AUT Master of Creative Writing Thesis Exegesis - Scholarly ...

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AUT Master of Creative Writing 2008 Shorty © Michael Botur 2009 Iesu is accustomed to an environment of scarcity and silence, so commonplace understandings and resources confound him. This infantilises him in the way that his mother had, despite Iesu being physically mature. A significant void is felt when his mother is removed, because ‘Youth is a relational concept that draws its meaning from the ways in which both ‘childhood’ and ‘adulthood’ are conceptualised’ (Wyn 275.) It is only when Mr Steele treats Iesu as an adult that he is able to overcome those who suppress him. Iesu has a ‘hybrid identification’ (Teaiwa & Mallon), in that he is a foreign-born Kiwi who is ostracised within his country. Iesu has been ‘targeted for assistance’ (ibid) by his mother as Polynesians sometimes are in society, creating resentment. Iesu is held back from full kinship in the ‘quintessentially Kiwi’ (ibid p.209) sport of rugby to advantage others, despite the All Blacks model being a coming together of Pakeha, Polynesian and Maori (ibid p.212.) Axe of God ‘Gotta fight tag with tag, bro. Care about my place of ah, what was it, work eh.’ 26
AUT Master of Creative Writing 2008 Shorty © Michael Botur 2009 What happens to ‘Big G’ Scott in Axe of God is a clash between the threatening ‘homie’ gangsta subculture and the establishment of propriety and responsibility, embodied by Dick’s character. Dick is portrayed as an uptight ‘square’ in comparison. G’s expression is from ‘a lifestyle developed by groups in subordinate structural positions in response to dominant systems’ (Brake.) It is not specified whether G is aware of the offence he is causing, or whether his offensiveness is unintentional and natural, because as a young male, G is going through a period of life in which it is almost expected that he challenge authority or normative functions (Falconer 183.) G could have ended up belonging to other affirmative subcultures such as hippies or skinheads. This clash is a reaction to the acerbic subculture with which G associates himself: the gangsta subculture, which endorses ignorance and menace. We can define gangsta proponents as youth who are both extremely parochial (proud of their neighbourhood) and worshipful of US imports such as Grand Theft Auto, rap music and bandanas. They act dumb and are prone to violence to defend their beliefs. They are futurists – the opposite of atavists – and often they posture, but can also become authentic. Dick senses the culture that he is up against, but can’t get support to oppose it because those in opposition to a subculture are less empowered to restrict behaviour when it is not illegal (Falconer 190.) The popular prescription against this subculture is also ‘an integral part in the lifecycle, by creating moral panic, then popularising and commercialising (the gangsta) sub-culture’ (Martin pp. 66-74.) The panic 27
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