narrative essay about house fire

Short Essay on a House on Fire [100, 200, 400 Words] With PDF

In this lesson, dear students, you will learn to write a narrative essay on ‘A House on Fire’ in three different sets. It will help you prepare for your upcoming examinations.

Short essay on a house on fire in 100 words.

Short Essay on a House on Fire in 200 Words

Short Essay on a House on Fire in 400 Words

It was late at night, and a loud noise awakened me. My mother arrived at that same moment to wake me up. Due to faulty wiring, the house just across the street from mine caught fire. It was the home of my friend Roshan. My mother and I rushed over to assist and calm them.

Black flames erupted from various locations across his home. Firefighters were doing everything they could to put out the blaze. My father was assisting Roshan’s father in saving crucial documents. I learned that we must always keep an eye on our wiring and not be careless or postpone when it comes to critical tasks.

Short Essay on a House on Fire in 200 Words

It was late at night, and a racket broke my sleep. It was naturally dark, but when I uncurtained my windows, I saw glowing lights everywhere. At that very moment, my mother came to wake me up. I could spot my father outside the window along with other neighbours. The house opposite my house had caught fire due to bad wiring. It was my friend Roshan’s house.

My mother and I immediately went to help and console them. Black flames that looked like smoky giants came out from different parts of his house. Firefighters were working their best to put off the fire. My father, along with other neighbours, was helping Roshan’s father to save important documents, among other flammable objects.

The fire had broken into their kitchen, but the other part of the house that included Rohan room and his parents’ room were not heavily destroyed. For one week, Rohan and his family stayed with us in our apartment while their house got repainted and refurbished. Their house was in dire need of renovation, and it looks like the newest house on the street. I learnt that we must always check our wiring and neither be negligent nor procrastinate on important activities.

It began when I was softly treading in the fairyland. I say this because my sweet dream was suddenly broken, and I woke up to a haywire sight before me. I was in my father’s arms. He was grabbing me tightly, and we were on the run. I was wondering if the wicked fairies were chasing us.

Everything felt so hot, and I could smell a mixture of strong body odour stinking from our bodies. I decided it was too much to bear and decided to sleep again. I was forced to reopen my eyes in a matter of two minutes. This time it was the sound of loud alarms that wouldn’t allow my mind the peace it so deeply craved.

I decided to take a look around the vicinity. I didn’t have to do a lot of neck work. We were not running anymore. We ran outside of our house and came on the road. It was at this moment that I spotted the red trucks. The source of the loud alarm was this truck. It was a fire engine. Our class teacher taught us the fireman lesson yesterday.

She told us that firefighters are brave people who have the lives of the burning people without caring about their life. At that moment, I heard the sobs of my mother. She stood next to us. She was crying. I looked at her and put my hands forward. She took me in her arms and wrapped me tightly. At first, I couldn’t understand a word that she was saying. Eventually, it occurred to me that she was trying to say that our house was on fire and the firemen were trying to put it off. I was shocked! I looked forward to seeing my house burning.

Little by little, the fire was perishing and consuming the whole of it. There was only one fire engine. The neighbours were trying their best to help. My father, along with some of the neighbours, had rushed inside the house to save important documents among their precious things from getting destroyed. We were later told that the source of the fire was the poor wiring of the house.

We had been negligent on that account. Poor wiring is risky, and it somehow caused the fire. One thing leads to another. We are staying at my maternal grandparents’ house for the time being. Our house is getting painted again. We have changed the wiring.

Dear students, hopefully, after this lesson, you have a holistic idea of writing a narrative essay on a house on fire. I have tried to be as descriptive as possible in the given word limit. If you still have any doubts regarding this session, kindly let me know through the comment section below. To read more such essays on many important topics, keep browsing our website.

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Essay on A House on Fire

Students are often asked to write an essay on A House on Fire in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on A House on Fire

The unexpected incident.

One sunny afternoon, I witnessed an alarming scene. A house in my neighborhood was on fire. The flames were fierce and frightening.

People were panicking, running around to save themselves and their belongings. The fire was swallowing the house, turning everything into ashes.

The Brave Firefighters

Soon, the firefighters arrived. They fought bravely against the raging fire. Their quick actions saved the day.

The Aftermath

In the end, the house was severely damaged, but thankfully, no one was hurt. It was a terrifying experience, reminding us all of the power of nature.

Also check:

Paragraph on A House on Fire

250 Words Essay on A House on Fire

The unexpected inferno.

Fire, an element that signifies purification and destruction, can become a ruthless destroyer when uncontrolled. A house on fire is a sight that instills fear and a sense of helplessness, a spectacle of devastation that leaves an indelible mark on the observer.

The Awakening

It was a chilly winter night, the streets were deserted and the neighborhood was plunged into the peaceful embrace of sleep. Suddenly, the tranquility was shattered by a cacophony of frantic screams and the ominous crackling of fire. A house in the neighborhood was ablaze, the fire dancing menacingly, consuming everything in its path.

The Battle Against Time

The fire brigade was alerted immediately and they arrived in haste, their sirens piercing the night. The firefighters, the unsung heroes, plunged into action, battling against the clock and the raging inferno. The intensity of the fire, fueled by the wooden furniture and various household items, made the task daunting.

The fire was eventually subdued, leaving behind a charred skeleton of what once was a warm, welcoming home. The sight was heart-wrenching, a stark reminder of the transient nature of material possessions. The family, though safe, was left with the monumental task of rebuilding their lives from the ashes.

Reflections

A house on fire serves as a grim reminder of the unpredictability of life and the power of nature. It underscores the importance of fire safety measures and the need for preparedness. It also highlights the resilience of the human spirit in the face of adversity, and the inherent human capacity to rebuild, recover, and rise from the ashes.

500 Words Essay on A House on Fire

Introduction.

A house on fire is a sight that evokes a plethora of emotions, ranging from fear and panic to awe and intrigue. The destructive power of fire, coupled with the vulnerability of our homes, forms a potent and terrifying spectacle. This essay seeks to explore the concept of a house on fire from various perspectives, including the physical, psychological, and sociological implications.

Physical Manifestation and Impact

Fire, one of the four fundamental elements, is a paradoxical entity. It is both a life-giver, providing warmth and facilitating cooking, and a life-taker, causing devastation when uncontrolled. A house on fire is a stark representation of this destructive side. The sight of a house ablaze, with flames consuming everything in their path, is a testament to the relentless and indiscriminate nature of fire. It reduces a structure that once provided shelter and comfort to a charred skeleton, a grim reminder of its former self.

Psychological Implications

A house on fire elicits a profound psychological response. The home, often seen as a sanctuary, is suddenly transformed into a source of danger. This shift can trigger intense feelings of fear and helplessness. Furthermore, the loss of personal belongings, many of which hold sentimental value, can lead to a deep sense of grief and loss. This psychological trauma can be as damaging as the physical destruction, if not more so.

Sociological Perspective

From a sociological viewpoint, a house on fire can reveal much about community dynamics. It tests the strength of community bonds, as neighbors and bystanders are thrust into roles of potential rescuers or supportive onlookers. The incident can either foster unity, as people come together to help, or expose societal fissures, if people remain indifferent or exploit the situation. The response of the community, thus, becomes a mirror to its collective character.

Fire as a Metaphor

Beyond the literal interpretation, a house on fire can also serve as a powerful metaphor. In literature and art, it often symbolizes upheaval, change, or destruction. It can represent personal turmoil, societal chaos, or even the destructive consequences of unchecked power and ambition. This metaphorical use of a house on fire expands its significance beyond the physical and into the realm of the abstract.

