the secret river analytical essay

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"The Secret River" by Kate Grenville: Analysis

Categories: Novel Reasoning Secret

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Published: Oct 26, 2018

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"The Secret River" by Kate Grenville: Analysis Essay

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2. Background

4. Chapter 1 Plot and Analysis

7. Sample Essay Topics

8. Essay Topic Breakdown

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

The Secret River is a historical novel telling the story of William Thornhill, a poor Englishman from the early 19th century who was deported and transported to New South Wales, Australia in 1806 for theft. This novel tells the story of Australia's founding and the moral choices made when Europeans colonised land that was already inhabited by Aboriginal people.

During 18th century to mid 19th century, 162,000 men and women were transported to Australia, with majority from England. These people, known as ‘convicts’, had committed crimes such as larceny and robbery – acts which were considered severe offenses and demanded heavy sentences. In order to deal with the overwhelming masses of criminals, the government exported crowds of convicts to Australia to serve their term as labourers. The reason driving the deportation included an attempt to decrease poverty and crime in England while concurrently developing the British colony in Australia.

Many of the fleets from England were destined for New South Wales, Australia. Those on the fleets included the criminals, marines, and their families. Living in a penal colony, the criminals were employed depending on their various skills: farmer, boatman, servant etc. The settlers were award a ‘ticket of leave’ if they presented good behaviour during labour. This meant that settlers would become emancipists, where they were set free from the government’s sentence and could begin a life for themselves by making their own living. This suited the government’s goal for a successful and thriving colony since it would only be possible if people were to work for themselves, and not under the terrain of the government.

Although Australia was chiefly populated with Indigenous Australians, the first century of colonisation saw a drastic decline in their population. This was due to a clash of desire for the land; the native’s innate protection of their land and the white settlers struggle to declare their right to an area already inhibited by natives – possibly for 40,000 years. The two cultures failed to ever create a peace agreement or compensation and as a result, the frontier was often marked with blood. Overtime, a successful of the British colony meant that white settlement overpowered any possibility of the natives retaining their land. The Secret River’s exploration of this powerful change in Australia’s history is a poignant reflection of the past, and demands attention to the sensitive issue of Australian and native relationship that is still present today.

Set during the early 19th century. Located in London, Sydney and on the Hawkesbury.

Chapter 1: Strangers

The Alexander , a transport ship for convicts has reached New South Wales, Australia after a travelling across the world for majority of the year. William Thornhill, an Englishman convicted to sentence his ‘natural life in the Year of Our Lord eighteen hundred and six’ [pg 3] will serve as a labourer.

During his first night in New South Wales, where their homes are ‘only a flap of bark, a screen of sticks and mud,’ Thornhill digested the new land with its ‘rich dank smells…restless water…no Pole star’; an environment vastly differentiated from England. The unfamiliar situation is overwhelming as ‘he had not cried, not for thirty years….but now his throat was thickening.’ In his despair, Thornhill describes how being sentenced to New South Wales could potentially be worse than dying itself.

Initially, Thornhill believed his tears are clouding his vision since the ‘darkness moved in front of him’ [pg 5]. However, he then realised that a human, ‘as black as the air itself’ stood before him. The unusual appearance of this human struck Thornhill since ‘his skin swallowed the light…[and] eyes were set so deeply into the skull.’ Although clothed, Thornhill ironically felt ‘skinless’ against the other who was completely naked and holding a spear. Thornhill repeatedly demanded that the man ‘be off’, for fear of his family and himself being attacked. Despite his shouting, this only impelled the man to move closer to the point where they almost touched. The ‘black man’ [pg 6] reproduced ‘be off’ in Thornhill’s exact tone. While Thornhill’s fear of this strange human is prominent, he grappled the strength to exert a bold, intrepid veneer, as ‘he was not about to surrender to any naked black man’. When he glanced back to his wife and children however, the man promptly disappeared, leaving only the darkness behind. Thornhill returned to his hut where he laid back down to rest yet ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh.’

Environmental / Landscape conflict

For Thornhill, who has spent a lifetime in England, the confrontation of a new environment evokes a powerful sense of unfamiliarity. The unknown land presents him with various intrapersonal conflicts, one of which is the difference between England and Australian stars. While the physical distance of this new land from Thornhill’s home is demonstrated by the lack of a ‘Pole Star, a friend to guide him on the Thames, [and] no Bear that he had known all his life,’ [pg 4] the unrecognisable stars above Australia only depict a ‘blaze, unreadable, [and] indifferent.’ His conflict demonstrates his physical and emotional distance from Thames, a place he grown up surrounded by compared to Australia, where learning begins from the very basics, as shown when he absorbs the natural landscape around him. The night described as ‘huge and damp, flowing in and bringing with it the sounds of its own life’ [pg 3] highlights how the Australian land is unique, possessing qualities of existence.

Thornhill’s sense of negligence in the vast forest that continues ‘mile after mile’ is illustrated through the imagery of the ‘trees [which] stood tall over him,’ depicting that nature is a powerful and dominant force over the Europeans. While the trees render him insignificant, it also demonstrates his alienation from the environment. The ‘Alexander,’ a common traditional English name, represents an intrusion of the Europeans onto the Australian land, further highlighting the idea that they do not belong on this island.

The Australian land is depicted to be harsh and unforgiving, as highlighted through the imagery of ‘dirt chill...sharp stab...alien stars' [pg 4] This conflict with the brutal landscape, along with the unknown leaves Thornhill apprehensive of what is to come. His feeling that he was ‘nothing more than a flea on the side of some enormous quiet creature’ [pg 4] depicts the Australian land almost like a monster. Additionally, the words ‘restless’ draw to the idea that the land is at discomfort or uneasy to have new inhabitants.

Racial/Cultural conflict

The conflict between two cultures is shown through the initial encounter between Thornhill and an Indigenous Australian. Without any conversation, the tension between the two is clear, merely through their actions in each other’s prescence. Thornhill notes the Aboriginal male’s tattoos, yet regards them as ‘scars’ since he is unaware to their culture. Even before this man, Thornhill is still infused with a sense of nakedness because of his unfamiliarity. His feeling that ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh’ highlights the tension of his first encounter of an Australian Aboriginal while it also foreshadows a suffering and anguish for his time ahead.

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

Conflict with land quotes

“Now it had fetched up at the end of the earth.” [pg 3]

“…this prison whose bars were ten thousand miles of water.” [pg 3]

“foreign darkness” [pg 3]

“…soughing of the forest, mile after mile.” [pg 3]

“He was nothing more than a flea on the side of some enormous quiet creature.” [pg 4]

Thornhill’s inner conflict quotes

“He had not cried, not for thirty years, not since he was a hungry child to young to know that crying did not fill your belly.” [pg 4]

“But every muscle was tensed, anticipating the shock in his neck or his belly, his hand going to the place, the cold moment of finding that unforgiving thing in his flesh.” [pg 6]

Racism quotes

“It took a moment to understand that the stirring was a human, as black as the air itself.” [pg 5]

“Clothed as he was, Thornhill felt skinless as a maggot.” [pg 5]

“This was a kind of madness, as if a dog were to bark in English.” [pg 6]

“He was not about to surrender them to any naked black man.” [pg 6]

Sample Essay Topics

1. William Thornhill is more worthy of our respect than our reprehension. Do you agree?

2. How does Kate Grenville explore hierarchy?

3. How does The Secret River’s symbolism enhance its exploration of alienation?

4. “Fear could slip unnoticed into anger, as if they were one and the same.” The Thornhills’ anger is valid. To what extent do you agree?

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

Essay Topic Breakdown

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based essay prompt: T he Secret River depicts many layers of conflict, within but also between its key characters. Discuss

Step 1: analyse.

The key term of this prompt is conflict , but I think it’s also important to analyse how it’s discussed—as something that exists in layers , and something that can happen both within and between characters. This seems to hint at the idea that conflict can be internal—that is a single character can feel conflicted about something—as well as external—that is two or more characters can have some kind of dispute. This prompt will require us to think about all these different types of conflict.

Step 2: Brainstorm

Let’s start with the most internal layer—conflicts with the self. In terms of key characters, consider William but also Sal: what debates do they have with themselves, or what do they say or do that shows they feel conflicted or unsure about something?

Then, let’s broaden that out to interpersonal conflicts between characters. How do William and Sal, for example, come into conflict with their neighbours—both their white neighbours and their Aboriginal neighbours? How do they come into conflict with each other, even?

Maybe it’s worth separating the racial conflict into another category—conflicts between groups of characters, rather than individual characters. If we make this distinction, we need to be prepared to back it up—in what ways is this conflict of a different nature?

Step 3: Create a plan

I think we can pretty justifiably separate out our layers of conflict into those categories: interpersonal, interpersonal and interracial. This gives us three neat(-ish) paragraphs and a clear, affirmative contention: yes, there are many layers of conflict, and those are the three layers.

P1: At its most intimate layer, conflict is internal—the moral dilemmas of William and Sal are particularly strong examples.

P2: Conflict can also be interpersonal—we can see this between William and Dan, or William and his neighbours, or between William and Sal even. It’s up to you which way you cut this paragraph.

P3: However, perhaps the central conflict that the novel is built around is interracial conflict between white colonisers and the Aboriginal people whose land they occupied. To extend the prompt a little, we can talk about conflict not just between characters or people, but also between value systems. For example, the way colonisers saw land and property were fundamentally incompatible with how Aboriginal people saw it—this is another type of conflict.

In this sense, we’re largely agreeing with the prompt, backing up the distinction between interpersonal and interracial conflict, and finding a way to extend on it a little towards the end. We can build this into the contention as well: there are many layers of conflict, but they occur not just between characters. They can also exist between the broad cultural values of entire groups of people as well.

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

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Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

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Learn how to brainstorm ANY essay topic and plan your essay so you answer the topic accurately
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Most people only think about EXECUTING their essay - the writing. Whether that be essay structure, memorising quotes or how to avoid repeating yourself in the dreaded conclusion. However, my strategy places emphasis on the THINK.

THINK is the brainstorm, exploration, and development of ideas. Get this right, and you'll come up with ideas and a response that pushes you ahead of your peers. The EXECUTION comes next, only strengthening your lead to the finish line.

So what does THINK actually involve? 🤔

You need to consider aspects of an essay topic that most students gloss over, including:

💭What's the essay topic type ?

Knowing the essay topic type will change your essay structure. While you might wish for a one-size-fits-all essay structure, this is a limited viewpoint that stops you from reaching your potential. Different essay types include:

Theme-based prompts
Character-based prompts
Author's message-based prompts
Metalanguage-based prompts

By understand what's required in each one of these essay topic types, you'll have a template you can follow to ensure that you answer the prompt (no more complaints from your teacher complaining that you're going off topic!).

💭 What are the question tags ?

Never heard of this term previously? That's because majority of teachers don't teach you to change your Text Response according to the question tag. A ' do you agree?' essay topic expects a different response from a 'discuss' essay topic.

💭 How do I ensure I respond to each keyword ?

This is important so you don't go off topic (we've all at least experienced this once in our high school writing careers 😥). Sometimes, one missed keyword is all it takes to derail your entire essay. No matter how well you've written your essay, an essay that doesn't answer the prompt won't fare well.

For example, have a think about which keywords can be found in this essay topic "Jeff's attempt to pursue justice are entirely without honour. To what extent is this true?".

For me, the keywords include:

- 'Attempt'

- 'Pursue justice'

- 'Entirely'

- 'Honour'

- 'To what extent is this true?'

Even though I've labelled almost every word in the essay topic, individually, each of these keywords will shape my response. Majority of students will pick up the necessity to discuss the keyword 'entirely' in their essays. They will potentially argue that Jeff's attempt isn't entirely without honour, and mention instances where honour was shown. However, a less obvious keyword that needs further exploration is 'justice'. Most students will take this word for granted, and won't really explore what the word 'justice' means in this sentence. A more advanced student will understand that 'justice' in this essay topic is viewed from Jeff's perspective, meaning that what Jeff deems to be 'justice', might not be the same 'justice' for a viewer. These are the nuances in an essay topic that I'd like you to be very confident in.

Knowing how to THINK will ensure that you EXECUTE your essay writing most effectively, optimising your potential to nail that A+. If I went from average to consistent A+s in Year 11 and Year 12, I have no doubt you can do it too. That's why I created the How To Write a Killer Text Response ebook.

I know that you are probably like I was, searching for a clear, simple way to get better at English without just relying on my teacher (despite the fact that I had a great teacher!). I've compiled my 10 years of tutoring English, refining this strategy year after year. With this knowledge, many of my students achieved a study score they thought was impossible (one student Ruby, wanted a study score of 30 to get into her university course, and ultimately achieved a 40 study score! WOW! 😮).

If you're interested, How To Write a Killer Text Response ebook shows you the inner workings of my brain 💭- what I think when I see an essay topic, how I tackle it, and how I turn these thoughts into a high-scoring essay. The ebook includes:

‍ - 50-pages teaching you how to respond to ANY essay topic

- Examples from 15+ popular VCE English texts

- Know exactly what to THINK about so you can formulate the best possible essay response

- Plus a bonus 20-pages of high vs low scoring essays , fully annotated (what works and what doesn't) so you know exactly what you need to do and what not to do

Click here to access the FULL version now!

Written expression is often overlooked in our essays. Often, if we are made aware of clunky or awkward expression, we are also not quite sure how to go about improving it. Although sophisticated and pertinent ideas serve as the foundation of a successful essay, how we construct our sentences and express these ideas may be what distinguishes a good essay from a great essay.

These differences can be rather subtle, but the small things can and do matter.

1) USE YOUR VOCAL CHORDS

(to read out loud, not sing… unless you really want to)

Take your essay and read it out loud. Let your own conscience guide you in terms of whether a particular sentence flows well, is complete and makes sense. Keep your eye out for these small errors in particular: Grammar: Does your sentence actually make sense? Let’s have a look at an example: Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on.

(This is not grammatically correct! This is because this example only contains a subordinate clause and is lacking a main clause.)

But wait… what is this ‘subordinate clause’ and ‘main clause’?

A clause includes a subject and a verb .

Melissa ate an apple.After Wendy ate an apple.

What is the difference between the two clauses above?

‘Melissa ate an apple’ makes grammatical sense on its own. This is what we call a main clause (or an independent clause). On the other hand, ‘ After Wendy ate an apple’ is an incomplete sentence as it does not make sense. What happened after Wendy ate her apple? This is the information that is missing from the latter clause, making this a subordinate clause (or a dependent clause).

So now let’s try again…

Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on, ultimately, these individuals can never be truly free from the past that has irrevocably defined them.

(Hooray! This is a complete sentence now.)

Spelling : Are the title of the text, the author or director’s name, characters’ names, publisher’s name, etc. all spelt correctly (and capitalised, underlined, and italicised appropriately)?

Did you use the correct there, their and they’re? How about it’s and its? (and so on).

Sentence length: Did that sentence just go on for 5 lines on a page and you are out of breath now? You can most probably split that overloaded sentence into two or more sentences that make much more sense. Check whether you have a clear subject in your sentence. If you have three different ideas in one sentence, give each idea its own opportunity (ie. sentence) to shine. The opposite also applies: if it is for a very short sentence, did that sentence pack enough content or analysis?

One spelling error or half-finished sentence in an essay will not severely affect your mark, but they can easily add up if they occur often enough. Consequently, this will distract the reader from engaging with your ideas fully and thus disrupt the flow of your essay.

