Module B: Close Study, Bruce Dawe
Enter Without So Much as Knocking
Memento, homo, quia pulvis es, et in pulverem reverteris.
Blink, blink. HOSPITAL. SILENCE.
Ten days old, carried in the front door in his
mother's arms, first thing he heard was
Bobby Dazzler on Channel 7:
Hello, hello hello all you lucky people and he
really was lucky because it didn't mean a thing
to him then...
A year or two to settle in and
get acquainted with the set-up; like every other
well-equipped smoothly-run household, his included
one economy-size Mum, one Anthony SquiresCoolstream-Summerweight Dad, along with two other kids
straight off the Junior Department rack.
When Mom won the
Luck's-A-Fortch Tricky-Tune Quiz she took him shopping
in the good-as-new station-wagon (£ 495 dep. at Reno's).
Beep, beep. WALK. DON'T WALK. TURN
LEFT. NO PARKING. WAIT HERE. NO
SMOKING. KEEP CLEAR/OUT/OFF GRASS. NO
BREATHING EXCEPT BY ORDER. BEWARE OF
THIS. WATCH OUT FOR THAT. My God (beep)
the congestion here just gets (beep)
worse every day, now what the (beep beep) does
that idiot think he's doing (beep beep and BEEP).
However, what he enjoyed most of all was when they
went to the late show at the local drive-in, on a clear night
and he could see (beyond the fifty-foot screen where
giant faces forever snarled screamed or make
incomprehensible and monstrous love) a pure
unadulterated fringe of sky, littered with stars
no-one had got around to fixing up yet: he'd watch them
circling about in luminous groups like kids at the circus
who never go quite close enough to the elephant to get kicked.
Anyway, pretty soon he was old enough to be
realistic like every other godless
money-hungry back-stabbing miserable
so-and-so, and then it was goodbye stars and the soft
cry in the corner when no-one was looking because
I'm telling you straight, Jim, it's Number One every time
for this chicken, hit wherever you see a head and
kick whoever's down, well thanks for a lovely
evening Clare, it's good to get away from it all
once in a while, I mean it's a real battle all the way
and a man can't help but feel a little soiled, himself,
at times, you know what I mean?
Now take it easy
on those curves, Alice, for God's sake,
I've had enough for one night, with that Clare Jessup,
hey, ease up, will you, watch it -Probity & Sons, Morticians,
did a really first-class job on his face
(everyone was very pleased) even adding a
healthy tan he'd never had, living, gave him back for keeps
the old automatic smile with nothing behind it,
winding the whole show up with a
nice ride out to the underground metropolis
permanent residentials, no parking tickets, no taximeters
ticking, no Bobby Dazzlers here, no down payments,
nobody grieving over halitosis
flat feet shrinking gums falling hair.
Six feet down nobody interested.
Blink, blink. CEMETERY. Silence.
Epigraph: Remember, man, that thou art dust, and unto dust thou shalt return.
Stanza 1
Anthony Squires - Coolstream - Summerweight Dad. Dad is in an Australian brand
of suit and is identified by what he wears rather than who he is.
Blink, blink. HOSPITAL. SILENCE.
Speaks of a baby waking into life. The sentences are deliberately short and simple. The
baby takes in the hospital, sees signs and expectations.
Straight off the Junior Department rack. These children have no names, gender or
description (Except to point out that they are wearing what everyone else their age
wears). Everything about the family is described in sexist, standardized, depersonalized
tones. The family has not grown - it has been bought and constructed.
The first thing that he hears is not a loving mother, but the voice of materialism.
Bobby Dazzler colloquial for "super" in the 40s and 50s.
The colon at the end of the line marks a pause and a change in tone.
Stanza 3
Bobby Dazzler's false heartiness reflects the false, materialistic nature of the world into
which the child has been born. Hello, hello, hello all you lucky people is immediately
followed by a cynical comment from the narrator and he really was lucky because it
didn't mean a thing to him then… Bobby Dazzler doesn't have an impact on the
child's life, yet: the child is lucky because he is innocent of the falseness of society.
Note the irony of this comment in contrast to the rest of the stanza.
Luck's-A-fortch Tricky-Tune-Quiz Note the capitals: the emphasis is over-the-top.
Evidence of consumerism (and sexism) again - after winning the quiz, Mum chose to
celebrate by taking him shopping.
The trail-off sentences convey three meanings: they show cynicism, are similar to
rhetorical questions, and lead into the next stage of his life.
Stanza 2
A year or two to settle in and
get acquainted with the set-up
Good-as-new station-wagon-more consumerism: not "second hand", "good as new”.
The price of 495 pounds would have been very expensive for a car; they’ve been duped
by the salesman and don’t know it. Also note that a station wagon is room enough to
carry the 2.3 children that was the national average.
Beep, beep. Experiencing the world through the eyes of a child in the car. The series of
imperatives (WALK. DON'T WALK. TURN / LEFT NO PARKING. WAIT
HERE. NO / SMOKING) which starts off realistically becomes satirical: NO /
BREATHING EXCEPT BY ORDER. BEWARE OF / THIS. WATCH OUT FOR
THAT.
The noise and aggression in the next few lines build to a crescendo. The parenthetical
beeps could represent, apart from the obvious car horn, a censorship of swear words.
Imagery of the "rat race" - the frustration culminates in a final BEEP. In general, the
car journey could represent a prologue to this man's life.