In conclusion, a house on fire is a multi-faceted concept. It is a physical event, a psychological trigger, a sociological litmus test, and a metaphorical device. The sight of a house ablaze can evoke a wide range of responses, from fear and sorrow to fascination and introspection. It serves as a stark reminder of the destructive potential of fire, the fragility of our homes, and the complex interplay of community dynamics. Ultimately, a house on fire is not just an event, but a powerful symbol with deep and far-reaching implications.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

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Apart from these, you can look at all the essays by clicking here .

Happy studying!

The Terrifying Experience Of A House On Fire: My Personal Account

A House On Fire: House fires are a terrifying experience, one that can happen to anyone, anywhere, at any time. In this article A House on fire, I will share my personal account of a house fire and the lessons I learned from the experience. Being prepared for emergencies is critical, and it can make all the difference in a life-threatening situation.

A House On Fire

In this blog A House On Fire, we include A House On Fire, in 100, 200, 250, and 300 words. Also, cover A House On Fire belonging to classes 1, 2, 3, 4, 5, 6, 7, 8, 9, and up to the 12th class and also for kids, children, and students.

You can read more Essay writing in 10 lines, and about sports, events, occasions, festivals, etc… A House On Fire is also available in different languages. In A House On Fire, the following features are explained in the given manner.

The Start Of The Fire

It was a cold winter night, and my family and I were getting ready for bed. I was watching television in the living room, and my parents were in their bedroom. Suddenly, we heard a loud noise that sounded like something had exploded. We quickly realized that the noise was coming from the basement, where we kept our heating system.

When my father went to check the basement, he saw that it was on fire. He yelled for us to get out of the house immediately. I was in shock, but my parents quickly grabbed my sister and me and rushed us out of the house.

The Fire Spreading

As we ran out of the house, we could see that the fire was spreading quickly. We called 911 and watched in horror as the flames consumed our home. The firefighters arrived within minutes and started fighting the fire. We were told to stay back and stay out of harm’s way.

The fire was intense, and the heat was unbearable. The firefighters worked tirelessly to contain the blaze and prevent it from spreading to nearby homes. Neighbors came out to help, providing blankets and hot drinks to keep us warm. We were relieved when the fire was finally extinguished, but the damage had been done.

The Aftermath

The aftermath of the fire was devastating. Our home was destroyed, and everything we owned was lost. It was a traumatic experience that left us feeling vulnerable and helpless. We had to rely on the kindness of friends and family to provide us with shelter and basic necessities.

The emotional toll of the fire was significant. We were grieving the loss of our home and everything we owned. We felt violated and helpless, wondering how we would ever recover from such a tragedy.

Fire Prevention And Preparedness

The experience of a house fire taught us the importance of fire prevention and preparedness. We realized that fires can happen to anyone and that it is crucial to take steps to prevent them from occurring. It is also critical to have a fire safety plan in place and to practice it regularly.

We learned that having working smoke detectors and fire extinguishers can make all the difference in a fire emergency. It is also essential to ensure that all electrical wiring and appliances are in good working order, and to be mindful of potential fire hazards such as candles and space heaters.

A house fire is a traumatic experience that can have long-lasting effects. It is essential to take steps to prevent fires from occurring and to be prepared in case of an emergency. The experience of a house fire taught my family and me the importance of fire prevention and preparedness, and we are grateful to have survived such a traumatic event. I urge everyone to take the necessary steps to protect themselves and their homes from the devastating effects of a fire. Be prepared, be safe, and stay vigilant.

Also Read: Fire And Ice Extra Questions And Answers

FAQ’s On A House On Fire

Question 1. Is the lifetime movie A House on Fire a true story?

Answer: Yes, A House on Fire is based on a true story. It is inspired by the book “Burned: A Story of Murder and the Crime That Wasn’t” by Edward Humes, which recounts the case of Cameron Todd Willingham, who was convicted of arson and murder in Texas in 1992. The movie explores the flawed investigation and trial that led to Willingham’s execution and the efforts to exonerate him posthumously.

Question 2. What does as a house on fire mean?

Answer: The phrase “as a house on fire” is an idiomatic expression used to describe a situation or relationship that is developing rapidly and with great intensity. It suggests that things are progressing quickly and with great enthusiasm, much like a house that is rapidly consumed by flames. For example, one could say, “We hit it off as a house on fire” to describe a new friendship that formed quickly and with great excitement.

Question 3. How do you write a paragraph about a house on fire?

Answer: To write a paragraph about a house on fire, you could describe the chaos and destruction that comes with such an event. Start with a vivid description of the flames, smoke, and heat.

Then, include details about the emergency response, such as the arrival of firefighters and the sound of sirens. Finally, convey the emotional impact of the fire, such as the fear and devastation experienced by the occupants of the house and the surrounding community.

Question 4. Is Ann Rule’s A House on Fire Based on a true story?

Answer: No, Ann Rule’s book “A House on Fire” is a work of fiction and is not based on a true story. Ann Rule is known for her true crime writing, but this particular book is not based on an actual case. The novel is a suspenseful thriller about a family whose lives are threatened by an unknown stalker, and it delves into themes of obsession, fear, and revenge.

Question 5. Is life the True Story that is based on?

Answer: No, the term “life” is too broad to refer to a specific story. However, there are countless true stories and experiences that have inspired books, movies, and other forms of art. Some works may be based on true events and people, while others may be entirely fictional. It is always important to research the background of a particular story to understand its origins and whether it is based on real events or not.

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English & EAL

Like a House on Fire by Cate Kennedy

October 23, 2020

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Like a House on Fire is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Historical Context

Essay Planning
Essay Topics

1. Historical Context

Kennedy’s anthology of fifteen short stories, Like a House on Fir e, explores the impacts of familial and social issues on an individual’s sense of identity and humanity, illustrating the vast spectrum of human condition. Having lived a majority of her life in Victoria, Australia, Kennedy’s collection follows the stories of various protagonists whose voices are characteristic of Australian culture and society. As the text is set in the backdrop of rapid Australian modernisation, the novel also depicts the paradoxical nature of technology, as various characters are depicted to be torn between confronting or embracing this fundamental change. Despite approaching the stories of characters conflicted by modern and social challenges with both humour and cynicism, Kennedy’s lack of judgement is notable; it is with this empathetic stance that she is able to the universal nature of human emotions to her readership.

Kennedy explores the theme of identity mainly through physical injury, as various characters with physical trauma find themselves to be agonisingly limited within the confines of their condition. In Like a House on Fire , the narrator’s sense of identity becomes intertwined with his subsequently decreased masculinity, as his back injury leaves him unable to physically take care of his family, and his wife begins to undertake stereotypically masculine roles within the household. In tandem with this, Roley’s wife in Little Plastic Shipwreck is rendered humourless and witless due to her brain injury, distorting her once enthusiastic self into one shadowed by her illness; further emphasising the link between physical and mental identity.

Order and Disorder

The inherent tension between order and chaos is continually examined throughout the anthology, particularly in Like a House on Fire, in which perfectionistic order and scatter minded disorder are embodied in the unnamed narrator and his wife respectively. As the two individuals are unable to establish a compromise between their contrasting personalities, Kennedy suggests that this lack of cooperation is the core reason for the deterioration of their marriage, and their subsequent misery. The notion of disorder is also symbolised by the domestic setting itself, as Kennedy depicts various characters who feel pervasive ennui and dissatisfaction within the ‘chaotic mess’ of their household environments.

Each protagonist in the collection is portrayed as possessing some object of longing, whether it be material or emotional. Kennedy utilises scattered verses of prose within her writing to communicate these human desires, building upon their significance poetically. In Static , Anthony attempts to negotiate his own wishes with those of his wife and family, leading him to wonder whether anything present in his life has been created by his own will or merely his eagerness to please others. His desire for various types of happiness, embodied in material concepts such as money or children, suggest that the human condition is built upon the foundation of dissatisfaction; that innate longing is what ultimately defines us as human.