By being aware of these aspects, you are now able to easily fix them and boost your writing.

2) BE SUBTLE

Try not to be casual or overt in your writing as it can be quite jarring to read and unfortunately give readers a potentially negative impression of your piece.

Try not to use phrases such as:

- In my opinion… (You do not need it as your entire essay should be your implicit opinion!)

- This quote shows that… (Embed the quote and link to its implication instead)

- This technique is designed to… (Identify the technique and be specific, especially in Language Analysis)

- I think that…, I believe… (Avoid using first person in a formal essay. Use of first person in creative writing is fine though if required)

They are redundant and do not add much to your ideas and analysis. Try omitting them and see whether that helps your sentence flow better and seem more formal.

3) LINK ‘EM UP

Sentences that seem disjointed or a clear connection can make it difficult for your teacher or the assessor to join the dots between an idea and an implication or consequence. Use linking words as they are fantastic for explicitly showing the reader how your ideas are related and thus allow your writing to proceed smoothly.

Therefore, hence, thus, thereby, consequently, subsequently, in addition, additionally, furthermore, moreover, on the other hand, on the contrary, however, henceforth, and so on… The list is endless!

4) ADD OOMPH (through vocabulary)

In general, having a wide vocabulary will allow you to express your ideas and analysis more accurately as you are likely to have access to a precise word that can capture the essence of your idea. Make a vocabulary list for a particular text or for Language Analysis (such as tone words) and aim to use varied language to convey yourself well.

If you’d like to see a list of sentence starters and essay phrases to help you get a headstart on expanding your vocabulary, check out this blog .

Focus on verbs and expanding your list of synonyms for words such as shows, demonstrates, highlights, emphasises, suggests and so on. An individual, character, author or director may not only be conveying but also denigrating or remonstrating or bolstering or glorifying or insinuating . Adding precision to your writing through careful vocabulary choice will distinguish your writing and also add complexity.

BEWARE! There is a fine line to tread with sophisticated vocabulary - do not overload your writing as you can risk writing convoluted sentences that hinder the reader’s ability to understand your piece. Also make sure that you understand the nuances of each synonym and that they are used in the correct context! (They are synonyms after all - not the same word!)

If you are debating whether to use a word, ask yourself: do you know what it means?

If yes: Go for it!

If no: Do not use it until you know what it means.

Reading sample essays, The Age Text Talks, reviews and more of the texts you are currently studying will expose you to not only a multitude of interpretations of your text, but also to different sentence structures, writing styles or vocabulary that you could incorporate into your own writing.

I would also highly recommend that you read outside of the texts you are studying if you have time, whether that may be novels by the same author or even newspapers. Your written expression will only benefit from this exposure as the ways you can express yourself through writing continue to increase upon seeing others’ eloquence.

6) GET WRITING

If you do not write, you will never be able to improve your written expression. Put pen to paper (or hands to keyboard) and start constructing that essay. You can only fix your writing once you have writing to fix.

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

[Video Transcript]

‘Liz sits there helpless’

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

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

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

‘Abandoned him to a roomful of rampaging strangers’

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Returning to work after maternity leave’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Like a House on Fire by Cate Kennedy

Like a House on Fire Essay Topic Breakdown

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

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

Last updated 20/10/19

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

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

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

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

1. Theme-based prompt

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

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

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

2. Character-based prompt

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

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

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

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

3. How-based prompt

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

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

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

4. Metalanguage or film-technique-based prompt

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

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

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

5. Quote-based prompt

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

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

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

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

Introduction

Poetry. Students tend to have strong feelings about it, some love the melodic rhythm and the eloquent way in which it encapsulates life and others hate it, either because they find it a snooze-fest and would rather read the dictionary, or they simply don’t know how to approach analysing it. Whatever boat you may be in, by the end of your study of Peter Skrzynecki’s New/Old World poems, you’re bound to have a new appreciation for the art that is poetry and find analysing poems less of a daunting prospect and more a something easy to nail.

Before we begin diving into Skrzynecki, I’d highly recommend that you check our LSG’s Ultimate Guide to VCE Text Response . It’s jam-packed with awesome, FREE advice for how to ACE Text Response.

Analysing Poetry in Old/New World

Unlike other forms of text, a collection of poems is not one continuous body of writing, instead a poetry collection is more like a series of vignettes, snapshots into poignant moments, in this case, of an author’s life. Whilst many students may struggle with this form and ask “How many poems do I analyse? Do I need to know all of them?”, poems are easier than most texts to prioritise and categorise into themes and often have a significant amount of metalanguage. And in answer to your questions, whilst its best you analyse the whole collection to some extent, knowing 10 or so strategically chosen poems really well, covering all themes and types should hold you in good stead for any question thrown at you in the exam.

Peter Skrzynecki wrote his poems over a significant amount of time, starting in 1970 and ending in 2006. This has given the collection a unique perspective, not only demonstrating a migrant’s journey through narrative, but also by providing the different attitudes and feelings of belonging, experienced by one individual as they try to assimilate in their new world over a period of time. This gives us, as students, a wonderful opportunity to look deeper into the text and identify Skrzynecki’s differing positions in regard to identity, family and belonging, through the perspective from which he writes his poems at different stages of his life.

To learn more about the importance of context in VCE English, check out this blog post .

The Structure

Skrzynecki’s collection tends to feature three types of poem, by identifying these, analysing each piece can be made easier as similar types of poem often focus on similar themes. The three categories of poetry to look for are:

Nature Poems

Peter Skrzynecki showcases his connection to Australia through poems that depict often idyllic landscapes, or the lives of common fauna of Australia, such as birds and fish.

The Immigrant Experience

These poems such as Immigrants at Central Station, Migrant Hostel and The Polish Immigrant offer an insight into the emotionally turbulent and difficult journey migrants go through to live in Australia. These poems also demonstrate the experiences of relief and joy felt when arriving, as well as emotions of fear, trepidation and disconnect in regards to both their new home and their old world.

Family Poems

Often the most emotionally pulling, these poems tug at the heartstrings and showcase the relationships between Peter Skrzynecki and his family, as well as his exploration of his heritage, his ties to his Polish background.

The new/old world structure, similar to the old and new testament of the bible are used to highlight the old world of Skrzynecki’s Polish roots and childhood, whilst the new world is his new life in Australia.

Recurring Characters in Old/New World

Peter skrzynecki.

The author of this text, as well as a character in his own right, Peter describes his triumphs and struggles of immigrating to Australia in his poems.

Feliks Skrzynecki

The Polish adopted father of Peter, a “gentle man” who immigrated to Australia with him family from Germany often demonstrates the struggle of the older generation to fully ‘belong’, as they have grown up amongst different customs. This difference in the two generations’ assimilation is depicted in the poem Feliks Skrzynecki , as we see Feliks as attached to his Polish customs and traditions, as he “reminisce[s]” with his Polish friends. We also discover that he struggles with the English language, is a hard worker and has had cancer twice in his foot. Peter in comparison is seen to have far more of a disconnect with his Polish ancestry he “inherited unknowingly” and forget his “first Polish word” as he learns of a culture “further South of Hadrian’s Wall”.

Themes in Old/New World

As we all know, themes are an integral part of Text Response overall, and that still rings true for Skrzynecki’s poetry. To learn more about how to implement themes into different types of Text Response prompts, check out our blog on LSG’s Five Types of Text Response Prompts !

One of the most central themes of Skrzynecki’s poems is that of belonging. As the poems detail an immigrant’s emotional journey, alternating between feeling that they belong and don’t belong, we are invited to grapple with what it means to belong both mentally and physically as well as what elements are required to feel a sense of belonging in community and country.

Identity is another central theme, one that runs closely to that of belonging, as a main part of one’s identity is the culture/place/family to which they feel they belong. Old/New World: New and Selected Poems explores the formation and changes in a migrant’s sense of identity as they try to find belonging in their new Australian home as well as later, when they try to reconnect with their European heritage. To explore the theme of identity it’s best to break it down into several influential factors, which are listed below:

The surroundings in which a person finds themselves, as well as the place they call home is an essential part of identity, as it showcases what place one identifies with and feels safe in. Several of the poems are set in places of transition, such as at a train station, this helps to emphasize the displacement some migrants may feel as they struggle to acclimatise to their new home. In poems such as Immigrants at central station Skyznecki illustrates an environment of anxiety and trepidation, however, he finishes the poem with sentiments of hope of the new future, the new world the immigrants were travelling to, along “glistening tracks of steel”.

An individual’s heritage, that is the places and people from which they come to identify with, is seen to have a profound impact on the characters in Skrzynecki’s poems. There are several poems set in graveyards or in Europe where Peter questions his knowledge of where he came from, and his sense of connection to these people and places. One of the most interesting set of poems regarding heritage is the poems regarding the different sections of a graveyard for the different groups, through this Skrzynecki touches on how most will never fully part with their heritage, instead, even in death, most will reconnect with their upbringing and hold on to their roots.

The difference in a cultures’ customs is a struggle seen throughout the text. However, customs are also seen to be the way in which migrants make themselves at home whilst being able to still identify with their past. Through the generational gap between Peter and his father, we can identify the difficulty older generations may have in letting go of customs, whilst the younger new Australians often find it far easier to attach themselves to new traditions.

An integral part of identity and in cultivating a sense of belonging is the language that we speak, as the way in which we are able to communicate ourselves and who we have accessible conversation has a large impact on one’s sense of belonging or disconnect from a culture . This is due to language barriers’ ability to foster or inhibit connection. We see this as Peter demonstrates his struggle at times to identify with his Polish roots, symbolised in his loss of Polish language as he “forgot [his] first Polish word”. Despite his father repeating it until he never forgets, this forgetfulness illustrates the effort which is often required to remain connected to heritage when physically distant from it. Language’s ability to also expose the differences between people and make them feel like outsiders is also explored in First day of school and The Polish Immigrant as people such as teachers struggle with the pronunciation of Polish names and inevitably have to ask “boy, how do you pronounce that?”. We see through these poems how disconnect can be fostered due to the struggle of communication as the picking apart of their names make the new immigrants feel “tired”, “embarrass[ed]” and as if their name was that of a “European disease”. Language is also seen to hold migrants back as seen in Migrant Bachelor where a lack of a familiar language relegates a migrant to “factory chimneys and punch card clocks” which “ask no proof of speech”. This struggle with language, both the disconnect and joy that comes with communicating and the opportunities it affords individuals, is essential in determining how one identifies themselves.

Family/Ancestry

How connection to family members and knowledge of ancestry impacts sense of identity is investigated through many family poems and through Skrzynecki’s somewhat frequent admissions of remorse in regard to not knowing the history behind objects or people. We also see how a difference in sense of belonging can affect relationships, in that we see Peter and his father don’t have the closest of relationships, likely due to Peter feeling he belongs to Australia whilst Feliks still had strong connections to his Polish upbringing. We also see this regret of disconnect when Skrzynecki writes about his mother and the photograph he has of her and the man that was his father, and how he wishes he had asked about it more. Whilst Skrzynecki mainly describes the immigrant experience in his poems, we can also find an overarching warning to not take loved one, and their knowledge for granted, as often we don’t have them for as long as we would hope.

Skrzynecki often reminisces about his childhood and uses it as a way to explore both his experience in his new world of Australia, and his old world of his Polish roots. We see Skrzynecki in Migrant Centre Site, revisiting the location where he first lived after arriving in Australia, noting that there was nothing to “commemorate [their] arrival”, this perhaps demonstrates his desire for a legacy, to leave a footprint of the journey so many “thousand” migrants travelled and not just a “slab of cement” as if his home was a dead “cemetery”. He also reminisces in Old Hostel Site where he explores the “immense souvenirs” and “unclaimed baggage” that is one of the first sites in Australia his parents arrived at. Using this jargon regarding travel, Skrzynecki reminds readers of the many miles migrants often have to travel to reach Australia.

Skrzynecki often uses nature to symbolise the migrant experience, as demonstrated by the birds in his poem Migrant Hostel . In this poem migrants are compared to a “homing pigeon/circling to get its bearings” as Peter remarks on the struggle of taking someone out of their previous home, like an animal out of its natural habitat.

Nature is also a major element in Skrzynecki's effort to become an Australian poet, his frequent referencing of Australian landscapes signposting his journey to identify as an Australian, as well as an Australian poet.

Hope and Loss

Not only does Skrzynecki detail the hope for a new future and loss of home common in a migrant’s experience, his poems also cover other common situations of love and loss, such as his emotional poem Leukemia which details the journey of his father as a leukemia patient. This shows belonging and identity in a far different light, not in relation to a country but being identified by your sickness which “owns your name”. This explores the common experience where a patient feels defined by their condition and struggles to imagine/remember what life is like as a healthy individual.

Metalanguage, Symbols and Motifs in Old/New World

• Feliks Skrzynecki’s garden: due to his strong bond to his Polish roots Feliks arguably never felt a sense of belonging in Australia. Instead we find he creates a sense of belonging by cultivating a home of his own, a garden.

• Skrzynecki often uses the natural world such as fish and birds to mirror the migrant journey.

• Skrzynecki litters his poems with heirlooms such as watches, hammers and photos, often to illustrate how despite having these possessions Peter frequently finds that he doesn’t know the full story of his heritage and his parent’s life. In his rediscovery of the heirlooms we often see his disconnect from his background and his regret of not learning more about it.

• The use of a colloquial idiom of “kept pace only with the Joneses'' in Feliks Skrzynecki , to reference how his belonging only feels surface deep. However, as they are only the Joneses of “his own mind’s making” it also showcases his commitment to not simply copy and to still be individual.

• Skrzynecki often uses places of transit such as train stations or hostels to showcase the uncertainty often experienced in a migrant’s journey.

Research the places referenced in Skrzynecki poems such as Mt Warning
Learn to spell the authors last name
Don’t just analyse the poems individually, try and see the big picture and apply the overarching themes

For a more detailed guide on how to ACE VCE Text Response, I think you’d love the free sample of our top-rated eBook, How To Write A Killer Text Response ! To download, simply fill out the form below!

Updated 26/12/2020

It’s that time of year again when many VCE English students start brainstorming their Oral Presentation SACs. To help you out, we’ve collated some of the biggest names and issues in the recent Australian media.

Each heading represents a broad, ongoing issue, and under it are more specific debates within each issue. Going down a more precise route with your topic selection can make your speech a lot more engaging and current, so pick a broad issue that speaks to you, and ‘zoom in’ on a debate for your speech. Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

CLIMATE CHANGE

1. green new deal.

