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The figures of this dream of Java’s childhood tantalised him with the notion that he ought to know them, ought to recall them, from some other life. And they woke in him now a long-buried memory of his own (YLD, 202). Hamilton senses the people’s fear of the approaching ‘presences of hunger and pain and threat at the edges of their green world’ and that the wayang frame was a barrier against them. He learns, through his memories of World War II, compassion for them, leading him later to ask Cookie the central question Billy Kwan first asked him, ‘What can we do for them?’ (YLD, 203). Only through his journey from the material, mechanistic side of reality to the spiritual, magical side—the two sides of the wayang screen—has Hamilton been to some degree awakened to the unity of his own soul and the souls of the ‘Others’. 7.7. Conclusion Koch’s Wayang Bar is abuzz with talk of intrigue and power struggles which follow the tradition of the wayang kulit’s representation of the struggle between forces of light and darkness, which are the source of the Javanese people’s fears. The Wayang Bar represents the Western view of a world of order and right, just as the wayang kulit does the Javanese view. Cookie calls the bar ‘a refuge’ against the increasingly insane world of konfrontasi on the outside (YLD, 8), but it is a ‘fools’ paradise’ whose inevitable end, another expulsion from Eden, is a familiar theme out of Australian invasion fiction (Broinowski, 1992, 182). For inside the Wayang Bar, a distinctive Alice in Wonderland sort of insanity reigns. The namesake of the Wayang Shadow Theatre is itself a clashing multicultural shadow theatre of incongruent juxtapositions, including the luxurious and passionate but inconstant light of the ‘fat red candles’ sitting atop the bar which is round like the table of the Arthurian knights but covered with black Formica, an artificial, evil-coloured material. Western electric lamps are ‘set high on the gold walls, across which were fixed Javanese shadow-puppets—the heroes and villains of the wayang kulit’ (YLD, 3). These puppets are reminders ‘of the wider world of Javanese ritual art and belief from which these Westerners are insulated: where they act out their own shadow plays at the edges of the real Indonesian drama’ (Bennett, 1982, 11). The ironic use of Western light reflecting off the Javanese leather puppets must provide an eerie - 148 -
illumination in the bar, projecting the shadows of the puppets across the room, onto everyone and everything there. In the same way, the expatriate Westerners cannot escape the flickering, threatening shadows of the Javanese world of magic to which the wayang kulit is the door. In the Wayang Bar, as in the wayang kulit, theatrical performance is the only reality; the bar’s patrons are themselves shadow players, hybridised heroes of competing, yet somehow complementary traditions, enacting their roles in the greater epic drama. - 149 -
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Australian Reflections in a Mirror
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This book is dedicated to Colonel G
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Regeneration zu finden, von denen s
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Landschaft und die offensichtlich l
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Chapter 4. The Cliché as Writer’
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10.2. Eastern and Western Concepts
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List of Abbreviations ABS Australia
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dharma (2) In the Jainist ontology,
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1.1. The Initial Dilemma Introducti
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Put into an Asian context, the ambi
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The mirror is the symbol of the tru
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humdrum seedinesses can be tricked
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ustling markets and streets, the in
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With the end of the period of colon
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to the faith she so sorely lacks. U
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from the Asian point of view. This
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closely in spite of the West’s re
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2.1. Introduction The Historical En
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Wales and the rise of the English E
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Colonial Australia, therefore, was
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The typically 19 th century feeling
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Asians were subject to discriminati
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lame. The American heroic, paternal
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evidenced by the invasion scare nov
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2.7. The Coming Man Faced with this
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exposed to Asian plagues and predat
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Australian aid (Levy, 71). On the o
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predictable under the prevailing ci
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which, among many other divisive ef
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emarks, so was the threatening indu
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2.12. Conclusion In any case, inter
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3.1. Introduction The Literary Trad
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On the other hand, the incomplete s
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States for a new role model, and Am
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is the stereotypical Ah Sing, but P
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Killing two racial birds with one s
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pictured as more egalitarian, and y
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of Australian writers in Asia. Some
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India—an Ozzy encountering for th
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3.9 Conclusion The marvelling, femi
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One really can get lost, Singh adds
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4.2. The Queen of Cliché Blanche d
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D’Alpuget writes that this prejud
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where the neo-colonialist industrie
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officials that Australians love to
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esenting the servants, who are trea
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are spoken under the breath, and in
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its ‘fixity’ and ‘phantasmati
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The lingering images of the Orienta
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that they lack ‘at-one-ment’. J
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Judith’s condescension of Minou,
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Wilkes has failed to navigate the d
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the seemingly foreign elements of t
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which would never be accepted in a
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Jakarta’s street lights were grow
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link with Koch’s story in which h
Page 113 and 114: when he introduces the grim slums o
Page 115 and 116: Alice realises ‘what an ignorant
Page 117 and 118: the last vestiges of his curry, sat
Page 119 and 120: harm. Its children are more numerou
Page 121 and 122: nonsense is revealed to be far more
Page 123 and 124: a lofty calmness and lets the other
Page 125 and 126: disarming smile, as Cookie remember
Page 127 and 128: wonders how all of the strange thin
Page 129 and 130: mediaeval history, in which the dwa
Page 131 and 132: apparently drugs Hamilton, and ques
Page 133 and 134: dwarfs; and the leader, Captain Dan
Page 135 and 136: 6.1. Introduction The Circular Path
Page 137 and 138: in her both through her ancestry an
Page 139 and 140: eader first to identify with the pr
Page 141 and 142: Everything about the festival is se
Page 143 and 144: Australia in comparison seem reacti
Page 145 and 146: girl—stank’, another jibe at Au
Page 147 and 148: theatre where their expectations ar
Page 149 and 150: The final matter dealt with is the
Page 151 and 152: djanturan, sets the scene and mood
Page 153 and 154: screen, subtle structures and metap
Page 155 and 156: perfectly alus of the brothers. ‘
Page 157 and 158: Koch maintains the distinction betw
Page 159 and 160: word warrior against the manifestat
Page 161 and 162: sided screen for viewing the wayang
Page 163: Alice’s looking-glass world, thes
