Symbolism of the Beach in Australian Literature

Sydney convict art beach

Iconic Examples of Australian Beach Stories

There are a great number of natural landscapes in Australia apart from beaches (rainforests, desert areas, snow-capped mountains) yet the beach has somehow become iconic.

In Australia, there is a cabal of writers who can be described as ‘Australian Coastal Gothic’.

  • Tim Winton
  • Robert Drewe
  • Peter Temple

These novels and short stories are often about men who retreat from inland areas to the coast. The storyworld is dark and brooding. The men have secrets. They are often in mourning over a woman’s death. They meet grotesque characters who almost personify their grief. Beaches are badlands.

What is distinctive about the Australian beach?

  • The term ‘beach’ in Australia has a wider meaning than its geographical qualities. 
  • Beaches exist all over the world but are an internationally iconic image of Australia. The beach is pervasive in Australian advertising, tourism and popular representation. The beach is presented as idyllic, almost nostalgic and beautiful.
  • Tourist photos of the Australian beach tend to focus on the natural aspects and remove amenities. The exception to this is The Gold Coast, in which the beach and urban cannot be disentangled. Images will include skyscrapers along the waterfront. 
  • Some beaches are far more hospitable than others. There is great variation. Water temperature varies a lot at any given time. Tasmanian beaches are more suitable for picnicking than swimming because the water is generally cold. Northern beaches near Darwin are unsafe because of crocodiles.
  • In Australia rural and urban areas tend to stand in opposition to one another (with preference for the rural). The beach falls into both camps — it is ‘natural landscape’ but it is also an extension of suburbia.
  • The beach is associated with leisure, hedonism pleasure, indolence. The beach is healing, a place of escape, a spiritual place.
  • When the beach is depicted as healing, there’s a big difference between characters who live at the beach and those who holiday there. Tourists don’t have to fit beach time around the ordinary aspects of their lives. The holiday is itself an escape.
  • But beach holidays often induce guilt. Characters feel guilty at what they leave behind. Guilt can provide the motivation to make big changes in a character’s ordinary, non-holiday life. The holiday itself triggers a character arc.
  • In fiction targeted at women, a holiday to the beach can make a female main character reassess who she is looking for as a romantic partner. She might be an uptight sort of character who loses her sexual inhibitions on holiday and is forever changed because of it. Beach holidays can let women reclaim parts of themselves that they’ve lost touch with (apart from sexual aspects). They can forget about societal expectations placed upon women in everyday life, giving them a feminist ideology.
  • In this way, the beach can act as a type of mirror. The natural beauty of the beach allows a woman to see the natural beauty in herself.
  • Beautiful places have been shown to be good for mental health. (We get the same effect in a forest.)
  • A beautiful setting allows for a binary to exist — beautiful versus non-beautiful. This is why the mythic natural beauty of the beach can symbolise heaven on earth. Horror films subvert this, juxtaposing a beautiful beach against death. The beautiful playground of a beach can become a kind of prison. Characters move from freedom to slavery.
  • The message of some horror beach films is that characters create their own fate by disturbing a pristine environment. They had no business being there. Nature (or supernature) shrugs them off.
  • Australia has no legend based on how we live as an urban coastal society, unlike the myth of the bush, which is a strong tradition. Yet for many modern Australians, the beach is a more familiar territory than ‘the bush’. 
  • British people tend to see natural landscape in terms of ‘countryside’ and ‘seaside’. At the ‘seaside’ you get resorts, relaxation and therapeutic results. But The Australian beach is a place for swimming and surfing. Australian beachgoers are not passive. Even when not swimming or surfing, Australians bring their beach furniture with them and decide where to sit. They are holidaymakers rather than beachgoers.
  • When compared to American beaches, Australian beaches feel ‘transient’. Australian holidaymakers are responsible for bringing everything — you can’t hire umbrellas and lounges like you can in Honolulu. Holiday resorts do exist in Australia (e.g. Byron Bay) but there is not much emphasis on those in literature. Australian beach culture is far more accepting of nature than in trying to impose human order onto it.
  • Bush mythologies tend to idealise individuality. You’re on your own out there. Survival in the bush is seen as a personal achievement. But the beach is all about pleasures shared with others. ‘Indecent’ pleasures challenge social norms in a community. Competitive sport flourishes.
  • The naturalness of the beach is part of the myth of the Australian beach. This is the beach of our imagination. In this imagined version of the beach, we’re the only person walking along pristine beaches of untouched sand.
