Creating and Presenting (Unit 3 ~ Area of Study 2) Context: The Imaginative Landscape Things to address in your written explanation: + Form (expository, persuasive, creative, hybrid: opinion piece, blog, short story etc) + Audience (who you are writing for: ideal audience) + Language (tone, techniques, approach, and reasons why: formal, colloquial. sophisticated) + Purpose (what are you trying to convey and why? To entertain, expose explore, explain, provide insight) + Context (how have you discussed the context? Include ideas and texts which will support the response) REMEMBER — ~ prompt -text/s context -your own ideas -the world language and vocabulary -clarity and fluency of expression The Imaginative Landscape Prompt Writing/ Language aU * From the prompt will come your reaction / response / contention and include history / knowledge / interests / affinity to nature, landscape and imagination...the ripple effect of the prompt inspiring ideas. * Form ~ pieces of writing include a title / heading / subheading Responding to a prom, 1. What is the core concept/ key idea contained in the prompt? 2. Underline/ highlight key words. Create a word bank/ list of synonyms. 3. Identify the FLAP-C information, Establish a title for your piece. 4 5. Brainstorm the possible ways of addressing the prompt (either body paragraphs ideas or creative options_) 6 7 Engage the reader — introduction can start with a quote, hypothetical, anecdote etc. Attention to expression (clear expression of ideas is essential to your ability to communicate your knowledge and understanding of the context and central text). 8. Ensure that the central text is at the heart of your thinking about the prompt. 9. The prompt does not have to be resolved. 10. Read and edit your work for clarity, coherence and fluency. Ideas to contemplate: ‘© INTERNAL and EXTERNAL landscapes © The change in perception of the landscape Factors which influence perception of the landscape ‘The way in which the internal landscape is reflected in the physical landscape ~ mirroring/echoing The interaction between imagination and the landscape The landscape is not simply formed by geology and geography but by personal emotion, © People’s origins contribute substantially to the balance that exists between their imagination and their awareness of reality. © The landscape of the mind is just 2s important as the physical landscape. People absorb influences that develop their Imaginative landscapes to reflect their experiences as representatives of humanity ‘+ The landscape of solation/exile ~ people who are cut off from the world both literally (geographically) and figuratively (due to emotion or intellect) © The landscape of loss ~ most people experience a more profound / lasting effect from the loss of intangible things like hope, tradition, love, Psychological losses help to mould character's internal landscapes in significant ways. © Family influences our experiences. Some families are connected to thelr landscape and some aren't. * Landscape can be influenced by imagination and imagination and ideas can be influenced by landscape. ‘© Each person/character inhabits his or her own private imaginative landscepe (not necessarily physical)‘Night Street’ ~ Background and Focus Questions ‘Author, Kristel Thornell, on writing Night Street | came across my first painting by Clarice Beckett atthe Art Gallery of South Australia: a simple itle urban landscape, two trams passing on a misty street at twilight. Gorgeously soft, hazy shapes. Minimal detail t had a depth to it that became more hypnotically palpable the longer you stared. Ths tends to be the case with Beckett's paintings, a if there were something in them behind what was shown—some mysterious emotion, perhaps. It's ike studying something alluringly half-visible through @ gauze curtain. An oddly intimate, dreamy mood ensnares you Beckett's art set me imagining the woman who, early last century, had created such subtle and involving scenes. I learned the biographical details often approached as tragic: art that was misunderstood: a life in the family home, as the unmarried, care- giving daughter of ill parents; 2 premature death from pneumonia contracted after painting in a storm. | was drawn to the idea of looking behind the curtain of this melancholy story of a neglected, self-effacing artist from the margins of art history. | was ‘saddened and indeed provoked by some of the biographical fects, Reading Group Notes Night Street especially, of course, by the scarce recognition Beckett's art received during her lifetime, but the story appeared rich and elating to me, It also told of a nique artist who, in the face of incomprehension, in spite of the handicap of being a woman, lived daringly, magnificently. Her relationship with life—with men, with nature, with Melbourne, those streets and beaches celebrated in her art—was brave and passionately intense. Instead of writing a biographical novel, | wanted to inhabit the mind of a woman like Beckett, to creatively follow some ofthe teasing leads suggested by those captivating paintings. | was attracted to the kind of intimate, internal path that had to be freely invented. Painting landscapes, Beckett focussed on the shifts of light and shade. | thought of Night Street as reflecting such a vision—as a psychological landscape made, not from sharp-edged realty, but from the tones of atmosphere and feeling. During the three or so