trails off is important. !t trails off li#e the plant itself&
an' also suggests the en' of the physical 'escription of the gar'en 0 the manEs focus has
'rifte' elsewhere: he was possibly 'ay'reaming while stan'ing in his gar'en.
-he pace pic#s up again 0 the in'entation before !e stands ma#es us focus bac# on him& an'
the poem now focuses on him too& an' what he feels an' sees.
-he i'ea that he is 'eep in thought is further brought out in 3tan2a 4 with the use of the
wor's "lost" an' "$aguely".
-he "green confusion" is li#e a buffer against noise 0 the gar'enEs potential is seen& but at the
moment it is only slighly tame'. ,e can see the wil'ness of the gar'en 0 the plants are wil'
an' confuse'& similar to his thoughts before he arri$e'.
Stan%a 0
Mur senses are arouse' here. 3melling& hearing& seeing& gfeeling the things the man 'oes.
(omebody's rubbish 4 .urning& !earing 8aguely& !earing a dog" a kid& whisper of traffic.
-hese soun's are the only things which intru'e on his refuge an' remin' us that the gar'en
is in suburbia. Howe$er& he is lost in his thoughts an' only hears "$aguely". # sink that
could be his shows that he has ta#en the soun' in& but not thought o$er them enough to
recognise them.
Stan%a 1
offering up instead 4 1ot much 0 he is "offering up" perhaps to a 'eity. He canEt offer up
great or corageous 'ee's& but he can as much as any human can offer 0 his life& his
e)periences.
time 0 the time he has spent being a father& an' his e)periences. -ime he can still gi$e before
'ying.
pain" lo8e 0 what of pain an' lo$e he has alrea'y e)perience'& an' what he will e)perience
in the future.
hate" age" war" death 0 all these things we go through an' gi$e to the worl' in the form of
e)perience& e$en though we may not #now it.
laughter stan's out from the rest 0 it is two syllables long& unli#e the list so far 0 it implies
.oy an' peace. ,e can see at this point that the poem is a song of praise to the or'inary
person& gi$ing what small things they can to the worl'.
fe8er is not necessarily a negati$e wor' 0 it coul' represent intense emotion of any sort& an'
perhaps coul' sum up the rest of the list. Howe$er it also suggests sic#ness an' 'eath& an' is
unpre'ictable in nature.
-he poem is celebrating that although this man may be or'inary& the $ery act of being ali$e
can be a celebration& li#e the growing of plants: it is not the (uantity of what you gi$e& but
the (uality.
General Notes
-he gar'en represents the min' 0 chaotic when wil'& but when structure'& of surpassing
beauty& li#e a well0#ept gar'en. -he manEs thoughts& as represente' by the gar'en& may seem
chaotic but there is or'er there 0 in the compost bo)& etc.
-he title& !omo (uburbiensis& is a paro'y of scientific classification metho's: <an of the
3uburbs& an' generally the poet $iews the man as the scientist woul' a specimen: intereste'&
but with 'etachment& an' perhaps a (uiet .oy in the beauty of it all.
http://lar'ca$e.net/hsc/english.ug.'awe.homosuburbiensis.html
+oet& Born =:D0& 9eelong *ic
Mne of the biggest selling an' most highly regar'e' of
Australian poets& Bruce Dawe& E-he +oet of 3uburbiaE& li$es an
uncon$entionally con$entional life. He grew up in a househol'
where his father& a farm labourer& was often unemploye' an'
often absent from home. His rather eccentric mother longe' for
the #in' of stability an' success in life that circumstances
always 'enie' her.
Dawe 'rifte' through his early years showing promise as a
writer but fin'ing little 'irection for his life. -he $ariety of his
many occupations 0 labourer& postman& uni$ersity failure& air
force officer& father an' teacher 0 has ser$e' to gi$e Dawe
e)traor'inary empathy with people from all bac#groun's&
which characterises his poetry an' gi$es a $oice to so0calle'
or'inary Australians.