The theme of love is present in each story of the collection, often used as an instrument through which the characters can heal and grow from their physical or spiritual pain. While suggesting that true love endures all hardship in Like a House on Fire , Kennedy also illustrates the various sacrifices one must make in order to protect the ones you love. Such is depicted in Five-Dollar Family , as a new mother makes the difficult decision of leaving her ‘loser’ boyfriend to give her child a chance at the best life possible, despite the unfortunate situation he has been born into.

Communication

The vital importance of communication within families is emphasised in the anthology, as the lack of effective communication perceivably exacerbates dysfunctional relationships. The crushing regret of a son is explored in Ashes , as he laments his lack of communication with his father who he can no longer speak to. However, Kennedy empathetically depicts the difficulty of communicating potentially painful messages to loved ones in Waiting , as the protagonist anxiously agonises over the prospect of telling her husband that she may have another miscarriage following an excruciating string of lost children.

In tandem with longing, Kennedy asserts that empathy is vital to the survival and happiness of a human being. This notion is aptly depicted in Little Plastic Shipwreck , in which the death of Samson the popular show dolphin results in Roley’s revelation of his manager’s complete lack of empathy, and subsequently the abundance of his own. Similarly, the salient importance of empathy is emphasised in Flexion , as the cold-heated and harsh victim of a brutal tractor incident repairs his marriage by allowing himself to feel more empathy for those who have supported his recovery and been understanding of his bitterness.

The anthology centres around the concept of family, as both dramatic events unfold directly due to altercations and misunderstanding within the household. By depicting both the dramatic and mundane events that contribute to creating dysfunctional families, Kennedy asserts that kindness and understanding is vital to the maintenance of a healthy and loving family. The power of family is also depicted in Like a House on Fire , as the protagonist’s dissatisfaction with life is instantly washed away by the actions of his children, who remind him that despite his life-threatening injury, his family is his constant source of love and support.

If you'd like to see how themes like these can be identified and analysed in one of Kennedy's short stories, you might like to check out our Close Analysis Of 'Cake' From Like A House On Fire blog post!

By the way, to download a PDF version of this blog for printing or offline use, click here !

3. Essay Planning

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Question 1: ‘Gender plays no role in the tragic identities of the characters in Like a House on Fire.’ To what extent do you agree?

Suggested contention: despite the ubiquitous nature of hardship, the short stories of like a house on fire explore the effect of gender roles on individuals’ sense of self-worth., body paragraph 1: .

Pain is depicted to have no partiality to either gender in Like a House on Fire.
Much of the trauma explored throughout the anthology is a result of lack of emotional connection or familial misunderstanding arising through individual actions, rather than due to stereotypes associated with gender.
Kennedy suggests that there is no gender more at fault for these issues, but rather that it is mindset that determines one’s identity and fate, especially in relationships. For example, just as the protagonist’s wife in Flexion makes the mistake of cruelly wielding her physical dominance over her husband, the passive boyfriend in Five-Dollar Family is cruel in his apathy toward his girlfriend and their newborn baby.

Body paragraph 2:

Despite this, Kennedy explores the social views that plague men as a result of their gender, compelling to limit their identity to meet these fatal expectations.
The concept of masculinity is explored throughout the collection, often presented as an inferiority complex for many male protagonists due to their physical disabilities. The societal idea that men should be physically strong in order to be able to provide for his family is heavily condemned in Like a House on Fire , as Kennedy depicts the destructive consequences of such on one’s sense of self-worth.
For example, the narrator of Like a House on Fire perceives his own physical weakness as unmanly, and subsequently himself as an unfit and useless father. As he is unable to pick up the family’s Christmas tree, the tree seller looks towards him with disdainful judgment, perceiving the protagonist’s wife lifting the tree to be ‘destroying the social fabric’.
In addition to this, the narrator’s extreme attempt to physically help the family results in the destruction of the precious family nativity scene, symbolising the idea that social constructs of masculinity inevitably ends in destruction, as the narrator’s inability to recognise his physical limitations only exacerbates the problem.

Body paragraph 3:

In tandem with this, the collection of short stories also examines the social limitations placed upon women solely due to their gender.
The difficulty for women to balance their roles of mother and career woman is explored in Cake , in which the protagonist Liz fails to separate one from the other, leading her to feel dissatisfaction in both. Kennedy ostensibly denounces the social expectations of women to be domestic helpers, as Liz faces judgement at work for bearing a child, whereas her husband is exempt from any judgement despite it also being his son.
The complicated and personal concept of pregnancy is further depicted in Waiting , as the protagonist agonises over the fact that she may lose another child due to a miscarriage. As the fear of disappointing others takes over her own pain and anguish, readers of the collection are invited to consider the harrowing expectations placed on women to be successful mothers.

Question 2: ‘Like a House on Fire shows that family relationships are never perfect.’ Do you agree?

Suggested contention: through the constant depiction of dysfunctional families in like a house on fire, kennedy asserts the importance of communication and empathy in repairing broken relationships, and suggests that perfect families are unrealistic. .

Every story in the collection depicts a family undergoing some kind of hardship, whether it be financial, emotional or spiritual. Through her depiction of broken families, Kennedy suggests that emotional stress and tension within families is sometimes inevitable, even in a loving and supportive environment.
The title of the collection, Like a House on Fire , is emblematic of the dual nature of families, as while the phrase symbolises the chaos and disorder of one’s family dynamic, it also symbolises the love and extreme passion that often coexists alongside it.
For example, while the protagonist in Like a House on Fire reminisces upon the ‘fiery’ sexual and emotional happiness of their marriage, he also deplores their current period of domestic stress, describing it as a ‘house on fire’.
Kennedy depicts the need for family members to engage in open and honest communication with one another to overcome the effects of trauma.
For example, in Ashes , Chris is only able to find closure by finally understanding the mindset off his parents through effective communication. His newly found ability to express his true emotions to his mother allows him to finally perceive the grief that was masked by her supposedly ‘cruel’ actions, and subsequently finally achieve a stable relationship with her.
Kennedy also advocates for the exercise of empathy between family members in order to find harmony within dysfunction.
This is apparent in Flexion , in which the seemingly emotionless protagonist and his wife undergo their respective journeys of expressing empathy for the other. As their marriage significantly improves due to their increased understanding of each other, Kennedy promotes the importance of vulnerability and openness within families.

Beyond the Basics:

How does Kennedy’s short story format add to the reader’s understanding of the themes uncovered in the novel?

The range of diverse, Australian voices depicted in the anthology work to portray the vast spectrum of the human condition.
The concise narrative present in each of the fifteen stories work to provide the readership with an extremely personal point of view that emphasises the emotions and mindset of the protagonist, furthering the sense of authorial empathy and compassion.
It is through this almost voyeuristic advantage we subsequently possess as readers, that we are able to fully understand the depth of each character’s humanity and sense of identity, as well as the various struggles that follow the course of an individual’s life.
Kennedy’s ordering of the short stories also contributes to the reader’s depth of understanding. There is no apparent chronological order present in the collection, but rather a varied order of stories, depicting its diverse range of voices. For example, while the key themes and tones of the anthology remain consistent throughout, other factors such as age, gender and life experience of the protagonist vary in order to provide contrasting character viewpoints.
As such, this variation in narrative voice allows Kennedy to present her stories as universal human experiences, emphasising the ubiquitous nature of the themes present in Like a House on Fire .
Finally, the varied structure within each individual story lends an optimistic tone that underscores the entirety of Kennedy’s work. While some stories such as Flexion begin with the inciting event, others emphasise the chain of events that occur in leading up to the key event, as depicted in Ashes . As the undertones of hope and faith are present throughout the collection, the varied plot structure of each story allows Kennedy to assert that no matter the circumstance of hardship, one can always find a glimpse of optimism within its depths.

