Montana 1948 + Herbie Analysis

1

Both Watson and the composer of Text 2 alike utilise the bildungsroman convention of naïve protagonist transitioning from innocent child into a more worldly-wise adult as they make realisations regarding themselves, and the world around them, causing a transformation. As well as this, both composers explore the role of seminal experiences in the growth journey. However, Watson differs from the other composer by demonstrating the corrupting nature of seminal experiences which permanently destroy the innocence of naïve individuals, forcing a complete revision of beliefs. This is evident in the “Killing Magpies” episode where David Hayden has an epiphany relating to his own capacity for evil following his murder of a magpie.

2

Within this episode, Watson uses a motif of journeys and symbolism in, “I took a different route back to the ranch” when David returns to his family after the inciting incident of killing the bird. This quote sustains the motif of journeys throughout the novel that depicts David to be travelling whilst he is confronted with crisis points in his adolescence, here paralleling his venture to return to the ranch with his traversal of new psychological terrain typical of the growth journey. David taking a “different route” on this journey is symbolic of how the seminal experience of killing the magpie has corrupted his innocence, dislocating his former understanding of the world. This gaining of new knowledge means he can no longer see life as his former ignorant self did, forcing him to take a different route back to the ranch as he now has an altered perception of the world

3

Both Watson and the composer of Text 2 alike utilise the bildungsroman convention of naïve protagonist transitioning from innocent child into a more worldly-wise adult as they make realisations regarding themselves, and the world around them, causing a transformation. As well as this, both composers explore the role of seminal experiences in the growth journey. However, Watson differs from the other composer by demonstrating the corrupting nature of seminal experiences which permanently destroy the innocence of naïve individuals, forcing a complete revision of beliefs. This is evident in the “Killing Magpies” episode where David Hayden has an epiphany relating to his own capacity for evil following his murder of a magpie. Within this episode, Watson uses a motif of journeys and symbolism in, “I took a different route back to the ranch” when David returns to his family after the inciting incident of killing the bird. This quote sustains the motif of journeys throughout the novel that depicts David to be travelling whilst he is confronted with crisis points in his adolescence, here paralleling his venture to return to the ranch with his traversal of new psychological terrain typical of the growth journey. David taking a “different route” on this journey is symbolic of how the seminal experience of killing the magpie has corrupted his innocence, dislocating his former understanding of the world. This gaining of new knowledge means he can no longer see life as his former ignorant self did, forcing him to take a different route back to the ranch as he now has an altered perception of the world

4

The composer of Text 2, much like Watson, also utilises the bildungsroman convention of naïve protagonist transitioning from innocent child into a more worldly-wise adult as they make worldly realisations, to explore the role of seminal experiences in the growth journey. However, the composer uses instead this to demonstrate the lasting impact of seminal experiences as they bridge the divide in knowledge from childhood innocence to adult maturity. This is evident in when the protagonist, Davey Morne, speaks to Herbie’s mother, offering condolences for his participation in his murder. The composer uses repetition and personification in, “Her words found a way to lodge themselves in my memory forever, “You a good boy Davey Morne…  a good boy…’, when the adult Davey reflects on the impact speaking to Herbie’s mother had on him.

5

The repetition of “a good boy” in Davey’s memory of Herbie’s mother is indicative of the significance of that seminal moment as it continues to echo throughout Davey’s mind despite having already transitioned into adulthood, revealing their profound impact on him through their indelibility in his memory. This is implied further in the personification describing the words to lodge themselves into Davey’s memory, demonstrating how seminal experiences continuously influences naïve individuals’ values as they hold a permanent place in one’s mind, shown through the connotations of entrapment generated by “lodged”. Both Watson and the composer of Text 2 clearly seek to valorise reflection in their representation of seminal experiences as understanding ____.

6

The composer of Text 2, much like Watson, also utilises the bildungsroman convention of naïve protagonist transitioning from innocent child into a more worldly-wise adult as they make worldly realisations, to explore the role of seminal experiences in the growth journey. However, the composer uses instead this to demonstrate the lasting impact of seminal experiences as they bridge the divide in knowledge from childhood innocence to adult maturity. This is evident in when the protagonist, Davey Morne, speaks to Herbie’s mother, offering condolences for his participation in his murder. The composer uses repetition and personification in, “Her words found a way to lodge themselves in my memory forever, “You a good boy Davey Morne…  a good boy…’, when the adult Davey reflects on the impact speaking to Herbie’s mother had on him. The repetition of “a good boy” in Davey’s memory of Herbie’s mother is indicative of the significance of that seminal moment as it continues to echo throughout Davey’s mind despite having already transitioned into adulthood, revealing their profound impact on him through their indelibility in his memory. This is implied further in the personification describing the words to lodge themselves into Davey’s memory, demonstrating how seminal experiences continuously influences naïve individuals’ values as they hold a permanent place in one’s mind, shown through the connotations of entrapment generated by “lodged”. Both Watson and the composer of Text 2 clearly seek to valorise reflection in their representation of seminal experiences as understanding ____.

7

While both composers utilise the bildungsroman convention of a morally naïve character experiencing a growth to a greater self-awareness as a consequence of the struggle and suffering that facilitate growth, Watson innovates on the genre by paralleling David’s more traditional growth to maturity with his father, Wesley’s growth to moral clarity. Watson explores the empowerment provided by the growth journey, demonstrating its relentless nature as life continuously forces people to evolve via morally complex situations. He represents this in Part 3 where Wesley struggles to grapple with his brother Frank’s predation of Sioux women, underpinning his inner turmoil between protecting his family and pursuing justice.