  • In fact the beach is surveilled: The beach is under the eye of the lifeguard from the tower, and increasingly, the beach is also observed through technological means such as cameras installed to detect erosion.
  • Many Indigenous texts place more importance on fresh water than the beach. Yet there are still some important aspects of the beach that feature in the writing of Indigenous authors and in films that feature Indigenous characters.
  • Iconic Australian beaches: Surfers Paradise (Gold Coast, Queensland) and Bondi Beach (Sydney, New South Wales). These settings are also common in Australian stories.
  • Normally the word ‘badlands‘ conjures images of extensive tracts of heavily eroded, uncultivable land with little vegetation, for instance the barren plateau region of the western US (North and South Dakota and Nebraska). But the Australian beach can be used as a type of badlands.
  • In the 1960s the Beaumont children went missing. (Their mother recently died without ever knowing what happened to them.) They disappeared from Glenelg Beach near Adelaide, South Australia on 26 January 1966 (Australia Day)
  • Harold Holt went swimming in the sea and never returned. He was Australia’s prime minister. The fact that a prime minister can go missing like that is seen as a quintessentially Australian thing. We like to think this could never happen to the American president, whose body is protected, his every move monitored.
  • In the 1980s and 90s, infamous gay hate murders took place on Bondi beaches
  • Bra Boys is a movie about the Cronulla riots of 2005
  • Crime, assaults and kidnapped children continue to be plots in fictional texts with beach settings. 
  • The beach is often a horror setting e.g. The Long Weekend (1978) and Lost Things (2003). Sometimes the beauty of the beach juxtaposes against the horror that unfolds e.g. The Long Weekend (1978 movie), Lost Things (2003 movie). Like any good horror story, the setting (in this case the beach) is initially set up as an idyllic, beautiful place. Also true to the horror genre, these beaches are difficult to reach and isolated. The humans are plucked off from the herd. In a Love story, the beach can act as a mirror, showing the (female) main character the beauty in herself. In a horror story the beach can also act as a mirror, but this time it reflects the evil within the main character(s).
  • In either case, the beach has the power to reveal some sort of truth.
  • The beauty of the beach is sometimes cast as ‘tempting’ e.g. Two Hands (1999 film). Bondi Beach is depicted as a glittering ocean which entices Jimmy into the water, away from his tasks. 
  • The Australian beach is increasingly urban as the city and its suburbs encroach further onto the sand. 
  • Philip Drew, in his work The Coast Dwellers, believes that the Europeans brought their own understanding of space to Australia when they arrived in the late 19th century. Europeans journeyed here with a “conception of a closed centric world”. But this understanding that did not fit the geographical complexities of the country they found themselves in.
  • Even natural beach elements can be scary. Nature is unpredictable and we can’t control it (shark attacks, wild weather). 
  • The beach is considered a space of equality. Anyone can go there, whether rich or poor. No one owns the beach. Once at the beach, no one is judged on the norms of the rest of their lives — everyone is now just a person at the beach, perhaps stripped down without clothes as status symbols. Employment and wealth is discarded. However, in practice the classless beach isn’t real, sometimes made clear in fiction as well. In Puberty Blues Kathy Lette describes Green Hills beach as trendy while beaches at the sound end of Cronulla are family friendly (but not trendy).
  • Some texts objectify women on the sand. Surfing texts are very masculine. Some films objectify other kinds of bodies, including the bodies of men. 
  • Australian beach films are rarely financially or critically successful. (e.g. Newcastle) But still Australians keep trying to make beach movies and TV shows. 
  • The beach is neither marginal nor liminal. It allows the imaginative and the social to exist at once within the same landscape. This is called ‘Beachspace’. Liminal is all about the concepts of transition and shifting ambiguities, categorised by disorientation and a loss of belonging. In contrast, the beach can create a sense of belonging, or multiple belongings. 
  • Like high places, the beach can be used as a place to gain perspective, especially by going surfing. For surfers, waves can be a refuge and like driving, afford a sense of control. The main character of Breath by Tim Winton (2008) uses the surf in this way. He feels he can’t control death around him in his regular life.
  • Even though characters might try to use the beach as a safe space away from their ordinary lives, the beach isn’t always binary in that way. Floating in the shallows is similar to sitting in a bath, affording characters the space to think. Characters often have self-revelations in the water.