If you'd like to see another essay topic breakdown, you might like to check out our Like a House on Fire Essay Topic Breakdown blog post!

4. Essay Topics

The following essay topics are extracted from our Like a House on Fire Study Guide :

In Like a House on Fire, Kennedy illustrates that perfect families do not exist, and that family dysfunction is inevitable. To what extent do you agree?
The characters in Like a House on Fire are largely defined by social expectations of their gender. Discuss.
In Like a House on Fire, how does Kennedy show that in even times of hardship, human strength will prevail?
‘The range of narrative points of views used in Like a House on Fire illustrate the characters’ deeply personal responses to life’s challenges.’ Discuss.
‘…As the lifetime habit of keeping his responses to himself closed his mouth in a firm and well-worn line.’ How does Kennedy present communication as a key issue in the relationships in Like a House on Fire?

If you'd like to see A+ essays on these essay topics, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then you'll definitely want to check out our Like a House on Fire Study Guide ! In it, we also cover advanced discussions on topics like authorial views and values, symbols and motifs and context completely broken down into easy-to-understand concepts so you can smash your next SAC or exam! Check it out here .

5. Resources

Download a PDF version of this blog for printing or offline use

Like a House on Fire Essay Topic Breakdown

How To Get An A+ On Your Like A House On Fire Essay

Close Analysis Of 'Cake' From Like A House On Fire

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

The Importance of the Introduction

Get our FREE VCE English Text Response mini-guide

Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

Access a FREE sample of our Like a House on Fire study guide

Learn how to brainstorm ANY essay topic and plan your essay so you answer the topic accurately
Apply LSG's THINK and EXECUTE strategy , a clear and proven method to elevate the quality of your text response writing
5 sample A+ essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ ‍
Think like a 45+ study scorer through advanced discussions on symbols & motifs, views & values and character analysis

The following blog post (updated 02/10/2020), is a mix of the video transcription, along with some new pieces of advice and tips. Happy learning!

[Video Transcription]

Hey guys. Welcome back to Lisa's Study Guides. Right now, it's in the middle of December, and I know that most of you should have finished school by now, and you're enjoying your school holidays. Because it is summer holidays, and most people aren't really studying right now, this is for the truly keen beans, the people who are reading the text before the school starts, which, by the way, you should be doing. I'll pop that video in a card up above and so if you are studying Burial Rites, then this video is for you. If you're not, as always, it doesn't really matter because the type of advice that I will be giving would definitely be relevant to any text, because it's more about your thinking and how you actually go around approaching essay topics. ‍

‍ Burial Rites is about this girl called Agnes, and she is the last person in Iceland to be sentenced to the life sentence. This book covers the last few months of her life, living with these people who she's sharing her story with. She has been sentenced because she has murdered Natan. And although we first initially hear that she has murdered this guy, when we start to hear her story develop, that's when we start to see that there are shades of gray. That she did have reason behind what she did, and you can start to feel quite sympathetic towards her. At the same time, though, and this is what today's essay question will be about. There's a lot to do with the patriarchy. Agnes being not just a woman, but an intelligent woman, was something that was looked down upon, and people were scared of that. That's just to give you a little bit of context so that we can start this essay topic. ‍

Essay Topic

‍ Today's chosen essay topic is:

Women have no power in Burial Rites, the patriarchy dominates their lives. To what extent do you agree?

‍ Step 1: Analyse

‍ The first step, as always, is we look at keywords . What are the keywords here? To me, they are women, no power, patriarchy and dominates. These words really stand out to me, and these are the words that I feel are necessary for me to focus on in order to answer this prompt properly. The second step that I do is I define keywords . So what I do here is I try to understand what the keywords mean and also their implications.

Women , is our first keyword. it's easy just to say, "Oh, women includes this character and this character." But we can start to think about more so the implications as well. So don't just think about the major characters like Agnes and Margret, but also think about the minor characters like Sigga and Rosa.
No power. So to me, no power means to lack freedom. It's not necessarily no power like you know I'm not strong and this is why we need to actually define the words because many words have multiple connotations or they have multiple meanings. So you need to figure out, "Okay, how am I going to find this word so that I've got the right focus for the rest of my essay?" This is silly, but what if you, halfway through your essay, went, "Holy crap, power could also mean electricity, and I didn't talk about electricity." So electricity is not part of Burial Rites , but it's just something to get you thinking. You know you don't just want to dive straight into the essay, assuming you know what the keyword means and what it entails. Actually spend time to define it, so that it's a lot clearer for you, too. So I've also added that no power means a lack of power compared to men. So because it is a patriarchy, the fact that they have no power is very much sort of linked to the fact that it's male-induced.
The third keyword is a patriarchy , so a male-dominated society, which means that an analysis of male characters is also required to fully understand male and female interactions. If you have an essay where you only talk about the women, then you're maybe only answering it 50%. To really add extra value to what you're saying and to really solidify your points, talk about the men because everyone influences each other one way or another.
The last thing is I would also add, ' to what extent' ? When a prompt says, "to what extent?" to me, it means that some sort of challenge is required here. It's probably not enough if I just completely agree with it because it's only suggesting that the extent does end somewhere and that you need to go beyond it.

Step 2: Brainstorm

While in this video I don't cover the brainstorm process, you can learn more by reading up on my THINK and EXECUTE strategy , which has helped thousands of students achieve better marks! ‍

Step 3: Create a Plan

‍ My third step is I plan out key arguments. So this is how I'm going to break down this essay prompt. I am going to do two body paragraphs where I agree and one body paragraph where I disagree. So this should mean that I'm only agreeing to a certain extent. Here's a video about this type of essay structure and response:

‍ Body paragraph 1:

So my first body paragraph is yes, under male authority, the women are robbed of freedom and power. My example for that would be Agnes, who is the protagonist. She is a woman who's being sentenced to death for murdering Natan, more about him later, and, as a result, society condemns her and she's robbed of her identity and freedom. "Everything I said was altered until the story wasn't my own." The metaphor of a story represents her being stripped of her experiences and identity, and instead replaced with how others think of her, whore, madwoman and murderess. ‍

Body paragraph 2:

My second body paragraph would be another agreement, but this time I'm going to focus on the men. In this second body paragraph, my argument is men hold exploitative power over women. One, Natan, the person who was murdered, toys with all his whores, demonstrating male dominance in 1820s Iceland. All his workmaids are stranded, shipwrecked with nowhere else to go, highlighting women's hopelessness in changing their situation. Additionally, there's Blondal. So Blondal is a government authority and he's torn when commanding Lauga, Lauga, not too sure how to say that. You guys let me know. "I'm sure you would not question me," which is also another example of women's subordinate status.

Body paragraph 3:

The third one is one where I disagree. Here will be that there are rare instances of female empowerment in the novel. The first one will be Rosa, the poet. So Rosa has an affair with Natan, but Kent praises Rosa and she's described to be a wonderful woman and beautiful. Rosa transcends patriarchal structures, as she is assertive, headstrong, going against social codes in an act of female empowerment. The second one will be Agnes. Her storytelling and ability to express what she is inside allows her to gain a voice in the patriarchal world that has silenced her. Through her storytelling, she asserts her self-worth and dignity and despite the fact that she has been locked down, she is being treated like crap by the men, her ability to hold herself strong and to be able to face her death with dignity means that with some sense, at least from within, that sense of empowerment has not been completely diminished.