-his encounter with Bruce Dawe allows us an insight into the
moti$ation an' metho's of a $ery fine poet whose ability to
e)press the 'rama an' beauty of e$ery'ay life has ma'e his
wor# rea'ily accessible to the general public.
http://www.australianbiography.go$.au/sub.ects/'awe/bio.html
AUSTRALIAN
BIOGRAPHY
STUDY GUIDE
B r u c e D a w e
1 9 3 0
Po e t
A series tat !ro"#es so$e o% te $ost
e&traor'i(ar) Austra#ia(s o% our ti$e
This program is an episode of Austra#ia( Bio*ra!) Series 6 produced
under the
National Interest Program of Film Australia This !ell"esta#lished series pro$les
some of the most e%traordinar& Australians of our time 'an& ha(e had a
ma)or
impact on the nation*s cultural+ political and social life All are remar,a#le and
inspiring people !ho ha(e reached a stage in their li(es !here the& can loo,
#ac, and re-ect Through re(ealing in"depth inter(ie!s+ the& share their
stories.
of #eginnings and challenges+ landmar,s and turning points In so doing+ the&
pro(ide us !ith an in(alua#le archi(al record and a uni/ue perspecti(e on the
roads !e+ as a countr&+ ha(e tra(elled
Austra#ia( Bio*ra!)+ Bruce Dawe
Directors,Pro'ucers 0o#in 1ughes+ 2inda 3ruger
-&ecuti.e Pro'ucers Sharon 4onnoll&+ 'egan 'c'urch&
Duratio( 56 minutes Year 6778
Stud& guide prepared #& Diane 9*Flahert& : Film Australia
Also in Series 6; E(a <urro!s+ Eli=a#eth Durac,+ 'argaret Fulton
>imm& 2ittle+ <A Santamaria
A FI2' AUST0A2IA NATI9NA2 INTE0EST P09G0A'
For more information a#out Film Australia*s programs+ contact;
Film Australia Sales+ P9 <o% ?6 2ind$eld NS@ 5A8A
Te# A5 7?6B C6B? /a& A5 7?66 7?A6 -$ai# salesD$lmaustcomau
www0"#$aust0co$0au
SYN9PSIS
9ne of the #iggest selling and most highl& regarded of Australian
poets+ <ruce Da!e+ EThe Poet of Su#ur#ia*+ li(es an uncon(entionall&
con(entional life 1e gre! up in a household !here his father+ a
farm la#ourer+ !as often unemplo&ed and often a#sent from home
1is rather eccentric mother longed for the ,ind of sta#ilit& and
success in life that circumstances al!a&s denied her
Da!e drifted through his earl& &ears sho!ing promise as a !riter
#ut $nding little direction for his life The (ariet& of his man&
occupations.la#ourer+ postman+ uni(ersit& failure+ air force oFcer+
father and teacher.has ser(ed to gi(e Da!e e%traordinar& empath&
!ith people from all #ac,grounds+ !hich characterises his poetr&
and gi(es a (oice to so"called ordinar& Australians
This encounter !ith <ruce Da!e allo!s us an insight into the
moti(ation and methods of a (er& $ne poet !hose a#ilit& to e%press
the drama and #eaut& of e(er&da& life has made his !or, readil&
accessi#le to the general pu#lic
4U00I4U2U' 2IN3S
2ines of thought and /uestions !ithin this stud& guide !ill ha(e
interest and rele(ance for teachers and students at middle to senior
secondar& and tertiar& le(els 4urriculum lin,s include English+
2iterature+ Studies of Societ& and En(ironment+ Societ& and 4ulture
and Australian 1istor&
<EF90E @AT41ING
You !ill #e #etter prepared for the program*s content if &ou research
some areas that impacted greatl& on <ruce Da!e*s life
Te Great De!ressio(
<ruce Da!e !as #orn in 67BA and this coincides !ith one of
Australia*s dar,est &ears The Great Depression+ mar,ed #& the
collapse of @all Street in 6757+ sa! a terri#le and e%tended slump
in all #usiness acti(it&
From 6757 to 67B5+ industrial production in the capitalist !orld
fell #& BG per cent+ the (olume of !orld trade fell #& more than
?A per cent and unemplo&ment rose to BA million in 67B5 in the
four ma)or capitalist economies This negati(e c&cle feeds on itself+
!here#& unemplo&ment rises and thus spending falls Australia !as
particularl& (ulnera#le at that time #ecause of our then reliance on