Originally, the 'New Deal' was a bunch of economic reforms that restimulated the economy back into action after the Great Depression. The ' Green New Deal' is a bunch of policies that combines this economic approach with the need to fight the climate crisis. It was first brought before the United States Congress by Alexandria Ocasio-Cortez in late 2018 , but was ultimately voted down. It called for a 10-year transformation of the economy to provide green jobs; transition to renewable, zero-emission energy sources; and eliminate pollution across sectors such as manufacturing, agriculture and transport. Is this something that we need to adopt in Australia? Is now the best time for that conversation, given the political climate (not to mention the actual climate of the worst bushfire season in history)? And what exactly are the options? Australia Needs a Green New Deal (03/11/2019) What could an Australian green new deal look like? (28/11/2019) Why the Green New Deal matters (29/11/2019) Let’s make the 2020s the decade that Australia gets its mojo back (04/01/2020)

2. Young People on Strike

2019 saw the emergence of the ' school strike for climate' , an international movement of students skipping school to demonstrate and demand action on climate change. It took off after Greta Thunberg, a Swedish schoolgirl, began protesting outside the Swedish parliament in late 2018. It sparked widespread discussion on young people, education and the merits of striking. Scott Morrison was drawn into the discussion, stating that he doesn’t 'want our children to have anxieties about these issues', while defending his government’s track record on renewable energy investment. So - should young people be worrying about these issues at all? Are they missing out on crucial years of education by taking to the streets? And, is what they’re saying really unreasonable at all? Global climate strike sees ‘hundreds of thousands’ of Australians rally (video, 0/09/2019) The climate strike organiser who received a near-perfect ATAR (18/12/2019) How Greta Thunberg’s school strike went global: a lo ok back (podcast, 30/12/2019)

3. To Prime Minister or Not To Prime Minister

Australia is already facing its most severe bushfire season yet with several months of fire season left to go. During these months, Scott Morrison took a holiday in Hawaii, staying there even after stating his intention to return . Even as he returned, he was shunned for perceived insensitivity and insincerity . What should a Prime Minister do in a state of national emergency? While Morrison delegated many of the duties to state premiers, are these distinctions important in times of crisis? Is he the leader we deserve after his resounding, miraculous election victory in 2019? Where to from here? ScoMo, Where the Bloody Hell Are You? (20/12/2019) Don’t dismiss our anger in Cobargo Scott Morrison, we are the ones living through a crisis (02/01/2020) Scott Morrison, Australia’s singed prime minister (03/01/2020) ‘Bloodcurdling insanity’: Real reason ScoMo is under fire (04/01/2020)

4. Emissions Trading Scheme (ETS)

An ETS basically makes carbon gas emissions an economic good that gets bought and sold like any other - corporations that emit more gas will need to now purchase permission to emit, while corporations that emit less will be able to sell their permits. The debate for an ETS in Australia is old (surprisingly perhaps, John Howard first broached the idea towards the end of his Prime Ministership ), but became political poison after Julia Gillard introduced it despite promising that her government wouldn’t introduce a carbon tax in the 2010 election. It has since been scrapped, making Australia the only government in the world to ever dismantle an operational ETS. A decade later, is it now the right time to revisit this discussion? Just why are so many people opposed to policy that would stop corporations from emitting for free? And what does this mean for our international reputation and commitments? One of the world’s biggest emitters is trying to fly under the radar at Cop25 (06/12/2019) For 10 Years, Australia Has Been In A Climate-Policy Abyss (07/12/2019) ‘Not moving fast enough’: former head of Scott Morrison’s department criticises climate change policies (18/12/2019)

SOCIAL EQUITY

1. homophobia in sport.

So this is nothing particularly new, but it’s unfortunately still present even as we move into 2020. Should sports stars be penalised for their opinions when they’re exclusionary and harmful, or should we respect them for their sporting prowess? Maybe this speaks more broadly to the standards we expect sporting stars or public figures in general to set as role models… Israel Folau: Australian rugby star condemned for linking bushfires to ‘sinful’ homosexuality (18/11/2019) Marcus Stoinis fined $7,500 for homophobic slur during Big Bash League (04/01/2020)

Bear with me on this one - while she isn’t specifically a ‘social equity’ debate, Lizzo’s emergence as a breakout singer of 2019 intersects with a lot of social equity movements, from body positivity and feminism to racial justice and self-empowerment. Her upcoming shows in Australia sold out in minutes, which speaks to her newfound popularity as a global star. What is it about Lizzo that resonates with so many people? What and who does she represent? Is the new decade also a watershed moment for diversity in entertainment? Lizzo taps into the real meaning of freedom in 2019 (07/10/2019) Lizzo, pop’s reigning phenomenon, brings her juice to Australia (05/01/2020)

3. Gender Wage Gap in Sport

Again, this one isn’t too new, but a fresh wave of activism for equal pay in sport was sparked this year by Megan Rapinoe, the captain of the US women’s national soccer team (which won the World Cup in 2019). She, her team and the men’s team sued the national soccer federation for gender discrimination and other countries, Australia included, followed suit. Why does the wage gap exist and what are the reasons for closing it? Is a preference for the men’s game enough to justify paying women less (despite the fact that preferences like this are usually rooted in misogyny and are subjective anyway)? And how does this translate between different sports such as soccer, AFLW and tennis (where Serena Williams and Novak Djokovic have clashed over this before)? AFLW pay dispute is over (28/10/2019) Matildas become first women’s team in world football to be paid the same as men’s team (video, 05/11/2019) Australia’s women footballers get equal pay in landmark deal (06/11/2019) ‘We Have To Be Better’: Megan Rapinoe and the Year of Victory and Advocacy (18/12/2019)

4. Newstart

Newstart is Australia’s income support for those aged 22 to 64 who are unemployed. Though a form of social security, it’s fallen behind in terms of how much economic security it can provide recently, with years of no real increases (that is, increases which offset inflation - basically things are getting more expensive and even if Newstart increases, it doesn’t give you more purchasing power in reality). Is it finally time to increase Newstart? There was some discussion around the holiday season being particularly expensive, but should an increase be permanent? How hard is it to get a job in today’s economy? And are the payments enough to live on if you can’t find a job? Morrison government defends Newstart amid criticism it is among low est welfare payments in OECD (08/10/2019) Report highlights social crisis confronting Australian youth on welfare (14/12/2019) Survey finds two-thirds of Australians back a Newstart Christmas boost (22/12/2019) The economic case for increasing Newstart (01/01/2020)

5. First Nations Justice

'Voice' was the Australian National Dictionary Centre’s word of the year in 2019 , in the context of Indigenous representation in the Australian parliament. A Voice to Parliament would enshrine Indigenous input into laws and policies on issues affecting First Nations communities, and has been called for by activists for some time now. How does this tie into/is this distinct from other issues such as constitutional recognition? Why haven’t we seen a lot of progress or consensus on these issues? And what might it mean for those communities to be able to make autonomous decisions? There’s a 60,000-Year-Old Way to Help Stop Australia Burning (16/12/2019) ‘I feel unchained’: Mauboy adds her voice to Indigenous recognition campaign (29/12/2019) The Voice to Parliament isn’t a new idea – Indigenous activists called for it nearly a century ago (02/01/2020) ‘It can be more controversial’: Costello warns on constitutional recognition for Indigenous Australians (02/01/2020)

1. Teaching as a Decreasingly Popular Profession

Australian teachers have been struggling with increasingly difficult jobs and flat-lining pay in recent years, and teachers’ unions haven’t been able to successfully find a solution to offset these concerns. Tertiary students are now turning away from pursuing a career in education , and there could be many reasons as to why. What does this mean for the future of Australian education? In what ways do you as a student feel the impacts? And what could be some solutions - perhaps both from a teacher’s point of view, but also from a student-centric viewpoint? Three charts on teachers’ pay in Australia: it starts out OK, but goes downhill pretty quickly (02/09/2019) The epic failure at the root of Australia’s maths problem (06/12/2019) Why male teachers are disappearing from Australian sc hools (12/12/2019) A new voice for class teachers (30/12/2019)

2. Australia Falling Behind

Unfortunately, Australian students have been falling behind many of their global counterparts in terms of educational outcomes - we even hit our worst ever results in the OECD’s international student assessment in 2018. What does this mean in an increasingly globalised world and is there a way to turn this around? How might a student perspective on this be unique from that of a politician for example, or another stakeholder? And is education an isolated issue, or should we be looking at more holistic solutions that incorporate health-related, economic and/or social solutions as well? Murri School students experience social and emotional benefits from six-day nature camp (13/10/2019 - a bit of a reach, but an interesting read about education outside of the traditional classroom) No need to panic – we can fix Australian schools. But to rush the reform is to ruin it (08/12/2019) Coalition to review Australian education curriculum in bid to reverse fall in student results (11/12/2019) Aboriginal English recognition in schools critical for improving student outcomes for Indigenous Australians (21/12/2019) We love to criticise the United States, but guess what? Their public schools are better than ours (04/01/2019)

This is another one of those long-running debates, though it’s on the table again as the ACT has recently legalised recreational cannabis . This goes against federal law, which still bans the possession and use of weed, and makes Canberra the first Australian jurisdiction to decriminalise it. Canberra has also led the way on issues such as same-sex marriage, legalising it as early as 2013 (four years before the rest of the nation would follow suit). Discussion about other drugs such as ecstasy has also been raised as a result, and this piece might be an interesting read on why different drugs have different legal statuses. Still, is legalising pot the way to go considering how other Western democracies are already moving in this direction? Is it even a harmful drug at all? And what about the others, such as ecstasy? Or even alcohol, for that matter? Nation’s capital legalises cannabis for personal use (25/09/2019) Peter Dutton: government may overturn ‘dangerous’ ACT decision to legalise cannabis (25/09/2019) Australia could be the first country to legalise ecstasy – are we going too far? (03/10/2019) Canberra women with endometriosis are self-medicating with cannabis, but legalising the drug might not help (28/12/2019)

2. Climate Grief

This is an interesting and pretty recent phenomenon - climate grief or climate burnout are new terms that have come into existence to describe the mental health impacts of the climate crisis. In particular, they describe the frustration and despair that people may feel as a result, given that progress on reducing carbon emissions is frighteningly slow and natural disasters are becoming more frequent and devastating at the same time. What is your take on it and who’s feeling it? Do you have to be affected by disasters, or can it also affect young people who feel pessimistic about the future of the planet? And what could be some strategies for overcoming it? What is the importance of seeing climate through a health lens and how might it inspire activism or change? Australian Farmers Muddled in Mental Health Crisis (26/09/2019 - a good read on how climate issues intersect with economic issues as well) Australian town breaks record for mental health awareness following devastating flood (16/12/2019) Australian bushfires could lead to a mental health crisis, expert warns (03/01/2020)

3. Mental Health

2019 saw some other new developments in the conversation around mental health in Australia. A report found that mental health concerns are getting more widespread among young people, while government investment doesn’t really seem to be effective. Meanwhile, we’re also seeing progress on destigmatising mental health issues within sport - overseas, athletes such as Paul Merson and Stan Collymore have shared stories of their battles, while Cricket Australia looks into ways of creating more supportive environments for their players. How can we streamline the message around mental health, or the relevant support networks? What solutions haven’t we tried yet, and how might the discussion around this shift in the next decade? What are the implications if we don’t address these issues? Note that this can be a sensitive issue which may cause distress to some people. Mental health issues increasing among Austra lians (30/09/2019) Push to get wellbeing counsellors into schools as mental health bill costs Australia billions (31/10/2019) What’s driving poor mental health among young Australians? We asked them (20/11/2019) Kevin Roberts: Cricket Australia committed to better understanding menta l health (14/12/2019) People with mental illness less likely to get cancer screening (03/01/2020)

4. Abortions in NSW

NSW recently legalised abortions for pregnancies shorter than 22 weeks after one of the longest debates in their state Upper House. While the choice versus life debate has raged around the world for decades now (i.e. maybe don’t do a pro-choice speech that people will have heard before, and probably don’t do a pro-life speech in 2020), what is the landscape of the debate like in our day and age? Who opposes it and why? What is the problem with making health issues criminal issues instead (e.g. drug policy as well)? And what other issues might be linked to this? Can someone who is pro-life also support tougher border restrictions that lead to refugee deaths at sea, for example? Note that this can be a sensitive issue which may cause distress to some people. Why NSW is still fighting about abortion (17/09/2019) Controversial abortion bill passes NSW Upper House after long-haul debate (25/09/2019) Abortion Is Now Legal in NSW After Controversial Bill Passes Lower House (26/09/2019) NSW abortion law: doctors say last-minute changes ‘unnecessary’ but manageable (26/09/2019)

Wondering where to go from here? Well, luckily, my eBook, How To Write A Killer Oral Presentation , details my exact step-by-step process so you can get that A+ in your SAC this year.

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Anna Funder’s Stasiland and Kazuo Ishiguro’s Never Let Me Go bring together two complex, poignant worlds of “personal stories” and subjective narration of what once was, an individual's place in history and its aftermath, especially when the world attempts to move on.

Establishing a literary allusion to Lewis Carroll’s Alice’s Adventures in Wonderland in the title, Funder’s narrator of Anna fills the role of Alice as she stumbles upon and explores the absurd and unjust world of the German Democratic Republic (GDR). Driven by an almost naive curiosity, akin to Alice herself, Funder conducts extensive interviewing to uncover not only the stories and experiences of the victims of the regime, but also of the Stasi, the “internal army by which the government kept control”. Through her literary journalism, Funder creates an intimate and sensory experience for the reader, extending beyond factual occurrences to capture the “horror-romance” of East Germany, “a country which no longer exists” but its inhabitants, victims and perpetrators continue to live on.

TIP - Research the history of the German Democratic Republic, the rise and fall of the Berlin Wall and the influence of the Soviet Union within East Germany, in contrast to West Germany. Understanding the backbone of “this land gone wrong” in which Funder delves into gives much greater context for the significance of her work and ideas in which you can explore in your writing.

Never let me go.

Ishiguro delves into human mortality through the platform of a science fiction world, where the focus is ultimately on the prospect of an existence where one’s life is knowingly shortened, and what becomes important with such a backdrop. Readers are introduced to the concept of ‘clones’, existing as live incubators of organs that will be later harvested for others. Perceived by society as less than humans, Ishiguro’s narrative focuses on clones who spent time at Hailsham, a boarding school ‘experiment’ in England which attempted to provide a more ‘humane’ education and upbringing for clones, and their sheltered perspectives on their existence, their mortality and purpose.

Authors’ views and values

Why have Funder and Ishiguro written what they have written?

Funder’s dogged pursuit to uncover and reveal the “portraits” of individuals who lived through the GDR was prompted by West Germany’s dismissal of, and use of stereotypes when these individuals were concerned, and the assumption that “no-one is interested in these people”. She discovers that “things have been put behind glass”, in the forms of museums and metaphorical mausoleums, “but they are not yet over”. Stasiland therefore acts as a work that champions the importance of memory, of remembering and of history, as Sisyphean of a task as this inevitably is because it is “working… against time”. In addition, Funder’s purposeful choice to include the perspectives of the Stasi themselves opens up another realm of understanding to the reader. It allows the audience to examine the Stasi's motives and justifications, their humanity or lack thereof, of the lessons learnt and unlearnt, as a means of framing the entire regime and of framing the spectrum of humanity.

Whilst Ishiguro’s universe differs greatly when placed alongside Stasiland , his characters also belong to a world that no longer exists, as their Hailsham upbringing evolves into a historical artefact, reflective of a world that “wanted [the clones] back in the shadows” and which remained oblivious to the reality of the clones’ existence. Ishiguro gives voice to the clones; the “poor creatures” who otherwise possessed no voice or recognised humanity in this world, and no purpose apart from their utility as organ donors. These individuals are shown to be no less human than you and I, and it is in their sheltered lives, headed towards “wherever it was [they were] supposed to be”, which permits the reader to examine their own life purpose and meaning, and how a clone’s existence is ultimately reduced in not only length, but also ability and capacity.

Both texts confront uncomfortable truths about humanity and reality, the treatment that certain individuals were unfortunately subjected to which resulted in their dehumanising, and which “broke” them, sooner or later.

TIP - Reframe this question for any text you are studying - including text response! There is intent and purpose underlying each and every text that is definitely worthy of thorough unpacking and consideration; the thinking you will do will help to further your analysis and comparison considerably.