If you found this blog and video helpful, and would like to see Burial Rites essay writing in action, then I recommend you check out How To Write A Killer Text Response below!

We’ve explored historical context, themes, essay planning and essay topics over on our Like a House on Fire by Cate Kennedy blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

1. Dissecting the prompt

2. Essay Topic and Body Paragraphs Breakdown

3. Resources

Like A House On Fire is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Dissecting the Prompt

Dissecting a collection of short stories can be very challenging due to the many characters involved, and the different themes. But what most students don’t realise is that almost all the stories in the anthology have common and overlapping themes. And that’s what you need to focus on when you’re building your essay. I’m going to go through one essay topic to demonstrate how you’re expected to dissect and plan the essay. This is how I planned my essays ate the beginning of the year when I was still struggling with writing an essay on short stories and wanted everything to be clear to me before I start writing so that I know exactly what I will be covering.

Although many of the characters in like a house on fire are dealing with physical and emotional pain, it is their resilience that will be remembered by the reader. Do you agree?

So first of all, you need to highlight all the important aspects of this question.

Although many of the characters in like a house on fire are dealing with physical and emotional pain , it is their resilience that will be remembered by the reader. Do you agree?

Now that we have highlighted the important parts that the question is inviting us to discuss, we know that we need to mention characters who are dealing with physical and emotional trauma yet rise above their tribulations, leaving the readers hopeful and optimistic. In doing so, you’ve pretty much discussed everything the prompt wants you to, but you can always go one step further and have a rebuttal paragraph. What I mean by that is: find a character who is faced with physical or emotional trauma yet gives up and becomes trapped in his/her imperfect reality. That way you show the assessor your knowledge of the text because you show them that even though Kennedy focuses on the resilience of her characters, she also sheds light on the reality that some people don’t have the strength to recover from such traumas.

Detailed Plan

What I personally do after dissecting my prompt is have a plan of what I’m going to be covering in each paragraph. The aim for a high scoring essay is to cover 5-6 short stories, if you chose to cover only 3-4 then from my experience the maximum you can score is an 8/10.

I’m going to split my essay into three sections each covering a certain aspect of my prompt.

First paragraph

Which characters struggled with physical trauma yet rose above it?

1. In ‘Flexion’, Kennedy explores the pain and anguish Frank feels as he fights his injury, determined not to let it destroy him through her use of linguistic imagery whereby the slimily of Frank ‘[clawing] himself up onto the machinery’ as he is ‘growling like an animal’ depicts the sheer resolve that he exhibits as he tries to overcome the physical pain and handicap that threaten his independence. Thus, his resilience becomes admired by the readers who realise that despite almost dying, he chooses to alter his imperfect circumstances.

2. In the eponymous story ‘Like a House on Fire’, the unnamed protagonist suffers from a herniated disc that hinders his ability to carry out his role as a husband and a father yet he chooses to alter his imperfect reality by working his ‘teeth gritted way up the stairs’ not once but twice, in hope of finding a solution to the stagnation taking place in his own marriage.

Second paragraph

Which characters struggled with emotional trauma yet rose above it?

1. In ‘Waiting’, the protagonist is waiting in a cold clinic whereby she will be told that she has suffered yet another miscarriage. Despite the harrowing pain she feels and the feeling of something ‘ebbing away’ leaving her once again without a ‘viable’ child, she chooses to move forward and declares that she is ‘not a martyr, just someone who sees what need to be done and does it’.

2. Michelle in ‘Five-Dollar Family’, has to adjust all her dreams of Des becoming the perfect father and boyfriend when she realises, he’ll be going to jail. Thus, Michelle’s epiphany that ‘she is got everything this baby needs now’ and no longer sees any value in Des allow for self-growth and ultimately the ability to cope with single parenting.

Third paragraph

Which characters are unable to show resilience and become prisoners of their imperfect circumstances?

1. In ‘Sleepers’, Ray becomes a sleeper in his own life in the aftermath of his break up. Unlike many of the short stories in the collection, Sleepers is one that does not end with the optimism of a new start but rather ends with Ray being trapped again in his life waiting ‘to take what was coming to him’ thus signifying the damage his loneliness has cost him; whereby his life has become a series of lethargic and meaningless events.

After planning which stories, we want to discuss in the essay, we can now begin the writing process. So essentially the most important part of writing your essay is planning it and making sure you understand properly what you need to answer in your essay.

Later in the year when you are doing EAL/English practice papers, it is quite unrealistic for you to create such a detailed plan considering the time restrictions. So, I will run you through how I planned my essay in an actual exam situation.

So just like we did with the detailed plan, we highlight the important parts of the question that will need to be discussed in the essay.

Then you need to think of the stories that represent physical pain yet the characters rise above their tribulations:

2. Like a House on Fire

Then you need to think of the stories that represent emotional pain:

2. Five-Dollar Family

Then you need to think of the rebuttal story whereby the characters suffer but do not exhibit resilience:

1. Sleepers

So essentially in the short plan you just outline the stories that you would like to mention and split them up according to which aspect of the prompt they will be answering rather than actually writing dot points on each one. So your plan becomes less detailed but rather just an outline so you stay on track and do not ramble.

If you found this essay breakdown helpful, then you might want to check out our Like a House on Fire Study Guide which includes 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals!

By the way, to download a PDF version of this guide for printing or offline use, click here !

VCE Text Response Study Guide

Close analysis of 'Cake' from Like a House on Fire

'Cake' from Like a House on Fire YouTube Video

The Ultimate guide to VCE Text Response

5 Tips for a mic drop worthy essay conclusion ‍

Most people only think about EXECUTING their essay - the writing. Whether that be essay structure, memorising quotes or how to avoid repeating yourself in the dreaded conclusion. However, my strategy places emphasis on the THINK.

THINK is the brainstorm, exploration, and development of ideas. Get this right, and you'll come up with ideas and a response that pushes you ahead of your peers. The EXECUTION comes next, only strengthening your lead to the finish line.

So what does THINK actually involve? 🤔

You need to consider aspects of an essay topic that most students gloss over, including:

💭What's the essay topic type ?

Knowing the essay topic type will change your essay structure. While you might wish for a one-size-fits-all essay structure, this is a limited viewpoint that stops you from reaching your potential. Different essay types include:

Theme-based prompts
Character-based prompts
Author's message-based prompts
Metalanguage-based prompts

By understand what's required in each one of these essay topic types, you'll have a template you can follow to ensure that you answer the prompt (no more complaints from your teacher complaining that you're going off topic!).

💭 What are the question tags ?

Never heard of this term previously? That's because majority of teachers don't teach you to change your Text Response according to the question tag. A ' do you agree?' essay topic expects a different response from a 'discuss' essay topic.

💭 How do I ensure I respond to each keyword ?

This is important so you don't go off topic (we've all at least experienced this once in our high school writing careers 😥). Sometimes, one missed keyword is all it takes to derail your entire essay. No matter how well you've written your essay, an essay that doesn't answer the prompt won't fare well.

For example, have a think about which keywords can be found in this essay topic "Jeff's attempt to pursue justice are entirely without honour. To what extent is this true?".

For me, the keywords include:

- 'Attempt'

- 'Pursue justice'

- 'Entirely'

- 'Honour'

- 'To what extent is this true?'

Even though I've labelled almost every word in the essay topic, individually, each of these keywords will shape my response. Majority of students will pick up the necessity to discuss the keyword 'entirely' in their essays. They will potentially argue that Jeff's attempt isn't entirely without honour, and mention instances where honour was shown. However, a less obvious keyword that needs further exploration is 'justice'. Most students will take this word for granted, and won't really explore what the word 'justice' means in this sentence. A more advanced student will understand that 'justice' in this essay topic is viewed from Jeff's perspective, meaning that what Jeff deems to be 'justice', might not be the same 'justice' for a viewer. These are the nuances in an essay topic that I'd like you to be very confident in.

