Conveys the impression that Darwin is a place where people who don’t fit in come together. Topic sentence/s – the distinctively visual setting in Maestro assists in representing/capturing the identity of Darwin of the 1960’s.
After a difficult days work at the hospital not long after arriving in Darwin, Paul’s father remarks rather irately that “All the drifters”, the misfits”, “All the scum in the country has somehow risen to this one town” (p. )
Irritation is emitted by the use of metaphors and adjectives. Paul’s initial observations of Darwin as he moved there is that “I loved the town of booze and blow at first sight. And above all its smell: those hot, steamy perfumes that wrapped about me as we stepped off the plane… Moist, compost air. Sweet? and? sour air…” (p. 9) Metaphors, oxymoron, adjectives, alliteration, imagery.
As Paul got used to the surrounding of Darwin, he describes that “Everything grew larger than life in the steamy hothouse of Darwin, and the people were no exception. (p. 11)
Metaphors, descriptive language
Paul explains the people in Darwin that “They sought forgetfulness, not remembrance…A town populated by men who had run as far as they could flee. ” (p. 17) Descriptive language, similes, metaphors.
The protagonist, Paul, shows his immaturity through is behaviour . Topic sentence/s –the immaturity of some characters can be shown through the distinctively visual techniques used.
I was child enough – self centred enough – to think it likely. (p. ) (Paul reminisces about his thoughts on Keller when he was fifteen)
Apart from the piano they had little in common. When I think of my parents, I see only polarities. (p. 15)(Paul’s views of his parents)
I performed…basking in an older, more adult acceptance that should have more than compensated for my own age group’s rejection. (p. 29)
I redoubled my efforts to defy the theory of limits and approach ever more closely – and finally grasp – the ideal I was sure he felt me incapable of reaching. (p. 32)(Paul’s urge to prove Keller wrong)
One voice was always missing from the chorus of praise: my teacher’s. p. 35)
I felt strangely empty, deflated. Nothing worthwhile was ever achieved so easily, a small voice – perhaps my father’s, perhaps Keller’s – nagged deeply inside. (P. 91)
Keller’s advices that he is giving to Paul to help try to make him grow.
You are spoilt…First you must learn to listen. (P. 12)
You must know when to move on. To search too long for perfection can also paralyse. (P. 31)|
Perhaps there can be no perfection. Only levels of imperfection. (p. 31) (Keller’s advice to Paul signalling that there is no such thing as being perfect.
I suspected I was glimpsing some part of him that had long been repressed: some frivolous, joyous core that hardship, childhood tragedy and the War had buried inside him too long. (P. 42)
The forgery must have taken many times longer than the original…It was technically better…And yet something was missing. Not much – but something. (p. 46) (One of Keller’s sayings, but said in a manner of little regard to everyone else around him. )
I felt strangely empty, deflated.
Nothing worthwhile was ever achieved so easily, a small voice – perhaps my father’s, perhaps Keller’s – nagged deeply inside. (p. 91) (Paul’s emotions after he had won the music competition with his band. )
Only now can I recognize the scene for what it was: a confessional, a privilege that I, through selfishness and sensual addiction, failed to accept. (P. 117)
Honourable mention became the story of my life, no matter how much I practiced. I had found my level… (p. 128)
Soon I would be flying back to the South: to the woman and child that I loved, within the confines of a life that I hated. (P. 149)