FURTHER READING

Header painting is a View of Sydney from the West side of the Cover painted in 1806 by a convict artist John Eyre. Some convicts were artists. Some of them were even convicted because of art — for forgery.

Literary Impressionism: The Basics

Claude Monet Impression Sunrise 1872

Literary impressionism centres on the following questions: Who am I and What is it all about? In impressionist literary works, themes are difficult to pin down because the reader is expected to bring a lot to the table. This is true of lyrical stories in general.

A BRIEF HISTORY OF LITERARY IMPRESSIONISM

Charles Baudelaire’s poetry inspired the symbolist movement in literature, which communicated through symbolist subjects. The goal of symbolism was to convey the essence of a subject rather than reproducing it.

Impressionism produced new forms in literature: the prose poem and the psychological sketch. Emphasis is on how things appear — on the sense of sight in particular.

The modern lyrical short story is not a genre in its own right, but a natural consequence of literary Impressionism. The best examples of Impressionism can be found in short stories. Because of their length, short stories are better able to ‘paint an Impressionist picture’, so the Impressionist bits are more obvious.

GENERAL FEATURES OF IMPRESSIONIST LITERARY WORKS

Characters and settings are suggested rather than defined.

Impressionist works are all about the transient nature of reality and the complexity of truth.

Better a half truth, beautifully whispered, than a whole solemnly shouted.

Katherine Mansfield

A few strokes capture the mood of the characters and the minute ‘objective’ details (which are actually subjective).

The personal impression of any experience is of greater importance to the Impressionist than any accurate description of reality.

Like an Impressionist painter she worked to convey the light and the shade, the overall impression or mood; details were altered, outlines blurred and places, people or occasions merged into a composite picture […] people were shaped and manipulated to fit the impression she wished to create.

— Gillian Boddy of Katherine Mansfield, 1988

NARRATION

In Impressionism, a (homodiegetic) narrator tells a story which is fragmentary, seemingly objective, dramatic and indirectly suggestive.

Since Impressionist stories are all about indirectness, some kind of limiting point of view is best. The narrator has limited powers — everything is filtered via a focalising character. Two preferred limiting points of view (in third person) are narrated monologue and free indirect speech (also called free indirect discourse).

It is up to the reader to piece together fragments and come to our own conclusion about who this person is and what’s happening in the story. The character can’t see the full picture because they are stuck within the storyworld.

The narrative will emphasise the sensory and inner world of a character.

THE PARALLAX TECHNIQUE

Parallactic narration can be achieved when reality is described differently from multiple viewpoints. None of these narrators is omniscient — none of them has seen or understood the entire ‘story’.

Impressionist stories show us that characters (and therefore people) are conditioned by their environment and prone to distortion and misinterpretation. Unreliable, in other words. But this is not because they’re being deliberately deceitful. They are unreliable because they don’t quite understand themselves or their relationship to their world. This is how the character genuinely perceives reality. Remember the central questions of Impressionism: Who am I? How am I connected to my world?

DETAIL

Detail will look like ‘a flash perception of an outstanding aspect of the object’. In film, Terence Malick’s Tree of Life makes for an excellent visual example of how Impressionism looks in literature.

THE SUM WILL BE GREATER THAN THE PARTS

On their own, all of these details mean little. But they work together to create a symbol web, and only make sense once the reader has seen the whole story and stood back. Impressionist artwork works in the same way — stand too close and focus on any single brush stroke and the detail will seem random.

THE LANGUAGE OF IMPRESSIONISM

The prose is unabashedly purple. Early Impressionist writers were attempting to express everything to the last extremity and fix the last fine shade of mood and feeling. Subtlety is key.

But it wasn’t poetry. They were more interested in prose than in poetry. Prose was seen as a more inconclusive medium — the writer isn’t hemmed in by requirements of rhyme and metre. Prose is better to express feeling, reflections, comparisons.