Knowing how to THINK will ensure that you EXECUTE your essay writing most effectively, optimising your potential to nail that A+. If I went from average to consistent A+s in Year 11 and Year 12, I have no doubt you can do it too. That's why I created the How To Write a Killer Text Response ebook.

I know that you are probably like I was, searching for a clear, simple way to get better at English without just relying on my teacher (despite the fact that I had a great teacher!). I've compiled my 10 years of tutoring English, refining this strategy year after year. With this knowledge, many of my students achieved a study score they thought was impossible (one student Ruby, wanted a study score of 30 to get into her university course, and ultimately achieved a 40 study score! WOW! 😮).

If you're interested, How To Write a Killer Text Response ebook shows you the inner workings of my brain 💭- what I think when I see an essay topic, how I tackle it, and how I turn these thoughts into a high-scoring essay. The ebook includes:

‍ - 50-pages teaching you how to respond to ANY essay topic

- Examples from 15+ popular VCE English texts

- Know exactly what to THINK about so you can formulate the best possible essay response

- Plus a bonus 20-pages of high vs low scoring essays , fully annotated (what works and what doesn't) so you know exactly what you need to do and what not to do

Click here to access the FULL version now!

It’s time your conclusions got the attention they deserve! So grab a massive piece of chocolate, a glass of water and prepare to be taught about the beginning of the end (of your essay, that is).

Having a rushed conclusion is like forgetting to lock your car after an awesome road trip- that one rushed decision could jeopardise the whole experience for your assessor. A mediocre conclusion is the same as powering through a 500 metre race then carelessly slowing down seconds before the finish line! Dramatic comparisons aside, the way you choose to end your text response either leaves the marker with a bad taste in their mouths or increases your chance of hitting a home run. On the other hand, if you’re feeling discouraged by how your essay has shaped up to be, having a killer conclusion could set you up for a pleasant surprise.

5 Tips for a mic-drop worthy conclusion

1. make a plan for the conclusion.

It has been said many times, “If you fail to plan, you plan to fail” and it could not be more true when it comes to crafting a killer conclusion. By setting a few minutes aside before even beginning your essay to plan everything out, you get to see the necessary elements which you will want to address in your conclusion. In simpler terms, an essay plan reminds you of your contention and your main points, so that you are able to start gathering all of your arguments and create the perfect concluding paragraph. Planning for each paragraph sets you up for a win as you begin to refine key ideas and explore the many ways of expressing them, which is crucial for a conclusion.

2. Don't tell the reader you are concluding!

Time and time again I have seen people fall into the trap of using phrases such as “in conclusion” or “in closing”. The person marking your work may be blown away by the majority of your response, then reach those rotten words and will reconsider this thought. Being this ‘obvious’ with opening a conclusion does not earn any points. In fact it’s simply not sophisticated. The main reason many students are tempted to begin in such a clumsy way is that they don’t know how to begin their conclusion. If you are having difficulty to start and experiencing a bit of writer's block, simply go back to your essay plan and start to unpack the contention - it’s that easy! Rephrase your answer to the actual essay question. In most cases, you can just cut out those nasty little words and the opening line of your conclusion will still make perfect sense.

3. Rephrase, not repeat

The definition of a conclusion is literally to “sum up an argument”, thus your last paragraph should focus on gathering all of the loose ends and rewording your thesis and all of your arguments. It’s great to reinstate what you have said throughout the body of your response but repeating the same phrases and modes of expression becomes bland and bores the reader. Instead, aim to give them a fresh outlook on the key ideas you have been trying to communicate in the previous paragraphs. All it takes is a little time to change the way you are saying key points so that the conclusion does not become tedious to read. Conclusions are there to unite all of your points and to draw a meaningful link in relation to the question initially asked.

4. Keep things short and sharp

Your closing paragraph is NOT for squeezing in one or more ‘cool’ points you have- no new points should be brought into the conclusion. You should focus on working with the arguments and ideas that have ALREADY been brought up throughout your response. Introducing new arguments in that last paragraph will cause a lack of clarity and may cause the paragraph to become lengthy. A long conclusion will slow down the momentum of your piece and the reader will begin to lose interest and become impatient. Having a clear aim before writing your conclusion will help avoid a lengthy paragraph as your final thoughts will be more concise and refined.

5. The last line is where you get to really shine

Your closing sentence is the ultimate make or break for the entire essay so it is a shame to see many responses ending awkwardly due to students running out of time or becoming lazy with that final sentence. Last words are so important but don’t spend too much time on it! One awesome way to finish is with a very well thought-out phrase which summarises your contention one last time. Imagine dropping the mic after the final sentence of your essay, your conclusion needs to be stronger.

If you need further help on Text Response (including essay structure), check out our Ultimate Guide to VCE Text Response .

2. Historical Context

3. Main Characters

4. Minor Characters

5. Dissecting an A+ Essay using 'The Golden Age'

6. Creative Essay Topic Brainstorm

7. Essay Topics

The Golden Age is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our VCE Text Response Study Guide.

Even though this hasn’t been one of the more popular choices on the VCE text list, Joan London’s The Golden Age is a personal favourite of mine for a number of reasons. This is a novel about the experiences of children recovering from polio inside a convalescent home in Perth. With a sympathetic and warm approach, London tells the tragic yet brave stories of these children, as well as the stories of their parents and carers.

The novel essentially revolves around Frank Gold, a Hungarian Jew and a war refugee, and London blends his mature voice with the innocence of a coming-of-age narrative, all set against the backdrop of World War II.

As you’re reading the book, watch out for her literary or poetic language, and keep track of the story’s overall mood. These will be important considerations for text study, particularly if you are to write a creative response on this text for your SAC. With this in mind, I’ve included writing exercises throughout this blog post for you to practise writing creatively on this text.

If you are writing analytically on this text, either for your SAC or for your exam, you may still complete the exercises—each one should still be insightful for your writing in some way. Also, feel free to check the video below; it breaks down an analytical prompt for this text.

This novel is set in Perth during the early 1940s, which gives rise to a couple of interesting historical elements all intersecting in the book.

Crucially, the events of the novel take place for the most part while World War II is raging in Europe. This is important for understanding the backstory of the Gold family: they are Hungarian Jews who have escaped their war-torn home of Budapest to seek safety in Australia. In particular, we know that at some stage, Meyer had been taken away to a labour camp, and that Frank had had to hide himself in an attic.

Their Hungarian heritage, however, is something that distances them from other Australians, and they never really get a good chance to settle in, always feeling like they just weren’t on the same wavelength as the locals. In many ways, the story of the Golds is underpinned by tragedy—not only are they war refugees, but young Frank then contracts poliomyelitis (known to us just as polio), which forces the family to reassess all the plans they had for him to settle into an ordinary, Australian life.

However, Frank was far from the only victim of polio at the time—the entire nation was rocked by a wave of polio , with major outbreaks during the 1930s-40s. This was quite a nerve-wracking, and causing great fear for our country and its active, outdoors-y culture. The prospects of death, paralysis and permanent disability were understandably terrifying. About 70,000 people were affected, and almost half of them eventually died as a result. Almost every Australian at the time knew or knew of someone who had polio.

Task: You are Ida, composing a letter to Julia Marai after Frank’s diagnosis. Convey succinctly (in 250 words or less) what you think and how you feel. ‍

Key themes & implications.