Themes and comparison.

What are the big ideas underpinning the texts? How are they explored? What sorts of comparisons can be drawn between the two texts?

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I use this strategy throughout my analysis of the following themes.

Dystopian reality

Stasiland : As prompted by the VCAA 2015 exam, the GDR is indeed ‘cruel and absurd’, especially in the methods the nation constructed and enforced this society, as this ultimately broke the souls of innocent individuals, and left questions unanswered and scars unhealed for many. It showcases how what could potentially be described as 'idealistic' in terms of government control can become grotesque, how otherworldly and Orwellian this recent history seems, and how the perspectives of victim, perpetrator, outsider and more are not restricted to the land of the GDR, but to today as well. In addition, as Funder discovers, these perspectives are closely intertwined, in which certain individuals of the Stasi were victimised too, and could not remain in the "group in the know [as] one of the unmolested".

Never Let Me Go : The novel’s context of clones is removed from the reality that readers are familiar with, and as Ishiguro focuses on the clones’ perspectives throughout, there always remains an element that feels 'off' and ’not quite right’ about who they are and the purpose of their existence. Whilst the context of Never Let Me Go differs greatly from a regime with "the most perfected surveillance state of all time", it highlights an unsettling reality, in which scientific advancement has resulted in a society benefitting from the clones' existence and from organ harvesting, but who are also rejecting of the possibility of their humanity. The clones may never be able to perceive and fully understand this cruelty or absurdity themselves, but this does not mean they are not victims of this, for a fate that they could not choose.

Possible points for comparison : The victimisation of individuals in both texts, whether it was internalised or ushered into oblivion is central to the absurd worlds of Stasiland and Never Let Me Go . The clones are in a way, victims from birth, and unable to avoid their shortened existence and purpose, whereas those in the GDR who were subjected to surveillance, interrogation, torture, etc. became ensnared and damaged beyond repair; the aftermath of which they were unable to escape from. However, the closing of Hailsham and the falling of the Berlin Wall spell out different fates in the two texts - those in Stasiland may be "fettered" by their past that is "not ever, really, over", but are provided a future in which there is hope for rebirth in the "green", "lush" city of Berlin and beyond. On the contrary, the clones are only able to move toward their fate, towards "wherever it was [they are] supposed to be" and towards completion. Coupled with the naivety accompanying the clones' existence, their acceptance of what is ahead and the lack of awareness surrounding their victimisation, readers are prompted to consider the cruelty of such existence, and whether there is greater tragedy in having your "soul buckled out of shape, forever", or in never knowing who you really are.

The act of remembering

Stasiland : In discussing and unearthing a recent history of a "bygone world" that many individuals wish to "pretend it was never there", Funder's attempt to create and immortalise "portraits" of East Germans raises questions about how events and lives are remembered and forgotten. Especially when elements of this past in the GDR could not be "pinned down by facts, or documents", the detrimental impact of a lack of recognition and acknowledgement of one's past, especially one filled with trauma, is thereby highlighted by Funder. When the rest of the world deems the GDR and the Stasi to only belong "behind glass" in museums and yet it is "not yet over" for those who are still suffering and carrying scars, physical and psychological, the purpose of Stasiland rings clear and true. Whilst it is a Sisyphean attempt, "working against forgetting, and against time", through Stasiland , Funder ultimately gives a voice to the "personal stories" comprising history, before there are "none left".

Never Let Me Go : Through the lens of Kathy H's narration and the recollection of her memories surrounding her upbringing, readers uncover the pieces of her existence as moments of her past begin "tugging at [her] mind". Memory itself can be fickle, recording and preserving certain experiences but not others, and as time passes, "fading surprisingly quickly" before being lost in the ether of one's past. Ishiguro's continual mention of Kathy's memories of an event, of her years at Hailsham and beyond almost lulls the reader into overlooking this element of the narration - in which the reader's understanding is built upon an uncertain and incomplete foundation of facts; similar to how the clones' "sheltered" understanding of their world came to be. After Hailsham closes, its existence recedes into the memories of the clones, and although Kathy declares that the memories will be retained "safely in [her] head", upon her completion, this will also be lost, and Hailsham will be further diminished in history as a 'failed experiment' and one day forgotten.

Possible points for comparison : The valiant efforts to remember and preserve the once-was is woven into the fabric of both texts, despite the inevitability of forgetting as death and 'completion' claims those who lived through East Germany and Hailsham respectively. When the recent history of the GDR becomes a "lost world", and the importance of remembering what transpired is being superseded by the innovation and process of the present, it opens up room for the same mistakes of the past to be made again. Hailsham was an attempt to create a more idealised and humane upbringing for the clones, and to showcase their humanity in a society which rejected this, and the boarding school's closure reflects a failure in which any previous successes will never be acknowledged. Memory, and by extension, one's understanding of the past is what enables change in the future; in attitude, in approach, in the treatment of others, in decisions, in growth, as an individual and as a whole. With its gradual loss, it may also be ineluctable that history repeats itself in one way or another.

Subjective narration, stories and lives

Stasiland : Stasiland itself is comprised of the stories of human lives, and includes various individuals' tenacity, strength and courage to their vices, cruelty and cowardice. By seeking out not only those who were victims of the regime but also perpetrators, Funder examines the many complex facets of human nature and the irreversible impact of the GDR on East Germans and who they became or were broken into. However, the personal involvement of Anna as a narrator and most importantly, as an outsider to the GDR provides a subjective perspective of this history. Whilst this has received criticism, it is important to consider how the human experience itself is subjective, as is never being able to truly understand another individual's story as the exact experience is theirs alone to hold and perhaps be "fettered" to; both of which are evident in Stasiland .

Never Let Me Go : Ishiguro constructs a narrative in which Kathy H and the clones are assumed human individuals from the text’s introduction, and it is only as the clones uncover how they may be "troubling and strange" that the reader gains a sense of how they are perceived in society as sub-human. However, the pre-determined fate and mortality of these "poor creatures", especially as they are born and 'complete' seemingly without a scope of awareness beyond their exposure during their upbringing and their sole purpose as organ donors - renders their lives even more heart wrenching and tragic - and human. The simplicity with which Ishiguro details the musings and reflections of Kathy H, and in the concluding moment of her imagined fantasy of Tommy, as not "out of control" as she may felt, readers cannot ignore the stark juxtaposition with the circumstances of her existence, in which she ultimately has no control over her identity as a clone. To grasp autonomy, to defy and deviate from being "wherever it was [she] was supposed to be", even for a moment, Ishiguro portrays a courage which is undoubtedly human.

Possible points for comparison : When faced with the stories of lives not our own, but each individual possessing elements which resonate and resemble us, it is much more possible to understand their struggles, their intentions and their experiences. Consider the story behind each face, each character, each name, not only in these two texts but also other texts and even our lives, as we are fundamentally more similar than different when compared to each other, even in the face of separation and distinction.

Ultimately, Funder and Ishiguro's texts probe the existential question of what it means to be human and what defines one's identity, and how it is shaped by experience, fate, intentions and actions. Question the texts, question the characters, question yourselves, and you'll discover worlds and perspectives closer to home than the GDR or Hailsham may initially seem.

1. What’s the Difference Between Year 9 English and Year 7/8 (Junior years)? 2. What Are You Expected To Cover in Year 9? 3. Assessments and Exams 4. How To Prepare for the Assessments and Exams

Did you know that when you finish high school and you decide to apply for a part time job, you’re expected to recite every single essay you’ve ever written word for word?

Alright, you got me, I’m kidding!

You may be wondering why is the subject English mandatory? What’s the point of it? When am I ever going to apply the skills I’ll learn in English in real life?

Yes, math, science and even humanities subjects may have more apparent skill transfer to careers like medicine, politics and engineering, but the soft skills that many employers are after these days (such as strong communication skills and confident presentation skills) will develop as you continue with your English studies. And yes, if you plan on being a business owner, these skills are all the more important!

Of course, post-high school won’t involve writing essays and responding to essay topics but they help you build your critical thinking, creativity and understanding intentions (why people do what they do).

These skills will be extremely valuable to you regardless of the path you choose to pursue in life.

Let’s get straight into the nitty gritty of things then...

1. What’s the Difference Between Year 9 English and Year 7/8?

Achievement standards in the Victorian Curriculum from Years 7-9 build upon each other, and the skills learnt during the junior years will be expanded on in Year 9.

In Year 7 , students will be introduced to different text structures (novels, opinion pieces, editorials, speeches, etc.) and focus primarily on the audience, purpose and context of using these text structures.

You would have had the opportunity to:

Explain ideas and issues explored in your texts (e.g. happiness, relationships, conflict, etc.)
Begin looking at the implied meaning of evidence in your texts (this means forming your own interpretation of what you think the author is trying to say through characterising certain characters the way they are, or through the use of certain symbols, quotes, etc.)

The writing standard predominantly draws from:

A mixture of your own personal knowledge and experiences
Researched sources, such as news articles, reviews, etc.
Your own analysis of the assigned texts (usually linking your analysis to a prompt)

Building on the grammatical and foundational writing skills taught in primary school, Year 7 students will need to apply them when writing and editing their work.

Year 8 English develops the students' critical thinking a bit more. You would have been expected to:

Interpret assigned texts, ' questioning the reliability of sources of ideas and information ' (know that some texts you will come across may be biased and only expose one side of the argument)
Make judgments about the effectiveness of language choices used by creators
Understand how specific and selective choices of language are used by creators for different effects and purposes (be able to explain your reasoning as to how the conventions of language features used by an author enhance their point of view)

Year 9 English takes the previous two years’ worth of skills even further. This year you will be expected to:

Analyse the ways in which different ' text structures can be manipulated for effect '
Evaluate and integrate ideas from your assigned texts to create your own interpretations
Realise the importance of planning before writing as well as the need for the drafting process in order to produce A+ level work (an introduction to writing will be provided)
Be exposed to a wider range of forms of text compared to the junior years which are mainly novels and films
Extend your lists of vocabulary and techniques

2. What Are You Expected To Cover in Year 9?

One of the most important skills needed in English is being able to write an analytical essay. This entails presenting an argument about your prompt based on your assigned texts. To do this well, you will need to discuss characters, literary features, structure, themes and big ideas .

The point of the analytical essay is for you to demonstrate your ability to analyse the evidence you choose to incorporate into your essay while linking it back to the idea you’re exploring in the body paragraph. One way to approach this is to provide your own interpretation of evidence.

This will be elaborated on with examples below.

Structure is also just as important as the content when writing an English essay. Most of the time, particularly in Year 9, your teacher will provide you with a specific structure to follow. This tends to include:

An introduction (100 words)
3x body paragraphs (200 words each)
A conclusion (50-100 words)

The amount of detail you include in each of your paragraphs will increase over the years. Once you reach Year 12, your essay will sit roughly around the 1000 words mark. For now, try to aim to write around 800 words. Just remember that quality always supersedes quantity . Ensure that the 800 words you write have relevance and are not just word vomit on a page.

The Introduction

Think of the introduction as a to-do list. You can always refer back to it to remind yourself of the points you need to cover and it will keep you on track so you don’t sway from the prompt in your essay. Your introduction sets the scene for the reader. All you have to do is introduce your overall stance (contention) and your three main points (arguments) you want to unpack in the essay. In some cases, teachers would also prefer for you to add in an introduction to the text(s) you’re studying and provide some background information or an overview of the text’s social or historical context.

The Body Paragraph

The most important components of your essay are the body paragraphs. That is where the bulk of your marks will come from - your analysis! Different schools have different acronyms they may follow for their body paragraphs, but the most common one is TEEL.

‍ T opic Sentence
E xplanation

As you move up into Year 10, 11 and 12, many schools will extend the acronym to TEEEEEL , meaning that you will be expected to expand on the level and depth of your analysis.

Let’s break up TEEL a bit more…

‘T’ - Topic Sentence

Your topic sentence should support your stance (contention). Your contention should answer the prompt or topic, and your arguments (which form the basis for your topic sentences) should provide a reason for your stance . Because of this, your topic sentence should directly answer the prompt.

Examples of topic sentences include:

'Orwell indicates that for goals to be achieved, teamwork and cooperation among everyone involved will be necessary.' - taken from a Text Response Essay based on George Orwell’s Animal Farm
The author portrays kindness and understanding as key factors that contribute to successful relationships.

‘E’ - Evidence

Most of the time, the evidence you embed into your body paragraphs will be in the form of quotes from the text . High scoring responses will also analyse evidence such as camera angles (film) or narrative conventions (novels).

Embedding quotes doesn’t always come easy to every student. Preferably, the quote you embed into your analysis will be no more than 10 words and no less than 2 words.

Rules to keep in mind when you incorporate a quote into your writing:

Avoid using a quote to form the whole sentence.
Don’t begin a sentence with a quote
Single word quotes should rarely be used. They should only appear in your analysis if you’re exploring a unique, big idea that is conveyed by that one word.
Use square brackets ‘[ ]’ if you want to change up the quote

It would be helpful to embed the quote into context first as this will help when you’re explaining its relevance to the idea you’re exploring in the body paragraph.

For Example:

Parallels can be drawn to the ways in which the pigs in the farm have the role of organisers 'naturally [fall] upon' them. Here, the pigs are portrayed as 'the cleverest of the animals', suggesting that they are the leaders who make the decisions on behalf of everyone…

- taken from a Text Response Essay based on George Orwell’s Animal Farm

‘E’ - Explanation

Listing all the quotes you can memorise from the text is not going to get you the marks. You need to analyse the quotes you embed and share your interpretation of the meaning they add to the idea you’re exploring.

Similar to math, where you need to show all the steps to prove that you know how to get the right answer, in English, the ‘explanation’ section is your opportunity to do just that. You need to explain your thought process regarding how you have reached this conclusion or interpretation.

Can you pinpoint the differences between the low-scoring response and the high-scoring response below?

Low-Scoring Example:

Big Brother’s lack of compassion is evident through its elimination of personal relationships between the Party members. A marriage is always refused 'if the couple concerned gave the impression of being physically attracted to one another'. This means that the institution of marriage has been manipulated to only serve Big Brother.

- taken from LSG’s How To Write A Killer Text Response study guide

High-Scoring Example:

The distortion of family relationships highlights the cruelty of Big Brother’s institution. Children are taught from an early age to be ‘spies’ for Big Brother. The children symbolise the eyes of Big Brother, as they are always watching members for 'any sign of betrayal to the Party'. Ironically, although Winston believes that 'another year, two years, and they (the children) will be watching (the mother) night and day for signs of unorthodox', it is shown soon after that the father, Parsons, is denounced for 'thoughtcrime'. *** Through this condemnation of their own father, the children also symbolise the destruction of family relationships in return for their loyalty to Big Brother. This unnerving vision of a complete disposal of relationships depicts how brutal a totalitarian society can be for its members in that the very fundamentals of human connection, such as love and family, are corrupted .***

- taken from LSG’s How To Write A Killer Text Response study guide*

***The ‘explanation’/analysis is located between the asterisks.

The linking sentence is the last sentence of your body paragraph and it should always ‘link’ back to the main idea you have explored (topic sentence) as well as the prompt. Avoid merely rewording your topic sentence, and a hint to do this well is to refer to the creator’s intent .