years that | worked on the novel, lived in Adelaide, upstate New York and Helsink, and I spent long periods in Melbourne, Nice and Trieste. Australia was on my mind, vibrant in my imagination and, in my expatriate phases, ‘magnified, too, by nostaigla, The novel came, in @ sense, both from Australia and from the floating in-between spaces of a nomadic lif, This seems fitting to me. Ciarice, the central character, is deeply connected to Australia. Vet Beckett's art, the origin of Night Street and a ghostly presence in the novel, evokes more than anything the elusive geography of the inner ie. ‘Tones came firs,’ she writes, ‘Apt and beautiful, the word tone for describing the stages of intensity of light and shade, gradations in luminosity being indeed every bit as subtle and sliding as the moods of a volee’ she's referring to painting but she right as well be describing her own writing, which relies on a tone that is at ence ghostly and stunningly assured to recreate the life of early 20th-century Australian painter Clarice Beckett. Moody, haunting, tonal paintings were Beckett’s trademark, ‘Thornelt's similarly pitched literary landscapes may just see her achieve an even greater renown than her subject. FOCUS QUESTIONS 4. Night Street could be described as ‘the journey of an artist in the early part of the 2oth century single-mindedly immersing herselfin her art’ Do you think this is true of Beckett in the novel? 2. In an afterword, Thornell explains: The Clarice who appears In this work Is not Clarice Beckett but my imagining of her. attempted to Took’ at Beckett as she might have looked ata landscape, squinting to soften edges and reach beyond detail inthe search for patterns of light and shade. Do you think that Thornell has captured the essence of Beckett? Discuss. 3. James Ley, writing forthe Age, says of Night Street: . it also draws @ parallel between love and art, suggesting that both require 2 stance of hopeful openness towards the world.’ Do you agree? Do you see these parallels within the story? 4, Do any characters triumph over their landscape? 5. Isthe landscape a character? 6. sit possible to view the landscape free from personal or cultural meanings? 7. Cana description/ representation of a landscape ever do the reality of it justice? a 8. Make alist of the sacrifices Clarice makes for her art. Discuss one example of Clarice’s rejection of men in favour of art. 10. Discuss the impact of Meldrum and his studio on Clarice’s imaginings and life. 111. Why was Clarice inclined to have affairs? 12, How does Clarice’s imagination affect her life? 113, List occasions where Clarice imagines what her life could have been. 14. Describe Clarice's relationship with one member of her family and discuss the way that relationship either hinders or strengthens her struggle for artistic recognition.‘igh tret Teacher Text Guides & Worksheets IP Relationships in Night Street ‘+ Sxpand and annotate the following to llustrate the relationships within the text. + Useltto ceate your onn mind map or diagram, Clarice and Max Meer = Chrice and vthur= Clarice and Mother = ariee and Father = laice and tovize = Clarice and Herb = Clarice and Miss MacFarane= ‘rice 2nd Doctor = Clarice and Ads = Carle ands Ha Clarice and rt Cres = Clarice andthe seascapes = larice and the ety of Melbourne = ‘lrice andthe domestic landscape = Conclusions that you discover: 2. How does Clarice us relationships? ne mares il Quotable Quotes - The Imaginative Landscape "Any landscape isa canton ofthe spct.*—HentiFedere Amiel "We are the cildren of our landscape; it ctates behaviour and even thought in the measure to which we Lawrence ides long smoothly, remains the same river only the landscape on either bank nge."—Max Muller sophialis the landscape, ae al the inhabitants ofthis Word tis the creation ofa god geometer."— Aldous Hunley “When comes the onde istens-Shadows older beath-Whentges tse the Dance nthe okt Deatn’-Erily Dickinson ‘To the complaint, "There are no people in these photographs respond, There are aleys two people: the photographer and the viewer.” Ansel Adams “looked around at the rooms that | dd not se as rooms but mre es landscape for my emotions, a biography of memory.” The Shope of Water ches and mystery and death, tory~ Richard E.Lingenfeter ape. You Ive nthe midst of it but can deserbe i nly from the vantage point of stance.” ~ Charles Lindbergh “One of the functions of landscape isto correspond to, nurture, and provoke exploration of of the imagination. spac to walks ai navigating the ety” “Any landscape is condition ofthe spirit.” - Hen Frederic Amiel “Landscape shapes culture.” Terry Tempest Willams ‘Task: Find your oun interesting and/or inspring quotes relevant to The imaginative Landscape4 Restatoyourmainpoinsdeas + Nonew information ‘+ Lesvethe reader cortemplating your ides regarding the prompt and broader context Sa cal AP] + magnate ature oct mena‘Creating and Presenting: Context - ‘The imaginative Landscape’ is The Ltnos promi coco Sons / sed Beg IWAGINATION We can se magneton to coe or er the eta we ‘Rigen QUESTIONS scape influence how you fea about it todey? Discussion questions ‘+ Ideniy landscape in which you fee safe and accepted In your group, discus the exten people or communi that you associate with his lndecape pay apart in how vai the 2. One landscape is expertenced in many different woys TRIGGER questioNs + Ganthe mesring of landscape change over tne? + Canto people experiance ze tame landscape efferent? Discussion aUESTION landscape may have changed: change to anything you have experienced in your own ite? Can you rlate 3. The landscape shapes the lives of its inhabitants ‘TIGGER QUESTIONS ‘+ Boyou think thatthe landscape you are bosn nt affects your identity and destay? + _Whpdo you thinksome pe Discussion 4. The imagination con transform the landscape ‘TRccER quesrioN 5. The human condition is mirraed Ina texts landscape ‘Taissen auesrions ‘+ ave you ever describes a landscape with human adeci ‘+ Kasyour mood ever fected your enjoyment of ape ch 25 sad, oy or lonely sdcape? 