I like to think that a lot of the themes in this book exist in diametric or opposing pairs. For instance, London gives Frank a voice that is wise beyond his years, yet uses it to tell a tender story of first love. She also plays on the paradox that while some characters have become isolated due to the unfortunate events that have befallen them, these very events end up becoming the thing that unite them.

Essentially, London plays with a lot of these thematic tensions, showing us that life isn’t really ever black and white, but there are whole lot of grey areas in every day life.

Central to the novel are ideas of innocence or childhood . These ideas are really explored in the friendship between Frank and Elsa, who are both on the cusp of adolescence. While they are set up as young lovers in the eyes of readers, we know that they are far too young to truly have romantic feelings for each other. In actual fact, their interactions are permeated by a sense of innocence.

However, these interactions are also punctuated by a sense of maturity , a desire for more. This is evident to the extent where nurses are getting hesitant about leaving them alone with each other (even though their parents still trust them entirely). In actual fact, these parents serve as an important point of contrast. Some manage to recapture the magic of youth even as adults—consider Ida reigniting her love for the piano, or Meyer jumping on opportunities to start anew. In this sense, innocence and maturity are a pair of themes that are interestingly not always found where one might expect.

Another key thematic element of the novel is tragedy or adversity , which are relevant to a far wider gamut of characters. Considering the story’s geographical and historical setting, it seems evident that these ideas will play a major role in the story. A particularly poignant example lies in Sullivan, who contracts polio right on the cusp of adulthood, and readers can’t help but feel a sense of loss for what might have been.

However, on the other end of this spectrum is the strength required to cope with their suffering. While Sullivan had his indefatigable sense of humour, other characters have developed different mechanisms to stay strong in the face of adversity. In some cases, you might say that they’ve transcended or risen above their tragedies, and become stronger for it.

Finally, London also tackles the idea of isolation , which can be seen as a consequence of tragedy—characters become isolated because they lose their ability to relate to others, and others feel unable to relate to them. Symbolically, the Golden Age hospital is surrounded by four roads and therefore cut off from the world, almost as if quarantined. However, the solidarity and unity of patients inside becomes a great source of strength—I’ll leave it to you to think about what London was trying to say with this!

Task: Selecting one of the above themes, write a poem from the POV of an imaginary spectator in the novel, outlining how you perceive/experience these themes in other characters. Use all five senses(how you see it, hear it, smell it, taste it, and touch/feel it)

Major characters.

I haven’t written too extensively about characters for a range of reasons: on one hand, it’s important for you to form your own interpretations about what they’re like and why they do the things they do, but on the other hand, I wanted to leave you with some key points to consider and/or some essential points about their characters to incorporate into your writing. This will allow you to hopefully feel like you’re capturing them accurately when writing your creatives, but without feeling restricted by an extensive set of traits that you have to invoke.

the central character, he is cerebral, intelligent and mature (which we can tell from his narrative voice, or how he ‘sounds’)
he is, however, still very young, wide-eyed, inquisitive in spite of the tragedies which have befallen him (consider how he sees his relationship with Elsa)
also significant is the motif of his poetry; not only does it highlight his maturity, but it also acts as a way for him to voice or articulate his feelings and experiences in the hospital—you could try incorporating some poetry in your writing (either original poems or quoted from the novel)

Elsa Briggs

another central character who becomes quite attached to Frank (they are the two eldest children in the Golden Age)
she is warm, caring and selfless, demonstrating an emotional maturity beyond her years (because of having to bear the metaphorical albatross of polio)
a lot of what we know about Elsa comes from Frank’s perspective (though we do get some insight from her own, and some from her mother’s)—how does this shape the way we see her? Consider London’s use of imagery, portraying her as an angelic figure.

Ida & Meyer

Frank’s parents, Hungarian Jews, and war refugees who come to Australia to cleanse them of their pasts and to have a fresh start; some of this is purely by circumstance, but there are parts of their past that they willingly and actively eschew e.g. Ida’s piano
note that Hungary is a landlocked country in the midst of European hustle and bustle with easy access to other nations/cultures/peoples, but Australia is an island on the other side of the world—consider how this affects their sense of isolation
on the other hand, they do form new connections with people here and in their own individual ways; Ida by reclaiming her pianist talents and Meyer by taking up a new job

Task: You are Elsa, Ida, or Meyer and you’ve just discovered Frank’s poem book. What are your thoughts and feelings towards his writing? Consider the context of your chosen character’s own experiences

Minor characters.

I’m sure you’ve heard it by now, but any piece of text-based writing (creative or analytical) can be strengthened by diversifying the range of characters that you write about. Even though you’ve already differentiated yourself from most VCE students by even doing this text at all (very few people choose it, so props to you!), some inclusion of more minor characters might help to distinguish yourself further. I’ve picked some that I think are interesting to talk about, but feel free to experiment with others as well!

a young man who contracts a severe strand of polio right on the cusp of adulthood, thereby exemplifying the theme of tragedy—however, his sense of humour remains active in spite of his immobility, so perhaps he not only exemplifies this theme but subverts it as well
London poses the complex question of whether or not he’s actually unhappy or defeated as a result of polio; there’s no clear answer, since there’s many ways to interpret his humour (is it a sign of strength or is it a front for inner turmoils expressed through poetry?)
in addition to his humour and poetry, his relationship with his family could also be an interesting point of discussion to address some of these questions
a young girl in the hospital who is quite close to Elsa (almost in a sisterly way)—how have they developed this relationship, and how does this relate to the theme of unity/companionship/human connection?
notably, she wanted to rehabilitate herself after polio took away her ability to feed the brumbies in her desert town—think about how this might represent strength as well

Julia Marai & Hedwiga

Ida’s former piano teacher and her flatmate/partner who live at the top of an apartment block in Budapest; they shelter Frank in their attic under no obligation whatsoever, but purely out of the kindness and selflessness of their hearts
again, there’s this subversion of what it means to be isolated: on one hand, their apartment is so cut off from the rest of the world below, and they lead a largely self-sufficient life together, but on the other hand, the fact that they’re together means that they’re not entirely isolated consider the power of human connection in this context as well

Task: Pick a minor character from this list and a character from the above list of major characters, and write about them meeting each other for the first time. Pick two that do not already interact closely within the novel e.g. Elsa meeting Sullivan

I hope this gives you some ideas or starting points about writing creatively on this text!

Download the PDF version of The Golden Age study guide here .

Dissecting an A+ Essay using 'The Golden Age'

Picture this: you’re sitting down at your desk, fumbling your fingers, inspecting the new stationary that you convinced yourself you needed for year 12, resisting the urge to check your phone. Your text response SAC is in two weeks. You’re freaking out because you want, no, need an A+. You decide to write a practice essay for your English teacher. Practice makes perfect, right? You stay up for hours, pouring your heart and soul into this essay. The result? B+. Where did I go wrong?

That’s where I come in! Writing an A+ essay can be really tough without examples and specific advice. Before reading on, make sure you've read our Ultimate Guide to VCE Text Response so you are up to scratch.

I will be explaining some basic dos and don’ts of writing an essay on The Golden Age , providing a model essay as an example.

The following prompt will be referenced throughout the post;

‘The Golden Age’ shows that everyone needs love and recognition. Discuss.

Planning: the silent killer of A+ essays

I’m sure your teachers have emphasised the importance of planning. In case they haven’t, allow me to reiterate that great planning is compulsory for a great essay . However, flimsy arguments aren’t going to get you an A+. The examiners are looking for complex arguments , providing a variety of perspectives of the themes at hand. From the above prompt, the key word is, ‘discuss’. This means that you should be discussing the prompt, not blindly agreeing with it . Make sure you don’t write anything that wouldn’t sit right with London. ‍

Don’t plan out basic arguments that are one-dimensional. This may give you a pass in English, but won’t distinguish you as a top-scoring student.