!heat and !ool e%ports 9ther countries could not aHord to #u&
our commodities #ecause of their o!n economic !oes In 67B5+
57 per cent of Australian men !ere unemplo&ed and although the
$gures impro(ed a little in the follo!ing &ears+ our nation !as )ust
reco(ering !hen+ in 67B7+ @orld @ar T!o #ro,e out
I1o! !ould &ou feel+ as the Eman of the famil&*+ ie the sole
#read!inner+ if &ou*d #een una#le to pro(ide for &our !ife and
four childrenJ 0emem#er+ a !oman in paid emplo&ment !as a
rarit& 'arried !omen !ere precluded from the !or,force
I2oo, at the positi(es and the negati(es for !omen and children
in the Great Depression @hat !ould the& ha(e lac,edJ Include
material o#)ects as !ell as emotional and spiritual po(ert& @ithin
these three areas+ !hat #ene$ts could ha(e resulted from such
un!anted #ut imposed conditionsJ
1iet(a$ 2ar Protests
The Kietnam @ar !as fought in the 676As and earl& 678As The
United States of America and its allies LNe! Mealand+ Australia and
South 3oreaN supported South Kietnam against communist
insurgents and their North Kietnam comrades Australia conscripted
ci(ilians in 676? and together !ith the nation*s regular arm&+ the&
fought at Nui Dat+ Phouc Tu& pro(ince+ 2ong Tan and in other ,e&
locations As in the USA+ man& citi=ens of Australia #elie(ed this !as
not their !ar+ and thus+ in 678A+ anti"Kietnam @ar moratorium
marches #egan to #e held in most capital cities The people !on
and #& 4hristmas 6785 the !ar !as all #ut o(er
@1I2E @AT41ING
As &ou !atch the program+ list !ords or short phrases to descri#e
Da!e+ and ma,e notes a#out the degree to !hich &ou thin, he is
representati(e of the Australian identit&
INF2UEN4ES 9N <0U4E DA@E*S 2IFE
The focus of this program is the life of an Australian !ho has Emade
a diHerence* through his o#ser(ing and recording of large parts of
our life LDa!e !as a!arded the 9rder of Australia in 6775 for his
contri#ution to Australian literatureN All poets* e%periences
in(aria#l& emerge in their !or, For Da!e+ this is particularl& so
#ecause his !or, is #ased on the familiarit& of e(er&da& occurrences
T1E G0EAT DEP0ESSI9N
Although <ruce !as onl& a child !hen the Great Depression ra(aged
the countr&+ man& of his e%periences from those &ears militated on
his later life
ITo !hat e%tent do &ou thin, his father*s erratic emplo&ment set the
model for <ruce*s E!hole succession of )o#s*.la!&er*s oFce cler,+
la#ourer+ hand&man gardener+ postman+ teacher+ 0AAF recruitJ
2oo, at each of these )o#s and discuss ho! each of them could ha(e
in-uenced his st&le of !riting poetr&
IAre there parts of &our life that e%ist merel& #ecause &ou ha(e
follo!ed &our parents* !a&J Do &ou #elie(e that parents ha(e a
responsi#ilit& to set a sustaina#le lifest&le e%ample for their childrenJ
I@as <ruce*s father #eing irresponsi#le in drifting from )o# to )o#+
or !as he a product of his circumstancesJ
As a child+ <ruce mo(ed from place to place a lot As a man+
he li(ed in se(eral cities on Australia*s east coast L'el#ourne+
S&dne&+ Too!oom#aN
I4ould it #e that this !anderlust !as esta#lished earl& in his lifeJ
IDoes it emerge in an& of his poetr&J
SP9T2IG1T 9N P9ET0Y.D0IFTE0S
This poem+ and all others <ruce Da!e reads in the program+ is ta,en
from the collection So$eti$es G#a'(ess+ 3o##ecte' Poe$s In 67C?+
the National <oo, 4ouncil of Australia nominated the antholog& as
one of the ten $nest national pu#lications of the preceding decade
The poem EDrifters* sums up each of the famil&*s feelings in mo(ing
on &et again+ and captures the d!indling (italit& of the !ife !ho
dreams of a sta#ilit& !hich ne(er comes
AUST0A2IAN <I9G0AP1Y; <0U4E DA@E 5
I@hat does the title of the antholog&+ So$eti$es G#a'(ess+
suggest to &ouJ
I@hat emotions do &ou hear in the final line of the poem !here