'Ultimately, the loss and alteration of meaning within marriage and sex demonstrates how brutal a dystopian society can be for individuals, and as Orwell forewarns, can be the destruction of humanity itself.' - taken from LSG’s How To Write A Killer Text Response study guide
'Orwell cautions his readers to be wary of societies such as the Big Brother regime by portraying the cruelty of the Party’s actions.' - taken from LSG’s How To Write A Killer Text Response study guide

Check out our video, ' What do year 9s learn in English? ' for a more in depth look at what's expected of you this year!

3. Year 9 Assessments and Exams

In Year 9, this is where you will gain exposure to an array of forms of texts, ranging from creative responses, speeches, analytical essays, film, poetry and persuasive pieces.

Throughout the year, you will study a range of different texts (the ones mentioned above) and the activities and assessment tasks you will receive will be based on these texts.

Generally, by the end of Year 9, you will have completed:

A creative response,
A persuasive essay (formatted as an opinion piece, editorial, or letter to the editor),
An oral presentation about a particular issue,
A film analysis , and/or
An analytical essay based on a play, novel or poems

Throughout the year, you may receive different types of classwork, depending on your teacher. These may include:

Performances
Group presentations
Comprehension questions
Practise essays/paragraphs
And so much more!

4. How To Prepare for the Assessments and Exams in Year 9?

Practise, practise, practise!

One of our most common sayings at LSG is 'study smarter, not harder'. This means knowing where your weaknesses lie and doing what you must to improve upon them. Don’t stick to your comfort zone too much - allow yourself to do the unfamiliar enough times to make it familiar. This will also help you build confidence within yourself when you see the progress you make.

Here are a couple of tips for you to help you prepare for any upcoming assessments and exams like an A+ student:

Reading more than your assigned texts can help you improve your spelling, vocabulary and expression when writing! The more you read, the more knowledge you will gain about fluency and structure. I would recommend reading widely. This means not confining your reading to just purely manga, but also newspaper articles, novels, non-fiction texts, etc.

If you want to become an expert on the text you’re studying and stand out from the rest of your classmates when you get to essay writing, read more about your text. This can include reading up on the background of the author who wrote the text, investigating the social, historical and cultural context of the text. Study guides, interviews, reviews and sample high scoring essays around the text are also very helpful resources!

Drafting and Essay Feedback

Drafting and getting essay feedback is an important cycle to come back to for the remainder of your high school career.

Going back to what I have just said, practise is key to success in English. English is often deemed to be one of the most confusing subjects because many students claim it to be subjective and will often complain that they have no idea what they’re doing. Generally, this isn’t a good sign. We understand that it can be difficult to know whether you’re on the right track or not, but it’s important we don’t just sit there and wonder the whole time. We must also seek feedback from our teachers or tutors about ways we can improve our work.

Upon receiving feedback from our teachers or tutors, we can’t just stop there. We must also incorporate this feedback into our re-draft or finalised copy of the work. Any questions or confusion must be addressed during this stage so you know exactly what to do next time.

At LSG, we have high-quality tutors who have received the marks you’re after and can walk you through your high school English journey.

What will we offer you?

Regular English advice and support (whether that is homework help, essay feedback or if you just want to go the extra mile and get ahead with your English studies)
A specialised LSG Signature Program that can cater to your goals and help you develop the knowledge and get all the consistent writing practise you need
Guidance as we work through the necessary writing skills and strategies that will get you the A+ you desire
Access to exclusive LSG resources that will save you time creating your own notes (planning and writing templates, sample high-scoring essays and so much more!)

If you want more information on why you should pick us, check out our tutoring page . Otherwise, click here to express your interest today!

It’s time your conclusions got the attention they deserve! So grab a massive piece of chocolate, a glass of water and prepare to be taught about the beginning of the end (of your essay, that is).

Having a rushed conclusion is like forgetting to lock your car after an awesome road trip- that one rushed decision could jeopardise the whole experience for your assessor. A mediocre conclusion is the same as powering through a 500 metre race then carelessly slowing down seconds before the finish line! Dramatic comparisons aside, the way you choose to end your text response either leaves the marker with a bad taste in their mouths or increases your chance of hitting a home run. On the other hand, if you’re feeling discouraged by how your essay has shaped up to be, having a killer conclusion could set you up for a pleasant surprise.

5 Tips for a mic-drop worthy conclusion

1. make a plan for the conclusion.

It has been said many times, “If you fail to plan, you plan to fail” and it could not be more true when it comes to crafting a killer conclusion. By setting a few minutes aside before even beginning your essay to plan everything out, you get to see the necessary elements which you will want to address in your conclusion. In simpler terms, an essay plan reminds you of your contention and your main points, so that you are able to start gathering all of your arguments and create the perfect concluding paragraph. Planning for each paragraph sets you up for a win as you begin to refine key ideas and explore the many ways of expressing them, which is crucial for a conclusion.

2. Don't tell the reader you are concluding!

Time and time again I have seen people fall into the trap of using phrases such as “in conclusion” or “in closing”. The person marking your work may be blown away by the majority of your response, then reach those rotten words and will reconsider this thought. Being this ‘obvious’ with opening a conclusion does not earn any points. In fact it’s simply not sophisticated. The main reason many students are tempted to begin in such a clumsy way is that they don’t know how to begin their conclusion. If you are having difficulty to start and experiencing a bit of writer's block, simply go back to your essay plan and start to unpack the contention - it’s that easy! Rephrase your answer to the actual essay question. In most cases, you can just cut out those nasty little words and the opening line of your conclusion will still make perfect sense.

3. Rephrase, not repeat

The definition of a conclusion is literally to “sum up an argument”, thus your last paragraph should focus on gathering all of the loose ends and rewording your thesis and all of your arguments. It’s great to reinstate what you have said throughout the body of your response but repeating the same phrases and modes of expression becomes bland and bores the reader. Instead, aim to give them a fresh outlook on the key ideas you have been trying to communicate in the previous paragraphs. All it takes is a little time to change the way you are saying key points so that the conclusion does not become tedious to read. Conclusions are there to unite all of your points and to draw a meaningful link in relation to the question initially asked.

4. Keep things short and sharp

Your closing paragraph is NOT for squeezing in one or more ‘cool’ points you have- no new points should be brought into the conclusion. You should focus on working with the arguments and ideas that have ALREADY been brought up throughout your response. Introducing new arguments in that last paragraph will cause a lack of clarity and may cause the paragraph to become lengthy. A long conclusion will slow down the momentum of your piece and the reader will begin to lose interest and become impatient. Having a clear aim before writing your conclusion will help avoid a lengthy paragraph as your final thoughts will be more concise and refined.

5. The last line is where you get to really shine

Your closing sentence is the ultimate make or break for the entire essay so it is a shame to see many responses ending awkwardly due to students running out of time or becoming lazy with that final sentence. Last words are so important but don’t spend too much time on it! One awesome way to finish is with a very well thought-out phrase which summarises your contention one last time. Imagine dropping the mic after the final sentence of your essay, your conclusion needs to be stronger.

If you need further help on Text Response (including essay structure), check out our Ultimate Guide to VCE Text Response .

Often, with Language Analysis (also known as Argument Analysis or Analysing Argument), it can be hard to find unique things to analyse and set yourself apart from your competitors. Techniques like rhetorical questions, inclusive language and the appeal to family values are regurgitated by thousands of students every year come exam season. As you’d imagine, examiners get tired of hearing the same ol’ thing essay after essay.

So, I challenge you to surprise them! And today’s video will help you do just that.

The TEE rule is a very popular technique that we describe in our top-rated eBook, How To Write A Killer Language Analysis . And for a good reason, too! It guides your analysis to ensure that you’re talking about techniques, how they affect readers and using evidence to back yourself up. If you’ve never heard of the TEE rule, no worries at all! Check out our HTWAKLA eBook for an in-depth look into how the technique can help you get to that A+ level.

Today’s video is all about analysing the structure of Language Analysis articles so you can WOW examiners and score in that upper level.

Now, what does this exactly mean and, more importantly, look like?

When it comes to pieces of writing, when we talk about structure, we’re talking about how the information is organised.

What does the writer talk about first? What do they talk about last? How long are the paragraphs? How many paragraphs are there? While these questions might seem a little pointless to some, they can actually inspire some pretty unique and spot-on analysis in VCE Language Analysis.

OK Lisa, I get it, but how can I do this in my essays? Great question.

Let’s have a look at some examples of this, courtesy of one of LSG’s amazing tutors, Andrea. She’s written up an incredible blog all about these advanced techniques, and it includes much more than what we have time to talk about today. So, as always, I’ll leave the link to her blog in the description and in the card up above – I highly recommend that after watching this video, you head on over and check it out. ‍

Analysing recurring themes and ideas in VCE Language Analysis

Analysing recurring ideas and themes throughout a piece is a fantastic way to show the examiner that you’ve understood the piece as a whole and that you can step back and notice similarities between smaller sections.

Let’s take a closer look at Section C of the 2014 VCAA English exam . The author emphasises the theme of Kolumbus-21 and its significance on space travel , which is an example of a recurring idea of theme.

Paragraph 1: ‘Space exploration has been on my mind this week after visiting an exhibition presented by an international group known as Kolombus-21.’

Paragraph 9: ‘Kolombus-21 talks a lot about international cooperation. This hasn’t always been a feature of space exploration, but now that we have an international space station supported by 15 nations, the era of collaboration seems to be well established.’

Paragraph 11: ‘Perhaps with big dreamers like Kolumbus-21 behind it, it might even turn out that way.’

We can use an array of vocabulary to describe exactly how ideas and themes recur throughout a piece. For example, if something is mentioned repeatedly throughout a piece, we could call it a c yclical, recurring or circular idea. If an idea is built chronologically , piece by piece, we could call it hierarchical, chronological, sequential or even linear .

In this example, notice how from the beginning to the end of the piece, the author mentions the connection between Kolombus-21 , space exploration and international cooperatio n several times. Let’s see what we get...

By returning to the original theme of Kolumbus-21 as a key driver of support for space travel, which indicates the cyclical structure of her opinion piece, Yergon links space travel with international cooperation.

It’s also a good idea to reiterate the overall structure of the piece in the conclusion, as it allows you to link the structure with the author’s contention.

Analysing the ordering of the contention, arguments and rebuttals in VCE Language Analysis

Certain elements of the article can have a different effect on the reader depending on where the author places them. When we’re talking about desired effects on readers, we want to assume that the writer has done everything a certain way for a reason , so when the rebuttal is placed first, for example, we can look into this further for possible explanations.

When the rebuttal is placed first , it can set up the audience to more readily accept the writer’s following opinions, as opposing viewpoints have already been criticised early o n.
You can see this in the 2013 VCAA exam, where the author argues against opposing views early on in their article. In it, the author references the opposition directly as they say ‘some people who objected to the proposed garden seem to think that the idea comes from a radical group of environmentalists’, and rebut this point by proposing that ‘there’s nothing extreme about us’.
Or, if the rebuttal is placed towards the end of the article , it could serve to cement that the writer’s viewpoint is correct by explaining why opposing viewpoints are wrong . Also, it can give a sense of finality to the piece – assuring the audience that all bases have been covered by the writer.
What if there’s no rebuttal ? Well, this could imply that the author’s opinion, and theirs alone, is correct and to be supported.

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

Historical Context
Essay Planning
Essay Topics

1. Historical Context

Kennedy’s anthology of fifteen short stories, Like a House on Fir e, explores the impacts of familial and social issues on an individual’s sense of identity and humanity, illustrating the vast spectrum of human condition. Having lived a majority of her life in Victoria, Australia, Kennedy’s collection follows the stories of various protagonists whose voices are characteristic of Australian culture and society. As the text is set in the backdrop of rapid Australian modernisation, the novel also depicts the paradoxical nature of technology, as various characters are depicted to be torn between confronting or embracing this fundamental change. Despite approaching the stories of characters conflicted by modern and social challenges with both humour and cynicism, Kennedy’s lack of judgement is notable; it is with this empathetic stance that she is able to the universal nature of human emotions to her readership.

Kennedy explores the theme of identity mainly through physical injury, as various characters with physical trauma find themselves to be agonisingly limited within the confines of their condition. In Like a House on Fire , the narrator’s sense of identity becomes intertwined with his subsequently decreased masculinity, as his back injury leaves him unable to physically take care of his family, and his wife begins to undertake stereotypically masculine roles within the household. In tandem with this, Roley’s wife in Little Plastic Shipwreck is rendered humourless and witless due to her brain injury, distorting her once enthusiastic self into one shadowed by her illness; further emphasising the link between physical and mental identity.

Order and Disorder

The inherent tension between order and chaos is continually examined throughout the anthology, particularly in Like a House on Fire, in which perfectionistic order and scatter minded disorder are embodied in the unnamed narrator and his wife respectively. As the two individuals are unable to establish a compromise between their contrasting personalities, Kennedy suggests that this lack of cooperation is the core reason for the deterioration of their marriage, and their subsequent misery. The notion of disorder is also symbolised by the domestic setting itself, as Kennedy depicts various characters who feel pervasive ennui and dissatisfaction within the ‘chaotic mess’ of their household environments.

Each protagonist in the collection is portrayed as possessing some object of longing, whether it be material or emotional. Kennedy utilises scattered verses of prose within her writing to communicate these human desires, building upon their significance poetically. In Static , Anthony attempts to negotiate his own wishes with those of his wife and family, leading him to wonder whether anything present in his life has been created by his own will or merely his eagerness to please others. His desire for various types of happiness, embodied in material concepts such as money or children, suggest that the human condition is built upon the foundation of dissatisfaction; that innate longing is what ultimately defines us as human.

The theme of love is present in each story of the collection, often used as an instrument through which the characters can heal and grow from their physical or spiritual pain. While suggesting that true love endures all hardship in Like a House on Fire , Kennedy also illustrates the various sacrifices one must make in order to protect the ones you love. Such is depicted in Five-Dollar Family , as a new mother makes the difficult decision of leaving her ‘loser’ boyfriend to give her child a chance at the best life possible, despite the unfortunate situation he has been born into.

Communication

The vital importance of communication within families is emphasised in the anthology, as the lack of effective communication perceivably exacerbates dysfunctional relationships. The crushing regret of a son is explored in Ashes , as he laments his lack of communication with his father who he can no longer speak to. However, Kennedy empathetically depicts the difficulty of communicating potentially painful messages to loved ones in Waiting , as the protagonist anxiously agonises over the prospect of telling her husband that she may have another miscarriage following an excruciating string of lost children.

In tandem with longing, Kennedy asserts that empathy is vital to the survival and happiness of a human being. This notion is aptly depicted in Little Plastic Shipwreck , in which the death of Samson the popular show dolphin results in Roley’s revelation of his manager’s complete lack of empathy, and subsequently the abundance of his own. Similarly, the salient importance of empathy is emphasised in Flexion , as the cold-heated and harsh victim of a brutal tractor incident repairs his marriage by allowing himself to feel more empathy for those who have supported his recovery and been understanding of his bitterness.

The anthology centres around the concept of family, as both dramatic events unfold directly due to altercations and misunderstanding within the household. By depicting both the dramatic and mundane events that contribute to creating dysfunctional families, Kennedy asserts that kindness and understanding is vital to the maintenance of a healthy and loving family. The power of family is also depicted in Like a House on Fire , as the protagonist’s dissatisfaction with life is instantly washed away by the actions of his children, who remind him that despite his life-threatening injury, his family is his constant source of love and support.

If you'd like to see how themes like these can be identified and analysed in one of Kennedy's short stories, you might like to check out our Close Analysis Of 'Cake' From Like A House On Fire blog post!