Page 167 and 168: the Bhagavad Gita and the other in
Page 169 and 170: Bhagavad Gita’s poet(s); and thir
Page 171 and 172: analysis that Billy is finally tota
Page 173 and 174: fiction he becomes a ‘pseudo-Oedi
Page 175 and 176: journalists’ ‘confessions’, a
Page 177 and 178: her sense of identity becomes, if a
Page 179 and 180: discussion when he asks Guy Hamilto
Page 181 and 182: mind. As Tacey argues, man must see
Page 183 and 184: 8.3.3. The Four World Ages Before d
Page 185 and 186: 8.4. Billy Kwan, the Bhagavad Gita,
Page 187 and 188: triumph with that of being used (YL
Page 189 and 190: his files: ‘The Muslims can do no
Page 191 and 192: Billy Kwan must loosen his attachme
Page 193 and 194: The question is whether it is a sac
Page 195 and 196: him; and without him was not any th
Page 197 and 198: is the message which Billy Kwan fin
Page 199 and 200: elationships which survive and rais
Page 201 and 202: the purposes of metaphor and symbol
Page 203 and 204: Australian to cope with (Koch, 1987
Page 205 and 206: concerns’ (Frye, 88-89). A centra
Page 207 and 208: correspondent is nevertheless impos
Page 209 and 210: Yet, Kwan is described as if enteri
Page 211 and 212: O’Brien unwillingly discovers thr
Page 213 and 214: Male and female, god and goddess, a
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characteristic technique of the way
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must understand Vera’s role in Du
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her qualities of beauty, lustre, gl
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position of the supreme divine prin
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Loved, I suppose.’ He will later
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365). He also says she is ‘a youn
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amusing first portrait of Keang, sh
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e the moment when Keang herself rea
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of an age of cosmic disorder ruled
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10.1. Introduction The Masks of Per
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unconcerned being (Zimmer, 236). Th
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Finally, the Eastern view is an int
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10.3. D’Alpuget’s Bestiary Blan
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Seeking to escape the Triple World
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Brothers, who exercised dominance o
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‘Ooooh, Miss Alex. It is very bad
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the Hotel Indonesia where the Weste
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As the novel begins, the last survi
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while for an Easterner the masks on
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differences between ‘Eastern and
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lecher who dares the demonic prosti
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suggestions he visit the cemetery h
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And yet, Cookie describes the Wayan
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men (and sometimes animals and plan
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want to do good, he argues, but ‘
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empty, yellow-and-green dish of lan
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What must not be forgotten, however
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He has a simple ‘broad brown coun
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tale of the nausea and spasms from
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11.1. Introduction The Masks of Dou
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journey of Alexandra Wheatfield. On
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One of the most striking features o
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an action which is key to distingui
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prompting her to prove her mettle a
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stereotyping, whether subtle or ove
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type of man who ‘walks a stage, f
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dossiers. While it is not correct t
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inwardly wise and powerful, figure.
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11.3.2.2.2. The Deified ‘Other’
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... a fat, hunch-backed, bald old m
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or to one’s will, B. M. Matilal p
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One cannot fully consider Billy Kwa
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helplessness in the relationship be
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vision, Kwan is called ‘Hamilton
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only dream about. At each crucial m
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Having certified, in this admittedl
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kulit puppets, he is ending his wor
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12.1. Introduction Encountering the
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The prevailing attitudes manifested
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There was no sexual interest to be
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The feeling of isolation and barren
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the Sea Wall, about a young Austral
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Koch completes his image of these e
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Feng onto the river. As the one wor
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trickery or magic, a diplomatic fea
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NVA’s central headquarters for So
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exhausted and ill from the long, fo
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serve to remind us of the debt owed
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own vast and, in context of the sur
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his rebel headquarters to soften th
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darkness in you: she who turns time
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dream. Langford more than the other
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hammer, the symbol of creative powe
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direct association with ‘word’
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He waited in the darkness behind my
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12.11. Conclusion This conviction i
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es explicanda, and the last point w
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a figment of the discussion and ana
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suppression of perceptions of the A
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Aubrey Hardwick expresses the conve
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active qualities, as seen with Jim
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overwhelmed by the antagonistic for
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A single betjak man had separated h
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feel, we children of the old Domini
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coming in from the country, with al
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Westerners are not exempted from th
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Harvey Drummond describes the stran
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The Bodhisattva, then, is one who i
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formulae. Jim Feng identifies it in
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taken seriously. Koch resorts to an
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the present and into the future dep
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which is to say spiritually alive.
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In the tropics, the pane through wh
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At this moment Langford’s luck ch
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India to animal sacrifice, ‘tampe
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and finally to his readiness to exp
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Concluding Remarks This study has t
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List of Works Cited Abrams, Dominic
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Gehrmann, Richard. ‘The Rising Su
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Mascaró, Juan, trans. and introd.
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Singh, Karan. ‘The Message of the
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