This is systematic, cold, and impersonal. Contrast this to the usual warmth and sense of
uniqueness associated with the birth of a child - the child's life, just like the rest of
society, is mass- produced.
well-equipped smoothly-run…economy-size: these compound words are commonly
used in advertising, as if the life is being sold to the child. The use of a list and the use
of stereotypes, both of which are impersonal, reinforce this idea.
Stanza 4
However - qualifying word signifying a change of tone. The poem slows around this
change of direction, but quickly picks up speed again.
economy-sized Mum is a sexist description and is a typical stereotype of the 50s.
he enjoyed - this comment on the child's opinion is the first sign of any emotion in the
whole poem.
on a clear night and he could see...a pure unadulterated fringe of sky. The boy is
still fairly impervious to the down side of things - he has not succumbed to the material
world, yet. He is interested in natural beauty, fascinated by the stars. The comment in
parentheses here beyond the fifty-foot screen ... monstrous love is a reminder of the
world which the boy will eventually have to face. The fact that they are absorbed in
watching people make incomprehensible and monstrous love shows the sordid nature
of society. Note the use of the verbs snarled and screamed.
The word unadulterated is also used in advertising, and its use here to describe
something naturally beautiful is a contrast, and illustrates an underlying theme of the
poem - that of the contrast between the horror of man and the beauty of nature.
Consider the alternative meanings of stars - movie stars, aspirations.
The word littered has negative connotations, and is ironic because the stars are about
the only pure thing the poet has yet mentioned. This is perhaps what society would say
about them - an idea reinforced with the comment stars no-one had got around to
fixing up yet.
Note the intrusion of the child's adult voice here. The first time this has happened, and
revealed is a harsh, selfish, "realistic" adult.
Number One every time - a colloquial expression – worry about yourself before you
worry about anyone else.
this chicken, signifying himself, is an Australian colloquialism. The rest of the line,
kick whoever's down, reflects again the selfishness of the adult, who in turn reflects
the nature of society - as long as I'm alright, it doesn't matter whom I hurt.
Well thanks for a lovely evening Clare - the sudden change of tone here hints at the
insincerity of this comment, which is reinforced in the next stanza.
a man can't help but feel a little soiled, himself, at times, you know what I mean?
The real world is awful, and the man has been soiled - ironically, soiled too much to
really understand what he is missing.
kids at the circus - the stars are too far away to be touched by society, but this stanza
ends sadly because the child is close enough, and eventually will get kicked.
Stanza 6
Stanza 5
Once more, there is a change of tone and pace with the word anyway. This introduces a
colloquial tone to convey the passing of time. This is very cynical, because the poet
moves from early childhood into middle age, in a few lines. This indicates that
childhood is unimportant and might as well have not existed - perhaps the rest of the
child's development was so similar to everyone else's as to not have been worth
mentioning
The harsh turns of phrase every other godless money-hungry back-stabbing
miserable so-and-so show that the child has without doubt finally faced the real word,
which is dominated by these types of people.
He has said goodbye to the stars, goodbye to the world of natural beauty and innocence;
perhaps goodbye also to any dreams of making a difference the child had. It is also
goodbye to the soft cry in the corner - no more showing emotion. In this society, men
don't cry.
Note that there is no mention of love or romance or marriage or attraction before this
stanza, which starts with him in a car with a woman who is probably his wife. This
reinforces the theme of over-riding materialism - husbands and wives are acquired just
like a house or a car.
The tone has changed back from conversational to hardened and cynical; indicative of
his relationship with his wife.
He backstabs Clare, indicating his hypocrisy. His wife is driving them home, and he is
possibly drunk. He issues the restrictive directives he constantly experiences and feels
he has been soiled by. As a part of it, he is as bad as the society he resents.
The punctuation mark - a dash - at the end of the paragraph leaves the car accident
entirely to the imagination. He was not in control, and the unfinished sentence has been
cut short deliberately to show the difference between life and death: a short blink and
you miss it.
Stanza 7
Probity & Sons, Morticians,
Probity means uprightness and honesty. Hence this paragraph is very ironic, because
Probity & Sons promote the facades of society even in death (a healthy tan, for
example).
There is another change of tone, and persona, - back to narrator and observer.
Note the callousness of everyone around him – he has just died, and people are paying
attention to the make-up on his face. Confirmed by the apathetic and unemotional
reaction of observers: (everyone was very pleased) - he's dead, but he looks good.
the old automatic smile with nothing behind it- shows the extent of the facade he had
developed in order to fit in with society, which kills genuine emotional responses and
individualism, and encourages conformity.
The whole idea of the funeral directors making him look good ties in with the theme of
the hypocrisy of society. The ultimate comment on society is that with the old
automatic smile with nothing behind it, the man might as well have been dead even
before the accident: He was dead before he was killed.
winding the whole show up - this man's life was an act like a TV show, which is now
finishing, hence the jovial, talk show host-style narrative, with undertones of bitterness
and irony. This also winds up the poem.
the underground metropolis - i.e., the necropolis. Even in death, the man cannot
escape the metropolis.
Like a talk show host or an advertisement, the narrative breezes over items, as if to
generate interest: permanent residentials, no parking tickets, no taximeters ticking,
no Bobby Dazzlers here, no down payments. Even death is cheapened and sold.
grieving over halitosis - Grieving is a very deep and powerful emotion associated, of
course, with death. It is not usually associated with worry about halitosis [bad breath]
and indicates the placement of society's values. Note that there is grieving over
halitosis in the living world, but no grieving for the dead. In fact, people are pleased because he has been made up so well.