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

3. Essay Planning

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

Question 1: ‘Gender plays no role in the tragic identities of the characters in Like a House on Fire.’ To what extent do you agree?

Suggested contention: despite the ubiquitous nature of hardship, the short stories of like a house on fire explore the effect of gender roles on individuals’ sense of self-worth., body paragraph 1: .

Pain is depicted to have no partiality to either gender in Like a House on Fire.
Much of the trauma explored throughout the anthology is a result of lack of emotional connection or familial misunderstanding arising through individual actions, rather than due to stereotypes associated with gender.
Kennedy suggests that there is no gender more at fault for these issues, but rather that it is mindset that determines one’s identity and fate, especially in relationships. For example, just as the protagonist’s wife in Flexion makes the mistake of cruelly wielding her physical dominance over her husband, the passive boyfriend in Five-Dollar Family is cruel in his apathy toward his girlfriend and their newborn baby.

Body paragraph 2:

Despite this, Kennedy explores the social views that plague men as a result of their gender, compelling to limit their identity to meet these fatal expectations.
The concept of masculinity is explored throughout the collection, often presented as an inferiority complex for many male protagonists due to their physical disabilities. The societal idea that men should be physically strong in order to be able to provide for his family is heavily condemned in Like a House on Fire , as Kennedy depicts the destructive consequences of such on one’s sense of self-worth.
For example, the narrator of Like a House on Fire perceives his own physical weakness as unmanly, and subsequently himself as an unfit and useless father. As he is unable to pick up the family’s Christmas tree, the tree seller looks towards him with disdainful judgment, perceiving the protagonist’s wife lifting the tree to be ‘destroying the social fabric’.
In addition to this, the narrator’s extreme attempt to physically help the family results in the destruction of the precious family nativity scene, symbolising the idea that social constructs of masculinity inevitably ends in destruction, as the narrator’s inability to recognise his physical limitations only exacerbates the problem.

Body paragraph 3:

In tandem with this, the collection of short stories also examines the social limitations placed upon women solely due to their gender.
The difficulty for women to balance their roles of mother and career woman is explored in Cake , in which the protagonist Liz fails to separate one from the other, leading her to feel dissatisfaction in both. Kennedy ostensibly denounces the social expectations of women to be domestic helpers, as Liz faces judgement at work for bearing a child, whereas her husband is exempt from any judgement despite it also being his son.
The complicated and personal concept of pregnancy is further depicted in Waiting , as the protagonist agonises over the fact that she may lose another child due to a miscarriage. As the fear of disappointing others takes over her own pain and anguish, readers of the collection are invited to consider the harrowing expectations placed on women to be successful mothers.

Question 2: ‘Like a House on Fire shows that family relationships are never perfect.’ Do you agree?

Suggested contention: through the constant depiction of dysfunctional families in like a house on fire, kennedy asserts the importance of communication and empathy in repairing broken relationships, and suggests that perfect families are unrealistic. .

Every story in the collection depicts a family undergoing some kind of hardship, whether it be financial, emotional or spiritual. Through her depiction of broken families, Kennedy suggests that emotional stress and tension within families is sometimes inevitable, even in a loving and supportive environment.
The title of the collection, Like a House on Fire , is emblematic of the dual nature of families, as while the phrase symbolises the chaos and disorder of one’s family dynamic, it also symbolises the love and extreme passion that often coexists alongside it.
For example, while the protagonist in Like a House on Fire reminisces upon the ‘fiery’ sexual and emotional happiness of their marriage, he also deplores their current period of domestic stress, describing it as a ‘house on fire’.
Kennedy depicts the need for family members to engage in open and honest communication with one another to overcome the effects of trauma.
For example, in Ashes , Chris is only able to find closure by finally understanding the mindset off his parents through effective communication. His newly found ability to express his true emotions to his mother allows him to finally perceive the grief that was masked by her supposedly ‘cruel’ actions, and subsequently finally achieve a stable relationship with her.
Kennedy also advocates for the exercise of empathy between family members in order to find harmony within dysfunction.
This is apparent in Flexion , in which the seemingly emotionless protagonist and his wife undergo their respective journeys of expressing empathy for the other. As their marriage significantly improves due to their increased understanding of each other, Kennedy promotes the importance of vulnerability and openness within families.

Beyond the Basics:

How does Kennedy’s short story format add to the reader’s understanding of the themes uncovered in the novel?

The range of diverse, Australian voices depicted in the anthology work to portray the vast spectrum of the human condition.
The concise narrative present in each of the fifteen stories work to provide the readership with an extremely personal point of view that emphasises the emotions and mindset of the protagonist, furthering the sense of authorial empathy and compassion.
It is through this almost voyeuristic advantage we subsequently possess as readers, that we are able to fully understand the depth of each character’s humanity and sense of identity, as well as the various struggles that follow the course of an individual’s life.
Kennedy’s ordering of the short stories also contributes to the reader’s depth of understanding. There is no apparent chronological order present in the collection, but rather a varied order of stories, depicting its diverse range of voices. For example, while the key themes and tones of the anthology remain consistent throughout, other factors such as age, gender and life experience of the protagonist vary in order to provide contrasting character viewpoints.
As such, this variation in narrative voice allows Kennedy to present her stories as universal human experiences, emphasising the ubiquitous nature of the themes present in Like a House on Fire .
Finally, the varied structure within each individual story lends an optimistic tone that underscores the entirety of Kennedy’s work. While some stories such as Flexion begin with the inciting event, others emphasise the chain of events that occur in leading up to the key event, as depicted in Ashes . As the undertones of hope and faith are present throughout the collection, the varied plot structure of each story allows Kennedy to assert that no matter the circumstance of hardship, one can always find a glimpse of optimism within its depths.

If you'd like to see another essay topic breakdown, you might like to check out our Like a House on Fire Essay Topic Breakdown blog post!

4. Essay Topics

The following essay topics are extracted from our Like a House on Fire Study Guide :

In Like a House on Fire, Kennedy illustrates that perfect families do not exist, and that family dysfunction is inevitable. To what extent do you agree?
The characters in Like a House on Fire are largely defined by social expectations of their gender. Discuss.
In Like a House on Fire, how does Kennedy show that in even times of hardship, human strength will prevail?
‘The range of narrative points of views used in Like a House on Fire illustrate the characters’ deeply personal responses to life’s challenges.’ Discuss.
‘…As the lifetime habit of keeping his responses to himself closed his mouth in a firm and well-worn line.’ How does Kennedy present communication as a key issue in the relationships in Like a House on Fire?

If you'd like to see A+ essays on these essay topics, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then you'll definitely want to check out our Like a House on Fire Study Guide ! In it, we also cover advanced discussions on topics like authorial views and values, symbols and motifs and context completely broken down into easy-to-understand concepts so you can smash your next SAC or exam! Check it out here .

5. Resources

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The Secret River: Analysis

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Last Updated: Jun 10, 2019 8:59 AM
URL: https://icentre.vnc.qld.edu.au/secretriver

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Saturday, July 27, 2019

The secret river: a study guide.

The impact of our postcolonial perspective on the way the colonial narrative of settler-era Australia has been represented in The Secret River . Think also of the colonial structures that exist in the way the Thornhills do things, express themselves, and project expectations onto the Dharug.
The parallels, commonalities, and disparities between the Thornhill/Hawkesbury community and the Dharug people. This can be framed from the standpoint of cross-cultural transition and cultural exchange.
The way that notions of homeland shift and change from character to character, particularly Sal and Will Thornhill, over the course of the play.
The freed convicts as migrants. Keep in mind, however, that the migrants in this case exist within multiple hierarchies. When compared with the Dharug, the migrants are constructing a dominant power structure rather than settling into a marginalised space. In contrast with this though, the convicts have come from their own marginalised space as an underclass in British society.
Consider the above in relation to which voices are privileged marginalised or silence.
The role that beliefs play in the shaping of identity and claims to 'homeland'.
The role of language and dialect as representational elements utilised by the author.
The nature of transgression in relation to values expressed and reinforced by each cultural group within the text.

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English Tutor Lessons

English tuition year 12, the secret river by kate grenville analysis for year 11 english.

For students studying Year 11 Mainstream English, The Secret River by Kate Grenville will be studied under Area of Study 1, Unit 1: Reading and Creating Texts.

All pages numbers referenced in this brief analysis are taken from the 2013 edition of The Secret River by The Text Publishing Company (front cover shown above).

Genre and Historical Setting of The Secret River

The Secret River is a historical fiction novel with the characters’ stories told within the larger context of the social, cultural and political surroundings of the early colonial settlement of NSW from 1806 onwards.

Each of the 3 landscapes in the text traces protagonist William Thornhill’s life from London, Sydney and Thornhill’s Place and the different kinds of conflict that arise.

The narrative is a story of colonisation, identity and the relationships between settlers, the land and the Aborigines – it’s a story of belonging, ownership and ultimately the bloodshed that results when a people is displaced. In The Secret River , the land represents money and a future for the characters of English descent which contrasts sharply with its meaning for the Indigenous Australian characters. For the Indigenous Australians the land represents their capacity to survive in the present, their future and their past.

The setting of colonial NSW becomes important to the main characters that are caught up in the historical narrative of the settlement and conflict. It is from Part 2 ‘Sydney’ to Part 6 ‘The Secret River’ that we witness the most obvious conflict between the Indigenous Australians and the white characters. It is in this colonial setting of NSW that we see William Thornhill’s inner conflict through the complexities and challenges he faces and the extent to which conflict is all consuming.

Structure of The Secret River

Grenville adopts a traditional realist structure and framework of the narrative which is strictly chronological. The novel is broadly divided into three main sections: those that deal with the characters’ experiences in London, Sydney and Thornhill’s Point.

Prologue: ‘Strangers’ = William Thornhills first encounter with Indigenous Australians

Part 1: ‘London’ = William and Sally’s earliest life in London

Part 2: ‘Sydney’ = Transportation to Sydney, colonial settlement in NSW 1806

Part 3: ‘A Clearing in the Forest’ = The Thornhills move from Sydney to settle Thornhills Point

Part 4: ‘A Hundred Acres’ = Potential for violent conflict with the Indigenous Australians becomes increasingly prominent as the settlers realise the Aborigines are not leaving the land.

Part 5: ‘Drawing a Line’ = The conflict between the settlers and the Indigenous Australians reaches the point where the Governor issues a proclamation that the settlers should shoot the black natives.

Part 6: ‘The Secret River’ = The incidents of theft and violence between settlers and Indigenous Australians climaxes in the poisoning at Darkey Creek and culminating in the massacre at Blackwood’s place.

Epilogue” ‘Thornhill’s Place’ = The epilogue is set 10 years after the massacre and it is pervaded by a sense of remorse by William Thornhill.

Relationship between Conflicts of Space, Place & Identity

The novel has important conflicts of space, place and identity and the relationship between the three which allows distinct comparisons to be made. It is also important to note that intrinsic to these ideas is the notion of culture, especially the cross-cultural conflict that Grenville is primarily concerned with. The division of the novel into these sections is clearly differentiated by location which is an important reminder that place is a significant factor in this text. The structure of the novel also reminds us of another important theme – the importance of a sense of belonging.

Language and Dialogue of The Secret River

Grenville’s prose is designed to complement the historical setting with her characters adopting some phrases and words from the settings both in England and Australia. Instead of using quotation marks for dialogue, Grenville uses italics so that her characters speak within the text instead of traditional line breaks. Some of the terminology that Grenville uses was common to the era and often reminds the reader of the cultural background of the characters.

It is an interesting point with the dialogue that Grenville chooses not to use any Aboriginal languages in The Secret River . Unlike her other novel The Lieutenant where interactions with Aboriginal characters were given in traditional Indigenous language of the Eora people, The Secret River is spoken through William Thornhill in English. Therefore the focus is on Thornhill’s point of view and readers have no real access to the understandings and perspective of the Indigenous Australians in this text.

A significant distinguishing factor between the white settlers and the Indigenous Australians is not just in the lack of dialogue for the Aboriginals but their lack of names. William Thornhill is given his surname as his identity but the Indigenous Australians are named by their appearance “old grey beard” and “the younger one”. The difference in ways of naming highlights the ignorance of the English characters as well as allowing them to be detached from the characters that they are harming.

The Significance of the Title

The title could mean symbolically a river that has held secrets or aspects of Australia’s history hidden. It could also refer to undercurrents in personal relationships. The actual river is the Hawkesbury north of Sydney where Broken Bay hides the entrance and is the ‘secret river’ where William Thornhill finds his land.

Themes, Issues and Ideas in The Secret River

Home and Belonging = are constant themes from Thornhill’s childhood in London to his old age in NSW. The need for a home and a sense of belonging are universal in the text implying that the values of love and personal identity are universal human values. Through his love for the land Thornhill develops his own identity as “something of a king” (p.314) – a man with a home to which he can belong and in which in turn belongs to him.
Ownership = what defines ownership is a major theme in this novel. It is actually the question of ownership that lies at the bottom of the conflict between the settlers and the Australian natives. The English believed that by “marking” a piece of property with a crop they made it theirs. The natives, on the other hand, had free rein of the land for decades before Australia was claimed for England. They saw the settlers as taking over land that had been theirs for centuries.
Conflict = this theme is developed in a variety of forms as between racial groups, between individuals, within families, between beliefs and actions, between dreams/aspirations and reality and between differing philosophies.
Guilt = Despite all his success, Thornhill began to feel a sense of unforgiving guilt for his treatment of the natives. He is considered the richest man in the area, a dream desired since he was a child in poverty. Yet his accomplishment came at a cost, for his family and himself. He no longer spoke to Dick and his relationship with Sal grew apart. Furthermore, Thornhill’s unresolved conflict with the natives is conveyed through his encounter with Long Jack. He and Sal offer Jack help with food, clothes and utensils in hope of reconciliation between the two. Jack slapped his hand on the ground and declared “This me, he said. My place” (p.329). In the end Jack ‘‘… never put on the britches or the jacket … the clothes lay out in all weathers decaying into the dirt” (p. 328). The exaggeration of time interpreted through the words ‘never’ and ‘decaying’ forebodes that the time for reconciliation has yet to come for Thornhill.
Clash of Cultures = the clash of civilizations that began when Captain Cook first stepped foot on the land that become known as Australia. Throughout the novel, Grenville juxtaposes British and Aboriginal understandings of several important social concepts: personal property, clothing, hunting and farming, family relationships, and relationship to the natural environment. The incomprehension with which each culture regards the other leads to the majority of conflicts in the novel. The British concepts of private property and settlement, backed up by the guns and might of the Empire, eventually win the battle between the two civilizations.
Aboriginal Culture = Grenville presents Aboriginal culture as a lost idyll. Although the novel focuses on William’s journey from the gutters of London to Australian gentry, Grenville places almost equal weight on the Aborigines and their way of life. She is careful to refute the label of savage that the settlers give to the Aborigines. Grenville conveys the richness of their culture and their deep attachment to the land. She contrasts the over-consumption of Western civilization with the Aborigines’ understanding of the delicate balance of nature. Grenville suggests that the white settlers could have learned much from the Aborigines and, by extension, that the modern world with its disregard for the natural environment should open its eyes to the wisdom of native peoples.
Social Hierarchy = the theme of social hierarchy and its levels of power runs throughout the novel. Beginning with William’s first visit to Christ Church through to the placement of the stone lions on the gateposts of Thorhnhill’s Point, Grenville explores the impact of social ranking on individual development. The humiliation that William experiences as a waterman in London marks his character for life and informs the choices he makes throughout the novel. He craves the thrill of wielding power over another person. For William and the other settlers (the majority of whom are convicts), their status as white men gives them permission to look down on other human beings (the Aborigines), for the first time in their lives. Their treatment of the Aborigines is informed by their understanding of how one should treat a racial and social inferior.
Self Creation = the story of modern Australia is essentially a story of self-creation. The convicts sent from England were given the chance to receive a full pardon and start their lives over. The Secret River tells the story of William Thornhill one of those first settlers who arrived in New South Wales as a convict and an outcast and who eventually carved out a place for himself in Australia’s incipient ruling class. The structure of the novel reflects the importance of this theme. Grenville opens the novel not with William’s youth in London but with his first night in New South Wales. She ends the novel with William sitting on the veranda of his grand house, Cobham Hall. He has re-written the story of his life both physically and metaphorically.
The British Class System = The Secret River examines how the harsh British class system of the 18th and 19th centuries condemned people like William to a life of crime. Grenville exposes the harsh choices that people of William’s class faced in order to survive. It was not a question of good or bad but of starvation or theft. In her chronicle of William’s life in London, Grenville wants the reader to understand that the convicts who first settled modern Australia were not bad, just desperate. Australia has chaffed under its moniker as a land of convicts since its inception. Grenville’s empathetic account of William’s life represents an attempt to embrace Australia’s convict past and give it a human face.
The Disorientation of the Immigrant = through the character of Sal, Grenville explores the disorientating experience of the immigrant. While she works hard and rarely complains, Sal has a difficult time settling in to their new life in Australia. The very trees with their greyish leaves tell her she is no longer at home. Sal feels the wild continent pressing in on her from all sides, and she misses the smells and sounds of London. While William thrives in the new land, Sal finds it harder to adjust because she did not suffer the same level of humiliation as William. Sal clings on to her memories of Britain, recreating her life in London as much as possible. Grenville uses Sal to explore the persistence of British culture in Australia and the lingering concept that Britain was ‘Home’.
Fate vs Free Will = at first the poor life in London disempowers Thornwill but as he gets older he sees things happen to him independently of his choices. Ending up in NSW he tends to base his behaviour more on the idea of fate.
Alternate Path of Australia’s Development = Grenville sets up two paths to the development of Australia, embodied in the characters of Smasher Sullivan and Thomas Blackwood. Smasher Sullivan represents the path of racial, social, and physical domination of the Aborigines that the British did follow in their colonization of Australia. Thomas Blackwood, on the other hand, represents the choice of peaceful co-existence that was originally available to the British colonists if they had not been blinded by racial prejudice and greed. Grenville gives the reader a glimpse of the possible development of future generations of Australians through the character of Dick Thornhill.

