Lifelike and intriguing characters are an integral part of literature, resonating and relating with us readers to give insight into human nature and how it interacts with the modern world. I've come to learn that in this time of consumerist constructs and artificial medicants, the concept of reality can sometimes blur.
Connections with others and with life can dull, and by shaking off the shackles of materialism and rediscovering the baser parts of the human condition they can be restored. In Tim Winton's Dirt Music, I followed the character Georgie Jultand's awakening through the story.
In the opening she has a husband and children, and yet what should be happiness in their family scene is instead tainted by diction such as “Vegemite” and “VHF,” tying their relationship to materialism. The boys refer to her derogatorily as “stepmother,” mixing the positive connotations of motherhood with emphasis on the unreal connection.
Sensory imagery in “vodka burned in her belly, shaky with caffeine,” illustrates the negatively consuming effects of the controllers that she is forced to resort to in order to get any way through life. Her withdrawal is apparent in the symbolism as she “bent down to the shadow of the dog,” portraying how she is living in a shadow of herself.
Lu Fox, the “shamateur, the fleet equivalent of a scab” is the break from constructed order that Georgie is craving, juxtaposed against the 'high end' consumerist values of her husband's like, “people with a million dollars' worth of boat and licence, a new Landcruiser every season, whose TV's were the size of pianos.”
The irony that “a real fisherman's woman wouldn't have hesitated about reporting something suspicious” once again highlights...