Living as we do, we’re probably better off dead. Six feet down nobody interested - he
doesn't affect people's lives anymore, so nobody cares: they’re all too busy worrying
about themselves.
Blink, blink. As the child blinked into life, the man blinks into death and whatever is
after it - in this case, silence. His life, and so our lives, have been and gone in the blink
of an eye.
CEMETERY. Silence.. Note the use of capitals to emphasize CEMETERY at the end
to compound the finality of the end of his journey through life.
Generally
Consider the epigraph. We’re a long time dead. Can we afford to live out our very
short existence in the manner that we do? If there is only silence after death, why soil
ourselves with a corrupt existence? Is it worthwhile living the way we do?
People are too ashamed to have a soft cry in the corner because they have surrendered
to a society that is emotionally bankrupt and centered on facade.
The general attitude: Consume, be silent, die.
Theme of the cyclical nature of life - note the similarity of the beginning and the end of
the poem.
Other themes: Conformity, consumerism, materialism, and its effect on individuals;
mortality of man, man made versus natural beauty, innocence and its loss, the
shallowness and hypocrisy of modern ideals and values; facades of society, loss of
personal values.
Imagery: Human life as a game show; family as an advertised product; Stars like kids at
the circus; the cemetery as an underground city.
BREAKTHROUGH
Breakthrough
Singing the delights...- If the product is bought, the person will be better off by means
of advertising.
A little girl is reported to have died happily
in hospital singing an advertising commercial.
2ND STANZA
Full volume up on the celestial choir!
Stand by for action, ye Angelic Host!
Let all the programme-sponsors, coast to coast,
Keep silence as these girlish feet mount higher...
Singing the delights still to be found
In breakfast-food or toilet-tissue, she,
With all the sales-appeal of infancy,
Brings heaven at last within the mortal round!
The little mind, so lately roused, subsides,
The frail heart crumples like a paper cup,
Discreet hands over the blind face draw up
Sheets' paralyzing snow-but bathos rides
The storm out: angels, backed up by guitars,
Take up the theme: earth's loss is heaven's gain.
Commercial products now are plugged by pain,
And Downysoft is draped around the stars!
BREAKTHROUGH- In commercial industry- able to destroy religion. Controlling
from birth to death.
Died happily- Juxtaposition, has not yet experienced the true meaning of life to fear
death.
Advertising Commercial- Last thing seen before death. No family and no religion
mentioned.
1ST STANZA
Full volume- Loud, represents the show business, attention / attraction
Celestial Choir- Heavenly choir, relates to the death of girl.
Stand by for action- Also relates to show business, something about to happen.
Ye Angelic Host- God. Note Biblical language.
Keep silence- paying respects.
Girlish feet mount higher- Going up to heaven.
Paper cup- Lack of compassion. The use of the paper cup is to dispose of, not useful.
Sheets Paralysing snow- Colour of hospital sheets.
Earth’s loss is heaven’s gain- Concern about falseness of advertising.
Downy soft draped around stars- Ridiculous image, which is the same concept of the
poem.
Generally
Society has been numbed by consumerism and advertising, material things are our main
concern.
Poem shows advertisements influences and impacts on our lives. Little girl was
brainwashed by these advertisements because she did not really have a choice about
being exposed to them.
The little girl has turned to television instead of religion, this is the message Dawe is
trying to portray in “Breakthrough”.
The Not So Good Earth
For a while there we had 25-inch Chinese peasant
families famishing in comfort on the 25-inch screen
and even Uncle Billy whose eyesight's going fast
by hunching up real close to the convex glass
could just about make them out--the riot scene
in the capital city for example
he saw that better than anything, using the contrast knob
to bring them up dark--all those screaming faces
and bodies going under the horses' hooves--he did a terrific job
on that bit, not so successful though
on the quieter parts where they're just starving away
digging for roots in the not-so-good earth
cooking up a mess of old clay
and coming out with all those Confucian analects
to everybody's considerable satisfaction
(if I remember rightly Grandmother dies
with naturally a suspenseful break in the action
for a full symphony orchestra plug for Craven A
neat as a whistle probably damn glad
to be quit of the whole gang with their marvelous patience.)
We never did find out how it finished up... Dad
at this stage tripped over the main lead in the dark
hauling the whole set down smack on its inscrutable face,
wiping out in a blue flash and curlicue of smoke
600 million Chinese without a trace...
“famishing in comfort” is a juxtaposition in line two, whose comfort? Certainly not
the Chinese. In line four “convex glass” relates to the television.
Dashes “-” in the first nine lines represent changes in tone of language and persona of
the narrator.
“He saw that better than anything”-there is more concern for Uncle Billy being able
to see what’s happening than what is actually happening.
In line 11, the main character is bored by the part “where they’re just starving away”,
this shows his lack of compassion for their situation.
“Confucian analects” -Chinese philosopher. Analects are proverbs and/or homely wise
sayings. In line 21 “it” represents the television .
From line 21 onwards they seem to be more worried about the television breaking than
they do about the real life tragedy of the deaths of so many Chinese peasant families.
Line 25 (the last line) concludes with the phrase “600 million Chinese without a
trace...” this portrays the complacency of western society in the way that they don’t
realise there is life beyond their own lives, they are so immersed in themselves, that
they think that this reportage is only for entertainment and once the television brakes
the scene just goes off air. They don’t realise that this is still happening after the
Television breaks, they don’t feel touched or even realise that this is a real life thing not
just some program.
Generally: Consider the general attitude: very complacent and detached. The characters
are ignorant and apathetic towards the Chinese in the documentary. Revealing the
imperfection of western society being too self absorbed, and preying on their lack of
consideration and respect for others.