the !oman holds out the #erries and sa&s+ E'a,e a !ish+ Tom
'a,e a !ish*J
I@hat is the significance of the ne!ness of the famil&*s arri(al and
the ne!ness of the #erriesJ
I1o! does the order of e(ents in the poem*s structure create
ine(ita#ilit&J
IOuote some lines that sho! the mother*s need to put do!n some
real roots
I@h& does his mother pic, all the green tomatoes from the (ineJ
I@h& is the first thing she puts on the trailer the E#ottling set she
ne(er unpac,edP*J
I1o! is the mood set #& the poem*s opening !ords+ E9ne da& soon*J
I@hat is contri#uted #& the actual speech Etrul&*J
I1o! does the archi(al footage during the poem*s reading enhance
&our understandingJ Deal !ith t!o speci$cs
/A4ILY
The Da!e famil& !as unusualQ con(entional in the conte%t of the
earl& part of the 5Ath centur&+ #ut not cohesi(e 4onsider ho! the
follo!ing factors in-uenced Da!e*s life;
I1is father !as often in a Edisagreea#le sort of mood* !hich made
things tense around home
IAlthough <ruce !as the &oungest of four children+ he !as Et!ent&
plus &ears &ounger than RhisS #rother and sisters* Thus he didn*t
e%perience si#ling ri(alr&
I1is mother !as am#itious for him 1e !as the onl& one to go to
high school
I1is memor& is that his #rother didn*t spend his earnings on himself+
&et he is unsure a#out !hat his father did !ith the limited mone&
he had
IThe hope that the famil& in(ested in him as Ea cle(er &oung fello!*
I1is admiration for the &ounger of his t!o older sisters !ho had
some poems pu#lished in the 1erald ne!spaper
SP9T2IG1T 9N P9ET0Y.2ITT2E 0ED F9T
In the poem EDrifters*+ the focus !as on Da!e*s mother+ #ut in E2ittle
0ed Fo%*+ it is on his father Again+ the su#)ect matter is e(er&da& and
familiarQ !e are gi(en a portrait of ho! the !riter remem#ers his
father A #ig issue of the poem."that the spirit of a !ild thing is so
easil& #ro,en.recurs in se(eral of his later poems
I@hat is the point of redefining the !ord Edad* into the pronoun
Ehe* in the opening line of the poemJ
I4hoose t!o specific details a#out the persona*s dad and sa& !hat
the& add to the poem
IFind some details that elicit the feeling that realit& !as too hard to
#ear+ #ut there !as al!a&s hope in !hat might #e Thin, #ac, to
aspects of Da!e*s o!n life re(ealed in the program !here the future
pro(ided a reason to go on @h& is hope an important emotion for
e(er& human #eingJ
IFor !hom is the Elittle red fo% cu#* a metaphorJ E%plain ho! the
comparison !or,s
I<efore &ou sa! this (ideo and !hen &ou first read Da!e*s
description of his father as Ehandsome*+ did &ou imagine him as the
photograph sho!s him to #eJ
IIs the contrast of a tough man li(ing alone Ein a shed* !ith one
!ho E!eptP#ro,e do!n* eHecti(e in con(e&ing the poem*s themeJ
EDU4ATI9N
There are man& points of formal education in Da!e*s life and the&
seem to #e turning points for him Trace each of the follo!ing
e(ents as #ringing ne! opportunities From clues in the $lm+
speculate on ho! the& contri#uted to his need to !rite poetr&+
his en)o&ment of doing so and his st&le
I1e dropped out of high school #efore finishing 1e had a
EdiHerence of agreement* !ith his maths teacher
IEI !ent to night school I did matric* <ut he !as Etempted /uite
often to lea(e the stud&ing at night school*
I1e !ent to 'el#ourne Uni(ersit& in the 67GAs+ #ut again
dropped out
IAfter his 0AAF ser(ice+ he completed his degree and #ecame a
teacher of English 2iterature at #oth college and uni(ersit& le(els
RAA/
Da!e sa&s he )oined the ser(ices #ecause he E!anted companionship
more than an&thingP* 2oo, at the emergent e(ents #elo! and
speculate on their importance to him personall& and to Australia*s
gro!th as a countr&
I1is !ife"to"#e !as also a mem#er of the forces