8

This is implied in the resolute tone, rhetorical question, and simile in “He’s guilty as sin, Gail… Goddam it! What could I have been thinking of? Maybe a jury will cut him loose. I won’t. By God I won’t!” when Wesley has an epiphany regarding Frank’s culpability in his sexual crimes. The high modality implied in the simile “guilty as sin” captures Wesley’s newfound moral clarity as he finally comes to terms with the gravity of Frank’s predatory nature, likening him to evilness itself. The significance of Wesley clarifying his ideology is conveyed through the resolute tone as his certainty is demonstrative of how it has enabled him to take a stance against Uncle Frank. This is contrasted with his past attempts to find compromise between his commitments to family and justice, which Wesley depicts to be senseless and unjust through his distressed rhetorical question that confronts their irrationality.

9

While both composers utilise the bildungsroman convention of a morally naïve character experiencing a growth to a greater self-awareness as a consequence of the struggle and suffering that facilitate growth, Watson innovates on the genre by paralleling David’s more traditional growth to maturity with his father, Wesley’s growth to moral clarity. Watson explores the empowerment provided by the growth journey, demonstrating its relentless nature as life continuously forces people to evolve via morally complex situations. He represents this in Part 3 where Wesley struggles to grapple with his brother Frank’s predation of Sioux women, underpinning his inner turmoil between protecting his family and pursuing justice. This is implied in the resolute tone, rhetorical question, and simile in “He’s guilty as sin, Gail… Goddam it! What could I have been thinking of? Maybe a jury will cut him loose. I won’t. By God I won’t!” when Wesley has an epiphany regarding Frank’s culpability in his sexual crimes. The high modality implied in the simile “guilty as sin” captures Wesley’s newfound moral clarity as he finally comes to terms with the gravity of Frank’s predatory nature, likening him to evilness itself. The significance of Wesley clarifying his ideology is conveyed through the resolute tone as his certainty is demonstrative of how it has enabled him to take a stance against Uncle Frank. This is contrasted with his past attempts to find compromise between his commitments to family and justice, which Wesley depicts to be senseless and unjust through his distressed rhetorical question that confronts their irrationality.

10

In contrast, the composer of Text 2 conforms to our expectations the genre in their depiction of the same bildungsroman convention of a morally naïve character experiencing a growth to greater self-awareness as a consequence of the struggle and suffering that facilitate growth. Furthermore, unlike Watson, they explore the growth journey to be a humbling experience, demonstrating the disorientation overconfident, naïve individuals face as they are exposed to the consequences of their immature actions. This is evident when the protagonist of the story, Davey Morne, stands before Herbie’s dead body, experiencing guilt for his involvement in Herbie’s death. This is represented in the shift in narrative perspective and antithesis in, “Only the dust and the boy remained. He was big and strong… but in the emptiness he now looked small and fragile” when Davey is left alone to comfort Herbie’s grieving mother.

11

The shift from the use of first person to third person highlights the disassociation that exists between the narrator in adulthood and his childhood self, depicting how the growth journey fundamentally alters a person’s perspective of the world to the extent that they feel a different person. This is further implied in the antithetical adjectives of the “big and strong” protagonist appearing “small and fragile” which conveys how exposure to unsettling truths can leave naïve individuals vulnerable through Morne’s description of becoming weaker and more sensitive as he confronts the consequences of his actions, Herbie’s death. The composer’s representation of this unsettling experience is much alike Watson’s as they intend to valorise the role of struggle in growth as it exposes individuals to their flaws which they must overcome in their life as they clarify their limited understandings of the world.

12

In contrast, the composer of Text 2 conforms to our expectations the genre in their depiction of the same bildungsroman convention of a morally naïve character experiencing a growth to greater self-awareness as a consequence of the struggle and suffering that facilitate growth. Furthermore, unlike Watson, they explore the growth journey to be a humbling experience to overconfident individuals, demonstrating the disorientation naïve individuals face as they are exposed to the consequences of their immature actions. This is evident when the protagonist of the story, Davey Morne, stands before Herbie’s dead body, experiencing guilt for his involvement in Herbie’s death. This is represented in the shift in narrative perspective and antithesis in, “Only the dust and the boy remained. He was big and strong… but in the emptiness he now looked small and fragile” when Davey is left alone to comfort Herbie’s grieving mother. The shift from the use of first person to third person highlights the disassociation that exists between the narrator in adulthood and his childhood self, depicting how the growth journey fundamentally alters a person’s perspective of the world to the extent that they feel a different person. This is further implied in the antithetical adjectives of the “big and strong” protagonist appearing “small and fragile” which conveys how exposure to unsettling truths can leave naïve individuals vulnerable through Morne’s description of becoming weaker and more sensitive as he confronts the consequences of his actions, Herbie’s death. The composer’s representation of this unsettling experience is much alike Watson’s as they intend to valorise the role of struggle in growth as it exposes individuals to their flaws which they must overcome in their life as they clarify their limited understandings of the world.

audience

adolescent. uses it/its

montana context

US in 1948, where a culture of moral indifference developed toward social injustices as people sought stability following World War 2

unknown text context

australia in the 1970’s, which saw the end of the civil rights movement that recognised indigenous australians as citizens and brought an end to the White Australia Policy