The title contains “not-so-good” describing the contents of the poem, which is a
negative adjective compound. It is a parody of the book “The Good Earth” by Pearl
Buck, which is about the good times, values and Chinese proverbs.
The poem constantly drifts between fact and fiction. Floating in the midst of reality
displayed on the television, and the artificial world which our mind creates to block out
the poverty and suffering that we are not directly involved with.
The phrase “For a while there” shows how Western society is apathetic towards the
Chinese.
Throughout the poem the media promotes death scenes and action, while blunting the
emotional impact of reality.
“25-inch Chinese peasant families” explains that the characters in the poem are
watching a 25-inch screen television.
Dawe uses many colloquialisms “to be quit of the whole gang” this express the
general laid back style of the poem.
Tone: Dawe maintains the tension between humour and seriousness.
Abandonment of Autos
'The City Council is reported to be concerned about the number of old cars being
abandoned in city streets. NEWS ITEM
Something about the idea
Appeals to me immensely-the driver
Pulling up in some busy street,
After manoeuvring dexterously
For a parking-spot, applying the hand-brake,
Stepping out and closing the car-door
For the last time with grave tenderness ...
In place of the customary
Abject submission to the cold appraisal
Of the merchant
For whom an old heap is only an inventory of parts
(Working and non-working) there is in this
Seemingly casual walking away from the parked car
(Who is to know that he will not return?)
A largeness of gesture, satisfaction of a
Sense of gallantry in circumstances where
Sharp-faced men are forever lifting the bonnet with a frown,
Disdainfully kicking the tyres,
Discovering a leak in the radiator and offering,
In consequence, next-to-nothing.
It is the urban Arab's Farewell To His Steed,
Down to the final affectionate pat
On the near mudguard before turning away
To shoulder a passage through the indifferent crowds,
Made free in the moment of loss, the one true test,
Only the licence-plate which he carries with him
Into the new life stating as clearly
As any letter of recommendation:
'Here is one who senses the fitness of things.'
Americanized
She loves him ... and what small child could deny
the beneficence of that motherhood beamed across
the laminex breakfast-table-top each day?
'Shoosh ... shoosh. . . ' her fat friendly features say
whenever a vague passing spasm of loss
troubles him in his high-chair, makes him cry.
She loves him ... but will not allow him out.
'The streets are full of nasty cars and men,'
she whispers, popping him on his plastic pot.
His eyes grow round, his bowels quietly knot,
he strains to be a good boy, not knowing then
it takes years of training to bring that about ...
'Today,' she tells him, putting on her hat
(she's off to nurse an invalid called the World)
'Today, I'll let you play with Mummy's things.'
The toys that mark his short life-christening,
birthday, Christmas-into a corner hurled ...
Mummy's things! What could compare with that?
Crammed in a carton on the nursery-floor
are the varied treasures Mummy's world contains
from Pepsi-Cola figurines to Spam
(1 think young, think big, therefore 1 arn')
chewing-gum, hot dogs, electronic brains
– what child of simple origins could want more?
The afternoon passes, evening comes and still
he plays alone, hearing the traffic surge
beyond the house and children scream and run
Along the street (it must be rather fun!)
The nursery is in darkness-on the verge
of terror he hears those formidable
Footsteps approaching, suddenly the thin
membrane of reason lets in fear at last
to beat with bats' wings through the velvet room ...
The door-knob turns, he sees her figure loom,
he tries to run, her large hands hold him fast ...
She loves him ... and the frightening fact sinks in.
Televistas
She was Sanyo-oriented,
He was Rank-Arena bred,
A faulty tube led to their meeting:
'Watch with me a while,' she said ...
0 happy hour of Bugs and Daffy,
Sylvester and Tweety-pie!
Blue remembered hills of childhood
Where each seeks the other's eye!
Right between the Carol Burnett
And the David Nixon Show
They fell in love, and shared a Samboy,
Crunching in the afterglow.
Fortune smiled between commercials,
Dreams were swapped and, futures planned,
They bravely faced the Midweek Movie:
(NRc) The Mummy's Hand.
But the course of true etcetera,
Etcetera-their first falling-out
Took place over Candid Camera
(She had fancied Twist and Shout.)
RecQnciliation ushered
In by Cheezels, they sat late,
Smiling at The Many Faces Of Dick Emery
-and Fate.
At Epilogue, before that evening's
Nervous clergyman, they swore
To be ever-faithful to each other
Till next they met-in World at War.
Bruce Dawe’s poetry reflects his preoccupations. It is suffused with sympathy for
ordinary people and the lives they lead. Discuss with reference to two poems set for
study.
The essential thing about poetry is a certain use of language and a vitality of vision.
Discuss this statement. You must refer to at least two of Dawe’s poems set for study.