‘Guilt’ in Grenville’s Trilogy

Grenville’s The Secret River (in 2005) was the first in a trilogy: it was followed by The Lieutenant (in 2008), and Sarah Thornhill (in 2011). The theme of all three novels is guilt—the guilt of white Australia at its treatment of Aboriginal people. Guilt poisons William Thornhill’s life, and that of his daughter, Sarah Thornhill. In The Lieutenant , Daniel Rooke, based on the historical William Dawes, avoids guilt only by disavowing (to his face) the governor’s orders to capture and kill six of the local Cadigal people.

The Message of The Secret River – It’s Relevance in Australia Today

On first reading the text focus of The Secret River is its exploration of the conflict between convict William Thornhill and the local Dharug people – whose land he tries to settle on. But on closer examination it seeks to make a deeper point, about the relationship of Australians to the past – in this case to the Aboriginal people who were here so long before us. The climactic event of The Secret River , a massacre of Aborigines on the Hawkesbury River that, in the book’s chronology, is placed at some point around 1814, is intended to place readers in the reality of a situation that we know happened in many places in Australia’s early history.

Actress Ningali Lawford-Wolf explained that “This country has a black history and how they came to be here was through massacres”. Director Neil Armfield of The Sydney Theatre Company said that the tale of racial divides are, in many ways, still present today. “That’s the contradictory reality that we’re still living, that actually all First Nation people are dealing with – that there are two different notions of possession” Mr Armfield said. Trevor Jamieson, a renowned Aboriginal actor, explained there are vivid similarities between past issues and those bubbling today. Adapting the text for the stage as a play, writer Andrew Bovell, said “I don’t think we can understand who we are as a people, unless we understand who we were”.

Comparisons with The Secret River and Joseph Conrad’s Heart of Darkness

It seems obvious that Grenville drew heavily on Joseph Conrad’s Heart of Darkness when she developed her protagonist William Thornhill in The Secret River . In Heart of Darkness , protagonist Marlow acts as an impartial observer of the effects of the ivory trade in Africa. His journey into the heart of Africa reflects his symbolic discover of his own self and human nature. In effect Marlow sees the ‘heart of darkness’ (greed and evil) found in all men and suppresses this urge but others like Kurtz succumb to them.

When Marlow discovers Kurtz he has become so ruthless and greedy that even the other managers are shocked. He refers to the ivory as his own and sets himself up as a primitive god to the natives. He has written a seventeen-page document on the suppression of savage customs, to be disseminated in Europe, but his supposed desire to “civilize” the natives is strikingly contradicted by his postscript, “Exterminate all the brutes!” Marlow is careful to tell his listeners that there was something wrong with Kurtz, some flaw in his character that made him go insane in the isolation of the Inner Station. But the obvious implication of Marlow’s story is that the humanitarian ideals and sentiments justifying imperialism are empty, and are merely rationalizations for exploitation and extortion.

Similarly, in The Secret River , William Thornhill battles with his own conscience when facing challenges to decide on the ‘right’ course of action. When faced with the poisoning of an entire camp of Aboriginal people at Darkey Creek culminating in the massacre of the Aborigines at Blackwood’s place, William weighs up his own safety and Sal’s happiness against his dislike for Smasher and his methods.

At the end of the novel William still feels regret at his involvement in the massacre so that readers gain the feeling that there is no satisfactory and lasting resolution to the conflict. In this last section of the novel titled ‘Thornhill’s Place’ it is bitterly ironic as no amount of clearing, building, fencing, planting and killing of Aborigines will ever see Thornhill at peace with his surroundings. Sitting on the bench at Cobham Hall where he could overlook all his wealth Thornhill felt that “… should have been the reward. He could not understand why it did not feel like triumph” (p.334).

Both Texts Question “Who owns what?”

Both authors, Grenville and Conrad, highlight the controversy between the imperialistic attitudes of the English towards the natives in terms of possession of land with the same question “Who owns what?” In Heart of Darkness British colonists saw no reason not to take land and resources in Africa that had not been claimed by either public or private ownership. In The Secret River the white settlers were quite clear on the concept of “who owned what” in NSW: “There were no signs that the blacks felt the place belonged to them. They had no fences that said this is mine . No house that said, this is our home . There were no fields or flocks that said, we have put the labour of our hands into this place ” (p.93). It was only Blackwood, a man of compromise who warned Thornhill against ‘taking up’ the land he obviously coveted. Living in apparent harmony with the Aborigines, Blackwood advised Thornhill from the outset “When you take a little, bear in mind you got to give a little” (p.169).

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Neil Armfield’s new stage adaptation of Kate Grenville’s 2005 novel The Secret River invites us to think about the complex relationships between personal and national histories, and the past and the present.

Grenville’s novel sparked controversy when it was published. The play reopens these contentious questions about who can tell the story of our shared history. Should it be historians or novelists, Indigenous or non-Indigenous storytellers?

Where historian Inga Clendinnen criticised Grenville for framing fiction as history, actress and director Rachael Maza has recently challenged playwright Andrew Bovell’s representation of Aboriginal experience .

Grenville’s book began as research into her family history. She wanted to fill in the blanks of inherited stories about her ancestor, a pardoned convict who may have killed Aboriginal people during Australia’s settlement. But The Secret River always gestured to a wider story. It asks provocative questions about the silences in one family, but also in our nation’s history.

The title of the novel captures this double focus. It describes the river Grenville’s ancestors lived on, an inlet hidden by bush. But it also quotes from W. H. Stanner’s 1968 Boyer Lectures about the suppressed memory of colonial violence – “there is a secret river of blood in Australian history”.

Armfield wrote in a Sydney Theatre Company teacher resource , “The Secret River is a difficult story to tell” because “it leads relentlessly into dark places”. This was Grenville’s aim. She has argued ,

Until we go back and retell our stories and put the shadows in we won’t grow up as a society.

Unpacking family histories can be a way to confront the past and understand our ancestor’s choices. But are we willing to accept that the stories we inherit may only be part of the picture? And are we prepared to listen to other people’s stories to hear the rest?

Family silences

When Grenville was a child, her mother, a keen keeper of the family’s tales, told stories about their ancestor Solomon Wiseman . Wiseman, the inspiration for The Secret River ’s protagonist Will Thornhill, came to Sydney as a convict and eventually settled on the Hawkesbury River where he established a ferry-run and an inn.

Grenville’s mother spoke of Wiseman with pride and intrigue, believing her convict forebears had “shown a bit of spirit … in trying to get something for themselves and their families.”

For much of her life, Grenville did not question this family folklore. But walking across the Sydney Harbour Bridge for Reconciliation in the year 2000, she exchanges a glance with an Aboriginal woman and imagines their ancestors meeting 200 years before. Such encounters, Grenville reflects, were absent from the family stories. But surely Wiseman had met the Dharug people of the Hawkesbury region?

This event, Grenville writes in her memoir Searching for the Secret River (2006), prompted an exploration of her family past:

Now, for the first time, I wondered what had happened when Wiseman had arrived there and started the business of ‘settling’. Until this moment it had never occurred to me to wonder who might have been living on that land, and how he’d persuaded them to leave it.

Grenville set out on a mission to discover more about Wiseman and his story. What events were masked by terms like “settled” or “took up land”, which had, until now, seemed so innocent, repeated in family stories countless times?

Grenville wanted to understand Thornhill’s actions, and by proxy, the actions of many settlers. What drove him to take other people’s land? Did he feel guilty? Could he have been an otherwise good man who did a horrific thing?

The ethics of storytelling

Though it confronts hidden stories, The Secret River has been criticised for having its own blind spots. When the novel was first published, historians – most fervently Clendinnen, writing in Quarterly Essay – charged Grenville with conflating fiction and history, and excluding the voices of her Aboriginal characters.

In part, these debates boil down to a turf-war between history and historical fiction. But they also draw attention to ongoing anxieties about how non-Indigenous storytellers represent Aboriginal experiences. Do writers like Grenville have the right to speak on behalf of Indigenous peoples, or to tell their stories? If not, should the Aboriginal characters in their novels remain without a voice? Both approaches present ethical problems.

This anxiety about representation troubled Grenville’s writing process. In her memoir Searching for The Secret River, Grenville says she wanted the Aboriginal characters to be as “fully alive, complex, and individual as the settlers”. To learn about Indigenous experience she travelled to the Kimberley and listened to elders.

But upon returning to Sydney, Grenville decided to “get rid of all the Aboriginal dialogue”. “Their inside story – their responses, their thoughts, their feelings” she reasoned, “all that was for someone else to tell, someone who had the right to enter that world and the knowledge to do it properly”.

Adapting the novel for theatre, Andrew Bovell felt he could not make the same choice. Brought to life by a cast of both white and Aboriginal actors, the story was no longer just about the settlers’ vision. Bovell said at the end of 2015 ,

we simply couldn’t have silent black actors on stage being described from a distance. They needed a voice. They needed an attitude. They needed a point of view. They needed language…

Staging The Secret River

The play tries to remedy The Secret River’s limited perspective, and moves towards telling a more inclusive national story. Grenville’s novel is a story about one family. Bovell’s adaptation is billed as the story of two : one English, one Dharug.

With multiple storytellers, the play represents history from different perspectives. The script still affords the Thornhills more dimension and dialogue, but the introduction of an Aboriginal narrator, the prophetic Dhirrumbin, unsettles the balance.

Similarly, in the novel the Indigenous characters are known only by the nicknames that the Thornhills give them: Whisker Harry, Polly, and Meg. For Armfield’s production, actor and Dharug man Richard Green has given the characters Dharug names, language, and songs .

But not everyone is happy with the play. Even with these additions, Rachael Maza wrote last year, there is still a long way to go. Commenting on an earlier version , she said that the inclusion of Dharug language meant the Aboriginal characters had a voice but one she couldn’t access, which left her feeling closer to the Thornhills.

In response to the 2016 Melbourne season, Maza has criticised the ending of the play . She argues it perpetuates the myth that “the real Aboriginals died out”, rather than celebrating the “resilience and adaptation” of Indigenous groups.

Despite her reservations, Maza acknowledges that the play still tells an important story. It works to “find a way forward” in what is “going to be [an] awkward and … uncomfortable” effort to get the shared history of Indigenous and non-Indigenous Australians right.

Armfield has also spoken about the difficulty of telling a story that both “respectfully mourns the genocide that occurred across this land” and “celebrates the survival of Aboriginal culture against all forces”. Describing the play as a work in progress, he says “and so we keep searching to make it right”.

As the actors bowed on the stage of Art Centre Melbourne’s Playhouse it was clear they were unsteadied by the racism, violence, and suffering they had just performed. To see Nathaniel Dean (Thornhill) and Trevor Jamieson (Ngalamalum) hold to each other in recognition of their emotional sacrifice brought home the living politics of the story.

The audience was reminded that the repercussions of the frontier violence acted out in The Secret River are not just historical. As Armfield writes in his program note for the play: “Nine generations later, we are all living with its consequences”.

The Secret River gives us a deeper sense of our history. But as an audience we are also left with the question: can understanding the past from different perspectives help us confront the inequalities that linger in our present? The making of history, the play reminds us, is something that we live.

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' Insight Text Guides – The Secret River is designed to help secondary English students understand and analyse the text. This comprehensive study guide to Kate Grenville's novel contains detailed character and chapter analysis and explores genre, structure, themes and language. Essay questions and sample answers help to prepare students for creating written responses to the text.' (Publisher's blurb)

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The Secret River

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The Secret River

By kate grenville.

The Secret River Summary

Kate Grenville 's The Secret River is a sweeping tale of the founding of Australia and the moral choices that created a nation. The Secret River tells the story of William Thornhill , a poor waterman from London who is deported, along with this family, to New South Wales in 1806. The novel opens on William's first night in the convict settlement in Sydney. As William sits outside the mud hut, an Aboriginal man materializes out of the darkness. Scared for his family, William yells at the man, “be off!” The man doesn't move. Instead, he angrily repeats William's words, “be off!” In this scene, Grenville sets the stage for the conflict at the center of the novel: the battle for control of the land between the white settlers and the Aborigines. Neither people want anything to do with other. They each wish the other would go away. However, the white settlers are trapped by their status as convicts and cannot leave, and the Aborigines feel a spiritual connection to the land and will not voluntarily abandon it.

The novel then jumps back in time to William's childhood in London. Born into poverty in Southwark, William works as an apprentice to Mr. Middleton , a waterman on the Thames. Williams spends seven years rowing up and down the river, transporting the gentry from one side to the other. He develops a hatred of the gentry and their superior ways. He keenly feels the unjustness of his inferior social position and strains against the limitations of his class. He works himself into the ground in an effort to gain the security that Mr. Middleton and his house on Swan Lane represent.