I1is (oice of protest against the Kietnam @ar carried !eight
I1e E!as !inning a fe! pri=es* !hilst in the 0AAF
SP9T2IG1T 9N P9ET0Y
.@EAP9NS T0AINING
This poem highlights the regimentation and humiliation dished out
during defence training
I@ho is spea,ingJ
I@h& is the language clipped+ the tone condescendingJ
I@hat concepts do &ou consider demeaning to the soldiers and is
the spea,erUs choice of language accepta#le in either the armed
forces or in ci(ilian lifeJ @h& has Da!e !ritten in this !a&J
I@hat is the point of this poemJ @hat is its conte%tJ
IDoes the opening line set the tone for the poemJ 1o! effecti(e
are the onomatopoeic !ords Eclic,* and Epitter"patter*J
SP9T2IG1T 9N P9ET0Y.19'E49'ING
This poem records the sic,ening !aste of life !hich resulted from
the Kietnam !ar
I@h& is the title ironicJ
I4hoose three e(o,ed imagesQ e%plore their depth and ho! Da!e
gi(es them life
IFind e%amples of repetition and comment on their effecti(eness
AUST0A2IAN <I9G0AP1Y; <0U4E DA@E B
I@h& do Da!e*s lists in the poem ma,e such strong statementsJ
I@hat does the use of Eing* !ords throughout the poem achie(eJ
I@h& do the Ecoasts !ing up!ard*J
I@hat ma,es this such an effecti(e anti"!ar poemJ
I I@hat do &ou ma,e of the final !ords+ EPtoo late+ too earl&*J
<0U4E DA@E.T1E 'AN
@e can gain insight into people #& their !ords and actions Da!e
descri#es himself as ha(ing a E!or,ing class #ac,ground* @hat does
each of the follo!ing situations re(eal a#out Da!e*s attitude to lifeJ
I@hilst li(ing !ith his mother; EIt*s either me or the Pe,es*
She chose the dogs+ and he left the follo!ing morning
I@hilst at uni(ersit&; *Pthe& Rother !ritersS !ere uni(ersall&
magnanimous+ uni(ersall& generous*
I0eflecting on his marriage; EPthere*s nothing to sa& that I deser(ed
an& #etter than lots of other people*
IA#out his uni(ersit& failure; EI !as undisciplinedPRitS forced me
toPthin, more consecuti(el&*
IA#out !riting methods; EPsitting at the dining room ta#lePthe
tele(ision*s usuall& onPno#od& e(er got shushedPpoetr& is a sort of
common dail& acti(it&*
I9n poetr&; ESo life comes first+ art comes second*
I9n not #eing heard of; Eit ne(er disma&s mePsuits me fine*
1o! does ,no!ing the poet #etter translate into understanding his
!or, more full&J
SP9T2IG1T 9N P9ET0Y.G9ING
Da!e greatl& lo(ed and respected his mother"in"la! EGoing* captures
the moment of her death
I4hoose t!o images that contri#ute to the happ& tone of the poem
and e%plain the reasons !h& Da!e created this atmosphere
I4hoose a contrasting image and e%amine ho! it contri#utes to the
poem*s meaning
I@hat do the personal details add to the poemJ E%plain at least
t!o such details
IDo &ou agree that the language Da!e selects is almost not chosen
at all+ #ut seems li,e an e(er&da& spea,ing (oiceJ @hat then does
the language contri#ute and can the poem #e said to #e craftedJ
4U2TU0A2 IDENTITY
E(er& countr& has an identit&+ #orn of its culture This set of
practices+ #eliefs and (alues operating !ithin a communit&
pro(ides social organi=ation The !a& an indi(idual identi$es
!ith these ideologies means heVshe either aFrms certain cultural
Enorms*+ or repudiates them
IDra! up a three column ta#le and head the columns as Eaffirm*+
Echallenge* and Ee(idence* 2ist those facets of Australian culture that
Da!e identi$es !ith and those he does not Finall&+ ma,e sure &ou
#ring e(idence from his !or, to support &our (ie!s
IThe EAustralianness* of So$eti$es G#a'(ess is said to #e its ,e&
Do &ou agree that <ruce Da!e*s (erse ma,es us ,no! more full&
!hat it is to #e AustralianJ
IDo &ou #elie(e the notion of #eing Australian has changed since
Da!e !rote the poems included in So$eti$es G#a'(essJ E%plore
&our ans!er #& #ringing e(idence of the diHerences #et!een then
and no!