Americanized
This darkly satiric poem is about cultural imperialism. Dawe uses an extended metaphor: the mother is America and the
child represents a younger, developing nation, which is slowly being imbued with American value systems. The figure of a
mother becomes synonymous with the United States. Even this most basic of human relationships has been perverted by
the consumer culture. The poem begins with the seemingly positive statement of fact 'She loves him ...’. The punctuation
however creates a feeling of unease, that all is not as it seems, that there is a subtext that qualifies this apparently natural
emotional attachment. From the outset it is established that the child has no real choice, that he must accept the
'beneficence of that motherhood', that the nature of relationships will always be one where the more powerful figure exerts
control over the less developed, weaker being. The verb 'beamed' suggests powerful sunlight, the emotional power of the
dominant person: the mother. The stanza concludes with a rhetorical question, as if undeniably the child must accept the
mother's gift of love. Dawe then moves on to examine the nature of that form of maternal love. The second stanza deals
with the way that the mother comforts the child, 'Shoosh ... shoosh ... whenever a vague passing spasm of loss troubles
him'. The alliterative description of her 'fat friendly features' suggests comfort and warmth. In this world pain is repressed,
real emotion pacified, in order to maintain the illusion that the world is perfect. One must not question the wisdom of the
omnipotent mother figure. The phrase 'She loves him...' is repeated. This action of loving is seen as protecting, insulating
the child. In much the same way our consumer culture cushions reality. The mother makes the choices. She is passing on
her limited view of the world: that it is to be feared, 'full of nasty cars and men', making the child fear and loathe anything
beyond her sphere of influence. She promulgates prejudice and paranoia, ironically making the child fear what he is to
become. The child is powerless before her strength as she pops 'him on the plastic pot'. Even the most basic of human
functions are rigidly controlled by his mother, who chooses when he is able expunge that which is no longer deemed
necessary, as he 'strains to be a good boy'. He must conform to her desires. The phrase 'it takes years of training' suggests
that growing up is about discipline and repression in order to become a part of our modern society. Dawe is critical of the
way consumer cultures impose their way of thinking and acting on other less corrupted societies. Entrapment is a strong
motif throughout this poem. The child is trapped in his high chair as other societies are similarly imprisoned by the
conformist nature of consumerism and capitalism. The announcement that 'Today, I'll let you play with Mummy's things'
marks the beginning of his indoctrination into the consumer culture. It is offered as an act of generosity. As the mother
goes ‘off to nurse an invalid called the World’, her seemingly selfless actions echo with a sinister overtone the actions
reflected by imperialists. She assumes that only she has strength and that the rest of the world is suffering from a chronic
disease which can only be cured through immersion in American consumer culture. Her actions are well meaning but
interfering, controlling. This is the insidious nature of a matriarchal, imperialist society. The rest of the world is viewed as
sickly and weak because they lack the 'things' that make America great: materialism is viewed as a way of life. Consumer
items 'mark his short life'. It appears that gifts rather than the events: 'christening, birthday, Christmas' render meaning in
our lives. Dawe asserts that our lives are defined by these 'things', that these events have no meaning apart from their
commercial aspect. Also the way they are 'into a corner hurried' denotes the nature of consumerism, that we quickly tire of
these expendable commodities. There appears no room for sentimentality. The use of the exclamation mark and the
question mark denote excitement and anticipation of this privilege. 'What could compare with that?' These precious items
are similarly discarded 'crammed in a carton' as Dawe reveals the nature of 'the various treasures', 'from Pepsi-Cola
figurines to Spam'. The very nature of these products, which are both imitations of the original products, Coca-Cola and
ham, hints at their real lack of value. We sense that consumerism is about emulation rather than creation. The quote 'I
think young, think big, therefore I am' is a parody of the French philosopher, Descartes', rationalisation that the ability to
reason makes us human. This statement encapsulates the basic paradigms of consumerism, that the culture is dominated by
a need to stay young and to think 'big', to expand one's dominance and area of influence. This is the face of capitalism.
Consumer goods such as 'chewing-gum, hot dogs, electronic brains' are listed. The first two are closely identified with
stereotypical American culture, the later curiously foreshadows the future domination of modern communication systems.
The speaker satirically questions 'what child of simple origins could want more?' The use of the rhetorical question
presents us with an assumption that all any modern consumer needs to sustain life is material wealth. The absence of
emotional or spiritual aspects in the life and development of a consumer is disturbing. As the child passes the day he is
'alone', alienated, protected from reality by the benefits of consumerism. 'Hearing the traffic surge beyond the house and
children scream and run'; reality is merely impinges on the periphery of his senses and yet the human soul longs for
inclusion 'it must be rather fun!' As 'the nursery is in darkness-on the verge of terror' we sense his neglect, as his mother is
busy attending to the needs of others, he is left to fend for himself, locked away. The mother's footsteps are described as
'formidable', a force to be reckoned with. Fear now compounds his terror as 'the thin membrane of reason lets in fear at
last'. We sense that emotions have been suppressed yet primitive human responses lie just beneath the surface of
civilisation. The metaphorical image of 'bat's wings through the velvet room', a cushioned world of comfort, suddenly
invaded by the ancient symbol of fear, conveys the child's panic. The mother's approach is a source of terror for the child,
written as if it is a horror movie, suspense created with the footsteps, the physical embodiment of fear, the doorknob turns.
His terror as 'he tries to run' but 'her large hands hold him fast' is indicative of his powerless plight. The phrase, 'She loves
him...' reiterates that this act signifies entrapment as there is no reciprocation of the ‘love’. It is ironic that her love is
deemed 'the frightening fact'. Clearly this form of love will destroy his innocence, his freedom to think for himself, his
ability to achieve emotional fulfilment. We sense the overpowering, suffocating nature of this form of love, but also the
nature of American cultural imperialism, which is similarly stifling to the development of national identity and fulfilment.
Enter Without So Much as Knocking (1962)
This poem begins with the birth of a baby then details society's corruption of innocence as the child grows to adulthood.
