History is the version of past events that people have decided to agree upon.

(Napoleon Bonaparte)
To what extent does your study of representation, history and memory support this statement?
In your response refer to Peter Careys True History of the Kelly Gang and ONE related text of your
own choosing.
History is the composition of fact, reinforcing its illusion of unwavering truth. As we strip away at the
evidence and statistics, history is revealed to be susceptible to the emotional inflictions of memory,
exposing its subjective nature. Without truth, history is rendered to nothing more than the belief of
men. In Peter Careys True History of the Kelly Gang and Bob Dylans Hurricane, both composers
explore memorys infiltration into the representations of history, strongly confirming history to be
the fallacy of events agreed by mankind.
The preconceptions surrounding Ned Kellys cynical faade are challenged in Careys textual form of
True History of the Kelly Gang, exploiting historys fragility of truth. As a reflection of Kellys Jerilderie
Letter, the use of homodiegetic narration mediates a sense of innocence in the line, I would never
kill no one unless I had to. The incorporation of historical document compliments the verisimilitude
in Kellys humanity and reshapes the preconceived guilt in the events of his numerous accounts of
murder. Similarly, the arrangement of colloquialisms resonates with the content of the Jerilderie
Letter and is extorted by Carey to authenticate Kellys humanised persona. His entanglement with
the police was a regular pattern for the young Kelly and hence the unsophisticated dialect in the
expressions ma and da retains a semblance of truth in Careys embellishment of human
emotion. With similar effect, the reduction of expletives to eff this and eff that establishes
Kellys concern for his daughters exposure to obscene language, establishing himself as the ideal
father-figure. Careys use of historical components showers truth over the incorporation of memory
in Kellys portrayal of humanity. Careys convincing representation of history effectively subdues
historys version of events that led to Kellys convict stain, unveiling it to be based on collective
belief than fact.
Careys fabrication of history exhibits the appearance of truth in Kellys victimisation, confronting the
historical events that condemn him as an outlaw. The epistolary form in parcels of dog-eared
papers creates a guise of veracity in Kellys subjection to the authorities in the line, I squeezed that
fateful trigger, what choice did I have? Carey uses symbolism in the phrase, fateful trigger, to
acknowledge Kellys metamorphosis from child to wanted criminal. However, this is ironic as the
pressures of unethical methods by the authorities force Kelly to commit unlawful acts to preserve his
brothers life as seen in the rhetorical question, what choice did I have? Carey reshapes the events
at Stringybark Creek, unearthing history to be just as influenced by memory. The exploitations of the
authorities continue to fuel Kellys victim role exhibited in his Irish ancestry. Careys demonstration
of familial past aligns truth to his familys constant imposition as his father was ripped from his
home and transported to the prisons of Van Diemens Land. Carey inverts historys
representation of Kellys childhood by incorporating memories of authorial oppression. Through the
reaction of history and memory, Careys representation of the victimised Ned Kelly brings truth to
the fore, demonstrating historical events to be the false stories of historys scribes.
Although contextually different, Bob Dylans Hurricane explores the similar subjection of Rubin
Hurricane Carter; a defamed, African-American boxer whom sentenced for the murder of a
bartender. Dylan challenges this historical perception, revealing racism as a subtext to his conviction.
This is clearly seen in his use of rhyming couplets in the lines, Think it might-a been that fighter that
you saw runnin that night?, Dont forget that you are white. His intricate choice in rhyme
highlights the juxtaposition between the dark connotations implied in night and white, exploiting
the racist undertones in the events of Carters arrest. Discrimination is further progressed in the use
of symbolism in the line, He aint no Gentlemen Jim. Known as the father of modern boxing, Dylan
draws comparisons between the white boxer James Corbett and Carter, ironically expressing Carters
inhibition of greatness as a product of his ethnicity. Through the lens of Dylan, the misconception
surrounding Carters trial is uncovered in the memories of his maltreatment. Carey hence confronts
the deception of truth in historys depiction of a fair trial, unearthing history to be skewed by a
general consensus.
With the heightened ambience circulating Carters trial, Dylan cleanses the throes of guilt by
integrating musical dynamics as a tool of argument, confronting the corruption surrounding the
injustices of the authorities. In the line, the champion of the world, Dylan places strain on the
words that fall in beat, champion and world. Carters unfulfilled potential resonates with these
words, and furthers the injustice of his arrest. The use of syncopated rhythm gives the illusion of
speech, hence, the remaining syllables fall coherently in half-beats. His dialect is a persuasive
medium that sheds truth in the events of Carters ill-sentence. Similarly, Dylan employs a vivace
tempo mimetic to the hostile and quick to judge actions displayed by the corrupt authorities in
1966. Traditional to a folk genre, he composes a lyrical ballad in a lively tempo to construct an
effective narration on Carters maltreatment. In the lyrics, The crime was murder one, guess who
testified? the use of vivace tempo channels an audible and steady argument, particularly in
conjunction with the use of rhetorical question that confronts the illegitimacy of witness Bello and
Bradley. Dylan journeys into the memories of Rubin Carter, exposing the flagellant nature in his
sentence. His compelling representation of history effectively undermines the tabloid version of
events, rendering history as the misguided beliefs of a general population.
As both Carey and Dylan pull apart the events of conflict revolving around Ned Kelly and Rubin
Carter, the audience becomes aware of the influence of memory in representations of history. This
relationship strongly asserts the idea that all forms of history are built upon the foundation of
memory, hence, residing little truth to the actual events that occur. History thus becomes a fictional
story of events that people have decided to agree upon. In True History of the Kelly Gang, Carey
filters the sins of Ned Kelly, reshaping the events that denote Kelly as an outlaw. Similarly in Dylans
Hurricane, Rubin Carters subjection exploits the undertones of racism and the insufficient evidence
in the events of Carters trial and sentence. As we analyse and uncover the complexities of history,
we realise the truth about history is that there is no truth.