But this prose was heavily influenced by poetry and is clearly aesthetically designed.

STORY STRUCTURE OF AN IMPRESSIONIST LITERARY WORK

Character and plot are enveloped in atmosphere. Every story function is conveyed indirectly.

Impressionist stories don’t have an elaborate finishing touch. This is to maintain across the entire story a narrator’s subjective, fragmentary impression of the world.

The main character really wants to know the ‘truth’ of human consciousness but if they realise anything long term, it’s that there is no ‘truth’ — only perceived fragments of highly ambiguous sensory stimuli.

At the Self-revelation phase, the Impressionist main character is kept in the state where they want to learn the meaning of their experience but at the same time they’re unable to do so. Or they have a brief moment of clarity, but that is soon forgotten. We might call this self-revelation illusory or phantasmagoric. An excellent example of this is “The Garden Party” by Katherine Mansfield, but also a much more recent short story “In-flight Entertainment” by Helen Simpson.

CHARACTERISATION

In Realism natural phenomena are generally described as they are commonly understood to be. But in Literary Impressionism the author simulates a sensory experience. This is presented with little additional information. Characters are not great noticers. They perceive their storyworlds in momentary, fragmented pieces.

Because they know little about the bigger picture, they’re unreliable narrators. But not because they’re trying to deceive anyone — they really don’t know themselves very well. They’ve been shaped by their environment to the point where they can’t see that. They are unreliable because they are unable to sustain any realistic conception of themselves.

They tend to resort to fantasies and reality is distorted by illusion. Their false and incomplete data can contribute to a feeling of isolation in the world.

An Impressionist character generally faces a cognitive rather than a moral dilemma, and establishing the character’s background or history is, therefore, of little importance.

DETAILS

Although both Naturalist and Impressionist writers may pay a great deal of attention to details there is a difference in their use of it. Where the Naturalist tends to be comprehensive and complete, the Impressionist is highly selective. Where the Naturalist tends to give equal emphasis to a large number of details, Mansfield singles out the first detail that catches the narrator’s eye, the main impression on the particular occasion, and has the detail completely dominate the scene.

Julia van Gunsteren, Katherine Mansfield and Literary Impressionism

Note that there’s a whole cluster of international art movements and definitions are often at great variance: impressionism, post-impressionism, realism, symbolism, modernism, symbolism, naturalism, imagism, dadaism, surrealism, expressionism, futurism and so on).

RESOURCES & FURTHER READING

  • Julia Van Gunsteren’s book Katherine Mansfield and Literary Impressionism
  • Beverly Jean Gibbs “Impressionism as a Literary Movement”

Header painting is Claude Monet’s Impression Sunrise 1872 — the painting which led to the first insult which led to the reclamation of the word ‘impressionism’ as an art movement.

Onomatopoeia, Mimesis and Children’s Literature

goh-goh

Someone in a children’s writing forum crowdsourced recently: What does a waterfall sound like?

They were after an onomatopoeic sound. Some replied ‘trickle’. Others said ‘trickle’ is no good at all for a waterfall, as ‘trickle’ suggests a piddling amount of water.

I don’t know what they decided, but I thought of my years learning Japanese. Japanese most definitely has the perfect word to describe the sound of a waterfall: “goh-goh”.

That explains the wonderful and also one of the lesser-known, extremely challenging aspects of learning Japanese non-natively: Everyday Japanese language bursts forth with onomatopoeia, and not just onomatopoeia, either: mimesis in general.

ONOMATOPOEIA AND MIMESIS: THE DIFFERENCE

Continue reading “Onomatopoeia, Mimesis and Children’s Literature”

Body Language Beats In Fiction

body language beat

Body language beats* in fiction are like stage directions. They serve various purposes in fiction:

  1. Varying the pace of the dialogue
  2. Tracking your character’s emotions
  3. Allowing the reader to keep track of who’s saying what, without over-reliance upon ‘he said/she said’.
*Don’t confuse this meaning of ‘beat’ with what theatre folk mean when they say beat — brief pauses in the action. Theatre peeps use the term ‘stage business’ when talking about these kind of beats.

There are other kinds of beats, for example brief snippets of interior monologue.

Body language beats can be handled badly. Continue reading “Body Language Beats In Fiction”