The poem details his family and his childhood experiences like shopping or going to the drive-in theatre. On maturity he is
shown to harden and become more selfish. His relationships are shown to be superficial and when he dies, at the poem's
conclusion, nobody cares. Through the character's life the audience is invited to scrutinise the society to which they
belong. This society is the product of the consumer age and human life is determined as a by-product, lacking in real value
and soon rendered obsolete. Dawe suggests that contemporary society is false and superficial. The name 'Bobby Dazzler'
epitomises this: an empty smile behind the welcoming façade and, at the drive-in the movie shows exaggerated
'incomprehensible' emotions. The protagonist thanks Claire 'for a lovely evening' yet complains about it to his wife
straight after. Either he is being socially polite or sarcastic- yet, his insincerity is evident. The superficiality of society
extends to its obsession with appearances which is fuelled by the media. The family is defined in terms of what they look
like in advertising jargon: the mother is 'economy size' and the father is 'One Anthony Squires- CoolstreamSummerweight Dad'. Consumerism now defines identity or lack of individuality. In order to belong one must be seen to
conform. The word 'set-up' to describe the family and existence in general suggests cynically that everything is already
predetermined and that choice is limited. Even in death, superficial appearances seem most important. It was his 'healthy
tan' and ‘automatic smile' that people talked about, not his character. The fact that the smile was ‘automatic' suggests that it
was hollow and not the result of genuine good nature or real joy. Hence, in the consumer culture, we are defined by
facades. Our external life takes precedence over inner development or fulfilment. Dawe suggests that modern life is
rushed, brief and futile. The pace of the poem is hectic and the intrusive multiple narrations further contribute to a sense of
disorder and confusion. The man's only achievements at death are to look attractive and escape the problems of life. He
has achieved nothing worthwhile. The fact that his entire life can be summarised in two scant pages reflects this. The
poem ends 'Biink, blink, CEMETERY. Silence.' almost the same way it began 'Blink, Blink, HOSPITAL. Silence.' This
cyclic structure implies it is a continuous cycle of events and also emphasises life's brevity. Certainly the opening Latin
epigram serves to remind the audience of their essential mortality: 'Remember, man, that thou art dust, and unto dust shalt
thou return.' The title too contributes to these ideas. He likens the living of modern lives to entering a room. If a room is
entered ' without so much as knocking' then the entrance is not spectacular or even noticed. The phrase also suggests that
we have little control over our lives. We are vulnerable to society's intrusion. Society is also presented as over-legislated
and money driven. The individual is forced to conform. Shopping is seen as a key experience in the boy's life. His
experience of the world beyond his family reveals a world inundated by rules that are capitalised for emphasise and
become progressively farcical exaggeration 'NO BREATHING EXCEPT BY ORDER'. Dawe's contempt is obvious. The
aside detailing how much the 'good as new station wagon' cost implies this type of detail is valued in such a world. People
are 'money hungry'. The only appealing, creative image of the poem is that of the stars being like 'kids at the circus'. This
represents the innocence of the character. This is offhandedly dismissed in the next stanza when he grows up. He will
inevitably become one of those who gets too close to the elephants and gets kicked throughout his adult life. Society
demands that real emotions and sensitivities are repressed for survival. 'Enter Without So Much as Knocking' is a satirical
poem. It sends up society in order to criticise it. Yet, despite the exaggerations, Dawe raises some pertinent issues. You
need to realise that his humour is a technique to retain your interest and attention. Dawe also secures the audience's
involvement with his colloquial expressions like 'hey, ease up' and 'kick whoever's down' as well as his use of asides
(bracketed comments) which make the poem seem friendly.
Tele vistas (1977)
The title implies that our view of the world is seen only through our television sets, that our experience of life is limited
and controlled. Like 'Enter Without So Much as Knocking' our species is identified in terms of the brand names of
communication companies, 'Sanyo' and 'Rank Arena'. Modern society has been defined through its relationship with the
media: television. Stages in their lives are marked by particular programs. It is worthwhile noting that none of these
media products are Australian in nature and thereby lies the message, that we are indeed the victims of cultural
imperialism, either American or British. We have no culture of our own. Dawe views this as the essential tragedy of
modern man.
'A faulty tube' has led to the beginning of a relationship. Modern consumer style living is alienating, its subjects are locked
in front of the television, but this once in a lifetime occurence has created an opportunity to meet and her invitation to
'watch with me a while' is akin to a seduction. The nature of life is viewed as essentially passive, they 'watch' rather than
act.
The second stanza begins 'O happy hour' like an offering to some powerful deity. The modern god is television and its
viewing content, American children's cartoons, is being satirized. Childhood is defined in terms of viewing habits and
children are indoctrinated with American culture through their viewing habits. The romantic image 'blue-remembered hills
of childhood/ Where each seeks the other's eye!' highlights that as children their attention moved beyond the screen, to a
distant world, where communication and contact was sought. The focus rapidly returns to television, light entertainment,
comedians and magicians. The couple are never identified by name: their anonymity defines the nature of our modern
existence, the pronoun 'they' serves as their identity. Snack food is a source of delight, its ingestion creating an ecstatic
'afterglow'. Love is analogous with media products and so the satire is wry as the verb 'crunching' seems unromantic,
almost absurd. Even their understanding of love is simplistic and superficial: modern love is indeed a strange process.
The phrase 'fortune smiled' denotes the presence of an omnipotent, abstract being and time is defined by the television
schedule. Hence 'between commercial' 'Dreams were swapped and, futures planned'. The hectic pace of decision making
reflects Dawe's notion that there is little time for real communication: between commercials two lives are organised. These
vistas dominate their view of the world. The Midweek Movie is seen as one of life's big challenges, as they 'bravely faced'
it. According to Dawe television has become a substitute for living. We live vicariously through the media and our
function has been reduced to that of passive observers.