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The telephone rings. spposed to know. I don’t know anything except one "She was dead," he says. "And I'm as sorry as He doesn't move. I know he’s head, He lis his head doesn’t turn around, HE and Gordon Johnson and Mel Dom and Ven ing anywhere. and drank their whiskey. When the moon ‘ep the body ffom drifting away, They took it might have been Stusrt-waded in and got her. Hetook her bythe fingers and palled her into shore, He got some nyloa cord and tied it to hee wrist and then ooped the rest around a tree. text moring they cooked breakfist, drank coffee, and dank whiskey, and then split upto fish, That they cooked fsh, cooked drank coffes, drank whiskey, thea took their cooking tings and asd them where th gil was, ‘Maybe they played until they couldn't se them anymore. Vema Wiliams {old stories. Gordon Johnson ssi the trout they'd caught were hard because of le coldness ofthe water. 1W A S asleep when he got home. But woke up whes I heard him in ‘gains the reftigeator with can of beer He put his heavy arms around. leaning and rubbed his big hands on my bck: tn bed he put his hands on me agnin and then waited asf thinking of something else. I tured and ‘opened my legs. Afterwards, think he stayed awake, ‘He was vp that moming before I could get out of bed. To see if there was something inthe paper, I suppose. ‘The telephone began ringing right after eight. "Go to hell! Theard him shout. ‘The telephone rang right agai, "have nothing to add to what sheen” roadside market for beer. Inotice a great stack ina priat dress holds outa licorice stick oa litle "grounds. The ereck rans under the bridge and can se the men ut ther. Tcan see them out there fishing, us cans of beer. He says, "Relax, Claire.” id they were eazy.” ly where I grew up. They cut ofT her head and wi 3 face dove, staring atthe moss onthe bottom, dead says onthe way home. "You're gesting me more riled by the ‘There is nothing Ican say to him, He tries to concentrate on the road. But he keeps looking into the rear-view mirror. He knows. STUAR Thelievesheis leting me slep this morning. But I was awake long before the alarm went off. 1 ‘was thinking, lying on the far side ofthe bed away from his hairy legs. ‘He gets Deat off for school, and then he shaves, dresses, and leaves for work. Twice his throat. But Tkeep my eyes closed. Inthe Kitchen I find note {sit for along time holding the newspaper snd thinking. Then ‘Tundes the dryer with a magezine on my lap and let Meri ing toa funeral tomorrow, ‘I make my bed nthe sof and inthe morning I getup first, Iput on coffee and fx breakfast while he shaves. Kitchen doorway, towel over his bare shoulder, appraising. gl be ready in a minute?” three of us eat, Whenever Stuart looks at me, I ask Dean ithe wants more mill, more1 dress careflly. Try on a hat and look at myelin the mit. I write out a note fr Dean. ‘Honey, Mommy has things todo this afternoon, but will be back later, You stayin or be inthe ‘backyard until one of us comes home, ook atthe word Zove and then [unde IDRIV E through farm county, through ‘A green pickup comes up behind me and stays behind me for hoping he will pss. Thea speed up. But the wren bur, ‘ou all ight? the man says, He rps onthe glass, "You okay?” He leans his ams onthe door and brings s face to the window. ust here to help sal." ‘THE caskets closed and covered with floral sprays. The organ sats up the minute take a set, People ‘coming inand finding chars. Thre’s a boy in flared pants and a yellow shor-sleved shir. A door ‘opens and the family comes in ina group and moves over wo a curtained place ff to one side, Chairs creak 1s everybody gets setled, Direally,anice blond man in a nice dark 387 got him," she says. "I'that’s any consolation, They arested him this momning. CReard it onthe ‘before T come, A boy right herein town." “Outside,” my husband He drains his glass and stands up. He say, "Tthink Iknow whet you need." ‘He reaches an arm sround my waist and with hs other hand he begins to unbutton my jacket and thea he {goes oa to the batons of my blouse, isten. can't hear thing with so much water going, fore Dean comes, Hurry?" ‘Some reader wll note tat Carver pa let of empha on Stats movenants, parti hand moves, Tough ahe nes not ty the eae: eth sen tt le bles that her ‘withthe dad it and apie: href hig ee om, dead ia water Perhape Carter detaing fr the rede the tinal ‘Suchen: between Chie and Star ‘The nxt dy Ci stig a the hihen able Stat bs gone to work, ad she eat he sewepapr, The ead tl hs ‘en etd a ‘mori, hou he admis ste dost sow te decent. That igh lie dei ‘ls Cave pulng some stance between bend aad wie, slep ene Sta ather than with Su, ‘The net moming afr brit Cav sakes her way othe funeral, On the wey fs it wil anche vers Cie else beg