SP9T2IG1T 9N P9ET0Y.
19'9 SU<U0<IENSIS
E1omo Su#ur#iensis* has #een descri#ed as Ean anthem to the
e(er&da& man* It reiterates through imager& Da!e*s !ords+
EI don*t #elie(ePthat su#ur#ia*s )ust full of crumm& little peopleP*
I@hat thoughts does the title #ring into focusJ 4an &ou e%plain
its iron&J
IE%plain the effecti(eness of contrasting Econstant* and E(aria#les* to
open the poem
I@h& does Da!e !rite a#out a group of people using )ust one
Eman alone*J
I@hat stri,es &ou a#out those states a EPman can offer*J 2oo, at
them $rstl& as a group+ then indi(iduall&
I4omment on the strength of the e(er&da& details such as a
Ecompost #o%* or Eru##ish #urning*
I@h& is it appropriate for the program to end !ith this poemJ
49N42USI9N
This program a#out an Australian !ho has contri#uted in mammoth
proportions to the en)o&ment of poetr& #& ordinar& people ends in
a !a& in !hich Da!e !ould li,el& appro(e @e hear a dog #ar,ing+
a car re((ing+ the sound of traFc The (isuals sho! us the poet
!al,ing through his gate and into his house It is the action of
e(er&man+ a comforta#le action+ a shared action+ a coming home
0EFE0EN4ES AND FU0T1E0 0ES9U04ES
<ruce Da!e+ So$eti$es G#a'(ess+ 3o##ecte' Poe$s5 19671989+
2ongman+ 6778+ Gth edition
G Smith L6778N+ An Appreciation of E1omecoming* #& <ruce Da!e
http;VVhomepaci$cnetauVWgreghu#Vlifec&clehtml
@ith <oth 0h&me and 0eason.Sometimes Gladness #& >ohn 2e!is+
Age Education.K4ETT0A te%t tDl,
!!!educationtheagecomauVpagedetailaspJintpageidX
6A7YstrsectionXstudentsYintsectionidXB
<ruce Da!e.UO2 4&#erschool
!!!li#rar&u/eduauVschoolsV#da!ehtml
>ohn 3insella in 4on(ersation !ith <ruce Da!e
!!!geocitiescomVSo1oVS/uareV666?VintZda!ehtml
4onsumerism; The Poetr& of <ruce Da!e+
<ega Kalle& 4hristian 4ollege
!!!#(ccns!eduauVcurriculumVenglishV&ear65Vda!ehtml
Poetr&; <ruce Da!eQ 9=see, 1S4 Practice Papers
!!!o=see,comauVEnglishVpracticeZpapersphp
<ruce Da!e.Kicnet page
http;VVdargo(icnetnetauVo=litV!riterscfmJidX6G6
AUST0A2IAN <I9G0AP1Y; <0U4E DA@E ?
http://me'ia.australianbiography.go$.au/stu'y/P0D0Oausbio'awe.p'f