The 'course of true etcetera, etcetera'. these abbreviations for love, the perversion of the cliche, further demonstrates the
shallowness of our existence. We don't have time to bother with communication, we merely refer to emotions. Their 'first
failing-out' is over the choice of programs, the content of which is designed to entertain rather than educate or stimulate.
The metaphor of being in a cinema: 'reconciliation ushered 'reinforces that emotions must be kept quiet, unobrusive, so as
not to detract from the entertainment. The mention of Cheezels, another snack food, full of imitation flavours, further
emphasises that their experiences lack verisimilitude. The end of the viewing day represents the end of a cycle in their
relationship. As they 'swore to be ever faithful' we sense that they do not exist beyond their connection with the television.
The hours between viewing are merely an interlude -that their relationship exists only in terms of their viewing habits.
Obviously this poem satirises the predominance of the television media in our lives. TV overshadows every aspect,
controlling what we eat, even our relationships. There is a sense of 'fate' or destiny, that this is indeed the destiny of the
consumer, that reality is defined only by media constructs, that our relationships come second. In this consumer culture the
most important thing is television and even that is not our own. We lack identity, individuality and purpose. Reality is
sometimes not far from this exaggerated view.
Breakthrough (1965)
This is a poem that uses black humour to criticise modern society. The italicised report sets the scene for the poem to
follow. It is succinct and its definite tone makes it sound factual yet it is bizarre. If it is funny it is only so in a very dark
way. The little girl has died, not comforted by a religious representative or her family, but by an advertisement's song.
The first stanza of the poem uses a parody of a director calling the shooting of the scene for an advertisement.
The second stanza moves to her death. Overall it is a poem where Dawe is biting in his satirical criticism of the
commercialisation of life by the media and our modern society that allows this to happen. An advertisement director
begins the poem demanding 'Full volume' from 'the celestial choir'. The exclamation mark helps parody the overexcitement. Dawe points to the media's exploitation of anything to sell a product. He notes the 'sales appeal of infancy'
but exaggerates this outlandishly by having them use a dying girl. He also has the media manipulating religious figures to
create a 'celestial choir' for sound and an 'Angelic Host' for actors. He is trying to emphasise that nothing is sacred for the
media. The actual product is also of no consequence. It does not matter what the girl sings about, only that the strategy
secures sales. The two possibilities given, 'breakfast- food' or 'toilet tissue' are equally bland. The rhythm and rhyming
scheme are so regular that they are as forced and false as the advertisement described. The final line of the first stanza is
meant to be ridiculous and a send-up of the grandiose claims of advertisers everywhere. Dawe believes that neither reality
nor ethics are part of the media's frantic commercialisation of life. The second stanza adopts a more commentator-like
narration. Initially the death is described sympathetically and poetically. The use of 'little' and 'frail' creates horror as does
the crumpled paper cup simile which effectively emphasises her vulnerability: it is not a cliched treatment of her death.
Good sense and respect for the dead are shown by the 'Discreet hands' that cover her body. The tone in these lines is quiet,
controlled and sombre. This is a marked contrast to the intrusive loud brashness that is reasserted in the next line. There is
a fall back from reverence to the ridiculous (bathos) and the media once more resumes control. Dawe uses another
ludicrous image, this time of 'angels, backed up by guitars'. The child's death is reduced to a cliched jingle: 'earth's loss is
heaven's gain...' It is here that the title's relevance becomes apparent as the strategy of smiling through death is a
'Breakthrough'-'Commercial products are now plugged by pain'. The exaggeration is humorous but it is satirical, black
humour that indicts the media for its relentless exploitation of people.
Dawe is challenging contemporary society to evaluate their consumerism and the domination of the media. The image of
the final line symbolises the ethics society is adopting. Stars, worthy of reverence, are 'draped' with crass toilet paper. The
exclamation mark reveals Dawe's amazement and horror. It is also significant that the jingle gave the dying girl the
comfort that faith should have. Through this, Dawe suggests that modern man has replaced religion with artificial media
products. Dawe is suggesting we re-evaluate what we seek comfort and direction from.
The Not-so-good Earth (1966)
Like 'Televistas' this poem is centred on the common place activity of watching television. It is a concept totally within the
audience's experience. Television in our consumer society is our prime source of information and entertainment. Often the
two become confused: lives and human tragedy are considered a product, something that will engender interest and thereby
generate revenue. The greater the suffering, the more successful the program and the greater market share.
Dawe is concerned that we have become desensitised to human suffering because it is presented to us as entertainment: a
product rather than an issue. The irony is that we have become emotionally distanced from reality even though the world
enters our homes via television. The title and the film description are references to 'The Good Earth'' based on a novel by
Pearl Buck. Set during the Japanese advance on China during the late 1930s, it contains ideas that the land sustains life
and that suffering is rewarded. This poem describes a family viewing the film, complete with the advertisements, and their
reaction (or rather, lack of) to it. They never actually see the end as the father trips over the cord in the darkened room.