William falls in love with Mr. Middleton's daughter, Sal. They get married the day that William becomes a free man. William continues to work as a waterman, building a life for his family. As master of his own boat, a wedding present from Mr. Middleton, William feels that he has left the dire poverty of his childhood behind. However, tragedy soon strikes. A month-long cold snap freezes the Thames. William cannot work, and the couple quickly goes through their savings. Mrs. Middleton falls ill, and Mr. Middleton spends all of their money trying to cure her. Mr. Middleton then succumbs to a fever, and Mrs. Middleton dies soon after. William and Sal are left destitute. The bailiffs confiscate the house on Swan Lane and the boats.

William must go to work as a waterman for another master. He does not earn enough to support his family and is forced to steal. Without the goods that William skims off the top, his family would starve. William is caught trying to steal a consignment of Brazil wood and sentenced to death. Thanks to Sal's efforts, his sentence is commuted to deportation to the convict settlement in New South Wales. A second child, Dick, is born on the voyage to Australia, joining older brother Willie.

Despite their initial shock at the run-down settlement, the Thornhill's adapt to life in the colony. William works as a waterman in the Sydney harbor and uses his old tricks to skim off rum from the barrels and barrels that pass through the harbor. Sal opens a little bar in one side of their hut, called The Pickled Herring. William receives his ticket of leave after twelve months in the colony. When his employer, Mr. King , hires a new clerk who pays close attention to the goods, William decides to quit before he gets caught stealing. He goes to work for Thomas Blackwood , an acquaintance from London, who owns a boat and plies the trade between Sydney and the settlements along the Hawkesbury river.

On his first voyage up the Hawkesbury, William falls in love with a piece of land that he names Thornhill's Point. He is determined to one day claim the land and build a stable and secure life for himself and his family. Also on this first voyage, William encounters Smasher Sullivan , a mean-mouthed settler who deals violently with any Aborigines who step foot on his land. Blackwood intensely dislikes Smasher and disagrees with his racial hatred of the Aborigines. Blackwood has learned to respect the Aborigines and advocates living in peaceful co-existence, based on his philosophy of give a little/take a little.

Blackwood decides to retire to his piece of land up the Hawkesbury, and William borrows money from Mr. King to buy his boat. William and his son Willie take up the trade and earn a good living for the family. With their situation improving, William tells Sal about his dream to claim Thornhill's Point. At first, Sal resists. She does not want to live in the wilderness, but only to earn enough money that they can someday return home in style. Eventually, she agrees to give William five years, and the family moves to Thornhill's Point.

William begins having problems with the Aborigines from the first day of arrival. A clan of Aborigines lives in the area, and they do not recognize William's ownership of the land. The Thornhill's and the Aborigines live in an uneasy peace until the Aborigines strip William's original patch of corn. William physically fights with the Aborigines at the corn patch, hurting several of the women and firing a shot at Long Jack. The Aborigines retaliate by torching the corn patch. Sal insists on leaving Thornhill's Point. She does not want her children in danger, and she knows that the Aborigines will not willingly relinquish their claim to the land. William is desperate. He cannot conceive of abandoning his dream.

In the middle of their argument about whether to stay on Thornhill's Point, William notices smoke from another settlement down the river. He takes the boat to help Saggity, whose land is being attacked by the Aborigines, while Sal packs their belongings. Saggity has been speared by the Aborigines, and William is forced to take him to Windsor, a township on the Hawkesbury. Saggity dies soon after they arrive, and his death becomes a war cry for the settlers. Led by Smasher Sullivan, they agree to put an end to the native problem once and for all. William is not a violent man, and he does have an understanding of the Aborigines' humanity. However, the only way that Sal will agree to stay on Thornhill's Point is if the Aborigines are dispersed. He agrees to take part in the attack.

The settlers sail up to the Aborigine camp near Thomas Blackwood's place. The slaughter is bloody and merciless, with children clubbed to death and their throats slit. Whisker Harry , the elder of the Aborigine clan, spears Smasher Sullivan. William, who has yet to fire his gun, turn and shoots Whisker Harry. The Aborigines disappear into the trees and no longer bother the settlers along the Hawkesbury.

William becomes a prosperous land owner and trader. He builds a grand stone house on Thornhill's Point, and the new settlers consider him a member of Australia's new gentry. William acquires all the trappings of wealth, but his success does not come without a price. After the bloody dispersal of the Aborigines, his young son Dick leaves him to live with Thomas Blackwood. Dick cannot accept his father's participation in the slaughter, and he never speaks to William again. Long Jack is the only Aborigine left on the land. Permanently disabled by a gunshot wound, he sits on Thornhill's Point challenging William's ownership of the land. Grenville ends the novel with the image of William scanning the horizon for a glimpse of a shape of man, symbolizing the haunting specter of the Aborigines that hangs over white Australia.

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The Secret River Questions and Answers

The Question and Answer section for The Secret River is a great resource to ask questions, find answers, and discuss the novel.

to what extent does the character Will Thornhill ow his success to his relationship with Sal in Kate Granvill's The Secret River

Although she had a relatively stable childhood, Sal faces adversity with a sense of humor and resolve. When William is arrested and sentenced to death, Sal organizes his appeal and gets his sentence commuted to exile. Upon their arrival in...

What is the biggest difference in Aboriginal culture and the white settlers’ culture? How does this impact everything that happens from the time that the Thornhills move from Sydney?

Clash of Civilizations

The Secret River explores the clash of civilizations that began when Captain Cook first stepped foot on the land that become known as Australia. Throughout the novel, Grenville juxtaposes British and Aboriginal...

Why is thorn hill upset by the aboriginal man?

Thornhill notes the Aboriginal male's tattoos, yet regards them as 'scars' since he is unaware to their culture. He fears them and thinks they are uncivilized.

Study Guide for The Secret River

The Secret River study guide contains a biography of Kate Grenville, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

About The Secret River
Character List

Essays for The Secret River

The Secret River essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Secret River by Kate Grenville.

The Pearl versus The Secret River
The Secret River Analytical Essay
Adapting The Secret River for the Stage - Perspectives and Context
A Comparative Study of Journeys within Different Texts and Text Types: Skrzynecki, Atwood, and Grenville
Influences and experiences in The Secret River

Lesson Plan for The Secret River

About the Author
Study Objectives
Common Core Standards
Introduction to The Secret River
Relationship to Other Books
Bringing in Technology
Notes to the Teacher
Related Links
The Secret River Bibliography

Wikipedia Entries for The Secret River

Introduction

COMMENTS

"The Secret River" by Kate Grenville: Analysis
However, the Aboriginal people belonged to Australia and its natural environment. Kate Grenville canvasses the concepts of belonging and alienation in her novel "The Secret River" through her manipulation of aesthetic features; symbolism, characterisation, and setting. The literary devices enable the readers to solidify their understanding ...
The Secret River Study Guide
The Secret River is the first in a trilogy known as The Colonial Trilogy. The second book, The Lieutenant begins in 1788 and follows an English lieutenant who learns the Gadigal language from a young Aboriginal girl. Grenville has described the novel as a mirror image of The Secret River, as it shows that it is possible to bridge the language gap and form a respectful relationship between ...
The Secret River by Kate Grenville Study Guide
The Secret River is a historical novel telling the story of William Thornhill, a poor Englishman from the early 19th century who was deported and transported to New South Wales, Australia in 1806 for theft. This novel tells the story of Australia's founding and the moral choices made when Europeans colonised land that was already inhabited by ...
The Secret River The Secret River Summary and Analysis
The Secret River Summary and Analysis of The Secret River. Summary. A week after the attack on the Webbs, William sails by Darkey Creek, an area with an Aboriginal camp. William first notices the silence. He pulls in the boat to investigate. The camp is deserted, except for dead bodies, whose mouths are encrusted with vomit.
The Secret River Analytical Essay
The Secret River The Secret River Analytical Essay Sarah Jang 11th Grade. Early European settlers did not understand that, as the original inhabitants of Australia, the Aboriginal people were entitled to the land, yet they did not claim ownership of it for their possession. However, the Aboriginal people belonged to Australia and its natural ...
The Secret River Essay Questions
The Question and Answer section for The Secret River is a great resource to ask questions, find answers, and discuss the novel. to what extent does the character Will Thornhill ow his success to his relationship with Sal in Kate Granvill's The Secret River. Although she had a relatively stable childhood, Sal faces adversity with a sense of ...
The Secret River Analysis
The Secret River. The Secret River is at once a departure from the kind of fiction on which Australian writer Kate Grenville has built her reputation over the past two decades and the logical ...
Analysis
Kate Grenville's The Secret River (2005) is a moving account of the disturbing colonial development of Australia. In historical terms, it dramatizes the transformation of the white setder's dream into the worst of all possible nightmares, and brings to the fore the darker side of Australia's past. This article will show how the novel ...
The Secret River by Kate Grenville Plot Summary
The Secret River Summary. Next. Strangers. The novel begins on a man named Thornhill's first night in New South Wales. He wakes up and steps outside his hut, where an Aborigine man confronts him. They yell at each other, and Thornhill goes back to bed scared. The novel then jumps back in time to Thornhill's birth in 1777 to a very poor family.
The Secret River Study Guide
Published in 2005, The Secret River is the first book in a trilogy by Kate Grenville that tackles the morally complex history of the colonization of Australia. The Secret River emerged out Grenville's research into her ancestor, Solomon Wiseman, who served as the model for William Thornhill.Solomon Wiseman was a lighterman on the Thames in London until he was arrested and deported to the ...
The Secret River Themes
The Secret River takes place during the British settlement of Australia. From 1778-1823, New South Wales was a penal colony of England, which meant that England primarily sent convicts like William Thornhill to settle its new colony. In the new colony, white settlers came into contact with the Aborigines, the native people of Australia.
The Amber of the Moment: The Secret River: A Study Guide
Study Guide: The Secret River (click to download) A few key overarching ideas to note that will help students crystalise the play's placement within the elective: The impact of our postcolonial perspective on the way the colonial narrative of settler-era Australia has been represented in The Secret River.Think also of the colonial structures that exist in the way the Thornhills do things ...
The Secret River by Kate Grenville Analysis for Year 11 English
For students studying Year 11 Mainstream English, The Secret River by Kate Grenville will be studied under Area of Study 1, Unit 1: Reading and Creating Texts. All pages numbers referenced in this brief analysis are taken from the 2013 edition of The Secret River by The Text Publishing Company (front cover shown above).. Genre and Historical Setting of The Secret River
The Secret River Analysis
The Secret River Analysis. The Secret River by Kate Grenville focuses on the characterisation of Aboriginal and non-Aboriginal Australians and social expectations each may have in the 19th Century. Throughout the entirety of the novel Grenville discusses characters and how each adjust to their new environments whether it be the Aborigines or ...
The Secret River: Part 1: London Summary & Analysis
Analysis. The Thornhill family lives near the river in London in cramped quarters. The streets are only wide enough for one person in places, and everything is dirty. The church steeples are the tallest things, and there's one around every corner. William remembers his life beginning at Christ Church by the river.
The Secret River Essays
The Secret River Analytical Essay Sarah Jang 11th Grade The Secret River. Early European settlers did not understand that, as the original inhabitants of Australia, the Aboriginal people were entitled to the land, yet they did not claim ownership of it for their possession. However, the Aboriginal people belonged to...
Literary Analysis of Kate Grenville's The Secret River Essay
The Secret River was one of these popular novels, which is exploring the past, although it is only historical fiction. The inspiration for writing these historical fictions, came from the fact that she did not knew much about her ancestors which settled on a river named Hawkesbury River in New South Wales. William Thornhill is a convict, who ...
Social Order, Hierarchy, and Class Theme in The Secret River
Below you will find the important quotes in The Secret River related to the theme of Social Order, Hierarchy, and Class. Part 1: London Quotes. He had a sudden dizzying understanding of the way men were ranged on top of each other, all the way from the Thornhills at the bottom up to the King, or God, at the top, each man higher than one, lower ...
The Secret River, silences and our nation's history
The Sydney Theatre Company/Heidrun Löhr. Canongate U.S. The Sydney Theatre Company/Heidrun Löhr. History. Theatre. Colonialism. Aboriginal history. Aboriginal heritage. Indigenous-settler relations.
The Secret River Drawing A Line Summary and Analysis
The Secret River Summary and Analysis of Drawing A Line. Summary. Soon after the incident with the Aborigine and the oyster at Smasher Sullivan 's place, the atmosphere at Thornhill's Point begins to change. Where once the Thornhills and their servants lived in uneasy peace with the clan of Aborigines, a feeling of fear now hangs over the settlers.
Kate Grenville's The Secret River
'Insight Text Guides The Secret River is designed to help secondary English students understand and analyse the text. This comprehensive study guide to Kate Grenville's novel contains detailed character and chapter analysis and explores genre, structure, themes and language. Essay questions and sample answers help to prepare students for creating written responses to the text.
The Secret River Character Analysis
Captain McCallum. Captain McCallum is sent by the Governor in Sydney to deal with the natives on the Hawkesbury River. He's a pompous man and believes the British army can surely deal with the natives, though his plan backfires and he leaves with his military in poor shape.
The Secret River Summary
Kate Grenville 's The Secret River is a sweeping tale of the founding of Australia and the moral choices that created a nation. The Secret River tells the story of William Thornhill, a poor waterman from London who is deported, along with this family, to New South Wales in 1806. The novel opens on William's first night in the convict settlement ...

"The Secret River" by Kate Grenville: Analysis

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Chapter 1: Strangers

Conflict with land quotes

Thornhill’s inner conflict quotes

Racism quotes

Sample Essay Topics

Essay Topic Breakdown

Theme-Based essay prompt: T he Secret River depicts many layers of conflict, within but also between its key characters. Discuss

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Last updated 20/10/19

1. Theme-based prompt

2. Character-based prompt

3. How-based prompt

4. Metalanguage or film-technique-based prompt

5. Quote-based prompt

Introduction

Analysing Poetry in Old/New World

The Structure

Nature Poems

The Immigrant Experience

Family Poems

Recurring Characters in Old/New World

Feliks Skrzynecki

Themes in Old/New World

Family/Ancestry

Hope and Loss

Metalanguage, Symbols and Motifs in Old/New World

CLIMATE CHANGE

2. Young People on Strike

3. To Prime Minister or Not To Prime Minister

4. Emissions Trading Scheme (ETS)

SOCIAL EQUITY

3. Gender Wage Gap in Sport

4. Newstart

5. First Nations Justice

1. Teaching as a Decreasingly Popular Profession

2. Australia Falling Behind

2. Climate Grief

3. Mental Health

4. Abortions in NSW

Authors’ views and values

TIP - Reframe this question for any text you are studying - including text response! There is intent and purpose underlying each and every text that is definitely worthy of thorough unpacking and consideration; the thinking you will do will help to further your analysis and comparison considerably.

Dystopian reality

The act of remembering

Subjective narration, stories and lives

1. What’s the Difference Between Year 9 English and Year 7/8?

2. What Are You Expected To Cover in Year 9?

The Introduction

The Body Paragraph

‘T’ - Topic Sentence

‘E’ - Evidence

‘E’ - Explanation

3. Year 9 Assessments and Exams

4. How To Prepare for the Assessments and Exams in Year 9?

Drafting and Essay Feedback

5 Tips for a mic-drop worthy conclusion

2. Don't tell the reader you are concluding!

3. Rephrase, not repeat

4. Keep things short and sharp