It is a very satirical poem that creates black humour. Through the characters' complete insensitivity and absence of either
empathy or sympathy, Dawe expresses amazement at the complacency of people in our society. There is continual tension
between the humour and the seriousness of what is described. For instance, Uncle Billy's sight problems are comical but
Dawe's biting satire is evident by its juxtaposition to the riot scene's seriousness he is straining to see. The uncle's triviality
is as obvious as the insensitivity of the watchers. Modern man is more concerned with superficial appearances, 'using the
contrast knob to bring them up dark', the ‘mess of old clay' that is dinner, than in meanings attached to them. There seems
an inability to comprehend the events as having happened to real people. The narrator is used to suggest modern man is
apathetic and completely self absorbed. He is revealed as such by his inability to comprehend the implication of his
comments. He speaks about the Chinese 'famishing in comfort on the 25-inch screen'. The paradox is clear to the
audience. The reference to the 'terrific job' on the 'screaming faces and bodies going under the horses' hooves' reveals a
similar insensitivity. The lack of punctuation helps create the idea that society does not pause to consider the reality of
other people's suffering. Instead, like the narrator, we just move quickly onto the next item of information. Here Dawe
mocks the movie's idea that suffering reaps reward: how can it if nobody even notices? The fact the narrator does not seem
at all concerned about what happened in the unseen ending further demonstrates his lack of engagement. The 'blue flash'
eliminating the picture represents how quickly the situation has been forgotten. The blank screen and the 'dead' set may
symbolise modern peoples’ inability to empathise with others. Our concerns are trite and centred on ourselves. We’re
indifferent to the suffering of others and view it only as a source of entertainment.
Dawe also suggests that the media nurtures this insensitivity. It is ironic that in an age (thanks to the media)where people
know far more about what happens all over the world that people seem to care little beyond their own insular world. There
is a sense of confusion between reality and fiction. It is ironic that advertisements for luxury indulgences like 'Craven A'
cigarettes have been interjected into what should be deeply moving moments of the film. The advertisement is described
as having a 'full symphony orchestra' which is a farcical contrast to the grandmother's death. The media does not treat
tragedy as real and this blunts society's reactions and emotional involvement. Linked to both these ideas is the way people
distance themselves from unpleasantness and shirk responsibility. Dawe's use of the aside'( if I remember rightly..)'
implies that the narrator deliberately avoids discussion of the seriousness of the movie's events.
'Not-so-good-Earth' is a clever poem that maintains the audience's interest. It is colloquial, using everyday expressions like
'For a while there', 'a terrific job' and 'probably damn glad'. This makes it very accessible. It is also personal with the use of
the first person. It is, at least at first glance, humorous, but the humour darkens as the poem progresses. The title is a pun,
referring both to the movie and our modern society. Overall, whilst the events are clearly exaggerated, they stimulate the
audience to evaluate their own attitudes.
abandonment of autos (1964)
Note the use of small case for the title: it denotes a seemingly unimportant action but ironically describes humanity at its
most romantic and idealistic. Under the title, an extract from a news report is given. This serves as a catalyst for the
speaker. Unlike the other poems in this elective, this presents a tender, even romantic view of human nature. It is about
hope, unlike the despair which is reflected in the other five poems set for study.
The rather whimsical opening 'Something about the idea appeals to me immensely', attracts the responder’s attention. The
personal pronoun establishes intimacy, the speaker is sharing his fantasy with their audience. Many of his other poems
have a detached observer but the speaker in this poem offers sincerity and intimacy rather than cynicism. Use of the
present tense throughout suggests the active nature of 'the driver', who is juxtaposed with the passive nature of many of the
other characters who inhabit this group of poems. This driver is in control, making his own choices, asserting his sensitive
nature. Furthermore the use of present tense suggests that this may be happening all over, not in isolation. The use of
active verbs and the sequencing of the driver's movements also reinforces the potency of his actions. Added to this sense
of active purpose Dawe presents emotion untainted by cynicism or satire.
His focus is on the way the human spirit can transcend the consumer paradigm. Words such as 'grave tenderness' and the
use of the punctuation marks ‘...’ create a feeling that the driver's actions are deliberate, a quixotic attempt, not merely an
act of reckless irresponsibility. The driver has indeed chosen to spare his auto and himself from the 'cold appraisal’ ‘of the
merchant'. Our consumer society would deem his car as 'an old heap' because it is not worth much monetarily. Dawe is
obviously commenting on the way we equate worth with cash value. The driver has chosen to flaunt social convention,
leaving the car with its dignity, freeing it from the constraints of consumerism. The speaker views this act as one reflecting
'gallantry'. In contrast the 'sharp-faced men' represent the face of consumerism. Their actions form the antithesis of the
driver's chivalry. The metaphor is extended as the car is compared to a 'Steed' and the driver to 'an urban Arab'. His 'final
affectionate pat' highlights the speaker's hope for humanity. As the auto is 'made free', the action embodies a romantic
gesture, devoid of materialistic motivation. The driver moves back through 'the indifferent crowds', but he is a hero. He
carries the licence plate 'into a new life': a gesture imbued with compassion and unselfishness. 'Here is one who senses the
fitness of things'. This flight of fantasy reveals the speaker's empathetic nature. The speaker's idealism, that in a cynical,
materialistic world it is still possible to maintain one's integrity and nobility of spirit. This poem offers hope that we can
free ourselves from the constraints of consumerism and regain our humanity.
Related texts
* The satirical cartoonist Leunig is a rich source of material for this elective.
* 'Language Four' ( Sadler/Hayllar/Powell), satire ch has comic strips about the commercialisation of a spiritual event.
* Films such as 'Pleasantville', 'Rosalie Goes Shopping'.
* The comedy program' Absolutely Fabulous'.
* The cartoons 'Futurama', 'The Simpsons' (Malibu Barbie episode), 'South Park' (Pokemon episode).
* Articles from the Australian and Sydney Morning Herald in their computer technology sections