For example:

Paragraph 1: The children at TGA need love and recognition.
Paragraph 2: Ida and Meyer need love and recognition
Paragraph 3: Sister Penny needs love and recognition.

The above paragraphs merely agree with the statement, but don’t delve into the many aspects of the novel that could contribute to a sophisticated essay.

Do create complex arguments, or paragraphs with a twist! If you can justify your argument and it makes sense, include it in your essay. There are many ways that you could answer this question, but my plan looks like this:

Paragraph 1: Frank Gold yearns for mature, adult love, not recognition from onlookers or outsiders
Paragraph 2: Ida Gold does not seek recognition from Australia, but love and validation from herself
Paragraph 3: Albert requires love from a specific kind of relationship – family, and Sullivan may view love from his father as pity which he rebukes

See the difference?

The introduction: how to start your essay off with a BANG!

Personally, I always struggled with starting an introduction. The examiners will be reading and marking thousands of essays, so if possible, starting your introduction with something other than Joan London’s ‘The Golden Age’… is a great way to make you stand out from the crowd. Having a strong start is essential to pave the way for a clear and concise essay. You could start with a quote/scene from the text! This is not essential, but it’s a great way to mix things up. This is my start:

Perhaps nothing exemplifies the power of love and recognition more than the bond between Albert Sutton and his older sister, Lizzie, in Joan London’s ‘The Golden Age’. Many of London’s characters exhibit suffering that requires compassion and support to heal and grow, to distinguish present from past. However, London explores the perspectives of such characters from different aspects of trauma, and emphasise that love and recognition do not always work to heal and mature. Frank Gold, the novel’s resident “sneaky” boy who adjusts to newfound life in the Golden Age Convalescent Home seeks love as an adult, rather than eliciting sympathy as a supposed victim. Here love and recognition are unsuccessful in amending Frank’s troubles when given from the perspective of an outsider, a judgemental onlooker. In a similar sense, Ida Gold seeks recognition not from Australia, who she views as a ‘backwater’, but validation in herself after having been ousted from her Hungarian identity. London, however, makes sure to emphasise the impact that Sullivan has on Frank Gold’s life. Sullivan, a boy only a few years older than Frank, seems content with his future, with his fate, despite his sacrifice of rugby and conventional life. There is a lacking sense of urgency for love and recognition in Sullivan’s life, rather, it appears that Sullivan accepts his fate, regardless of his father’s sympathy or support. Thus, London explores a myriad of ways in which love and recognition may or may not heal wounds inflicted upon individuals.

Remember, there are many other ways you could start your essay.

The body paragraphs: To TEEL or not to TEEL?

I’m sure you’ve heard of TEEL countless times since year 7. Topic sentence, evidence, explanation, link. The truth is that these elements are all very important in a body paragraph. However, following a rigid structure will render your essay bland and repetitive. It is also extremely important to note that you should be using evidence from multiple points in the text , and you should be making sure that your paragraphs are directly answering the question . Write what feels natural to you, and most importantly, don’t abuse a thesaurus . If you can’t read your essay without rummaging for a dictionary every second sentence, you should rewrite it. If vocabulary isn’t your strong point (it definitely isn’t mine!), focus on clean sentence structure and solid arguments. There’s nothing worse than you using a fancy word incorrectly.

Don’t overuse your thesaurus in an attempt to sound sophisticated, and don’t use the same structure for every sentence. For example:

Prematurely in the paperback London makes an allusion to Norm White, the denizen horticulturalist of The Golden Age Convalescent Home…

That was an exaggerated example generated by searching for synonyms. As you can see, it sounds silly, and some of the words don’t even make sense. I mean, “denizen horticulturalist”…really?

Do mix up your paragraph structure! If vocabulary is your weak point, focus on clean language.

Here’s mine:

Early in the novel, London makes reference to Norm White, the resident groundskeeper of The Golden Age Convalescent Home. Norm White hands Frank Gold a cigarette, “as if to say a man has the right to smoke in peace”. Here, there is a complete disregard for rule and convention, an idea that London emphasises throughout the text. This feature provides a counter-cultural experience for Frank, pushing him to realise that he is a strong human being rather than a mere victim. This is a clear contrast to the “babyishness” of the home, and is used as evidence of true humanity in an era where society judged upon the unconventional. Frank yearns for a traditional Australian life after his trauma in Hungary; “his own memory…lodged like an attic in the front part of his brain”. Hedwiga and Julia Marai’s caring of him pushed him towards fear and reluctance to trust, yet also pressured him to seek acceptance in a world that ostracises him for his Jewish heritage and polio diagnosis. This here is why Frank desires a mature, adult connection – love that regards him as an equal human being. Frank seeks Elsa’s love and company as she too loathes being reduced to a victim, an object of pity. Frank thereafter uses humour to joke of his wounds; “we Jews have to be on the lookout”. Elsa sees “a look in his eyes that she recognised”, thus their bond enables both characters to heal. London alludes that Frank requires love and recognition not from the perspective of a sorrowful onlooker, rather he longs to be recognised as a mature adult.

To learn more about using the right vocabulary, read 'Why using big words in VCE essays can make you look dumber'.

The conclusion: closing the deal

I firmly believe in short and sharp conclusions. Your body paragraphs should be thoroughly explaining your paragraphs, so don’t include any new information here. A few sentences is enough. Once again, write what feels natural, and what flows well.

Don’t drag out your conclusion. Short and concise is the key to finishing well.

Do write a sharp finish! Sentence starters such as, “Ultimately…” or “Thus, London…” are great.

Although trauma is often treated with love and compassion, London details different perspectives on this idea. Whilst Frank Gold requires a specific kind of recognition, Ida and Meyer seek validation in themselves and their relationship, whilst Sullivan is at ease with his fate and does not yearn sympathy from his father.

‍ To learn more about A+ essays, you should also have a read of 10 easy English points you're missing out on .

I'll finish off by giving you an exercise: brainstorm and write up a plan for the essay topic shown in the video below. I'd recommend you do this before watching Lisa's brainstorm and plan. That way, you can see which of your ideas overlapped, but also potentially see which ideas you may have missed out on. Good luck!

The Golden Age Essay Topic Brainstorm

[Video Transcript]

The takeaway message for this video will be to utilise minor characters here and there to deepen your argument. London has really developed all her characters to feel three-dimensional and real, so it’s important not to just write about Frank and Elsa when there are so many others worth touching on.

Let's head straight into background information:

Joan London’sThe Golden Age is a novel about children recovering from polio in a convalescent home in Perth. She tells the stories of these various children, their families, and their caretakers, focusing on FrankGold and Elsa Briggs, the young protagonists who are just starting to develop romantic feelings for each other. Though they, and many of the other children, have faced much hardship and misfortune, London tells a story of hope and human connection in times of misery.

On that note, today’s essay topic is:

The Golden Age is primarily a tragic tale of isolation. Discuss.

Let’s break this prompt down and define some keywords. The keywords we’ll be looking at first are isolation and tragic. We’ll be defining them quite briefly, but be sure to think about these in terms of how they relate to the novel. In particular, see if any scenes, passages or characters jump to mind.

Isolation is a state of being alone or away from others and can be associated with a sense of powerlessness or insignificance. Tragic can simply just mean sad, depressing and loaded with sorrow or ‘pathos’, but there are also literary implications to this word: you might’ve done a tragic Shakespeare play and learned this before, but in general, a tragic story centres on a hero who encounters misfortune, and treats their demise in a serious or solemn way. Note that a good essay will discuss both these terms, and will address not only isolation but also the question of whether or not it is treated tragically.

The other important word is ‘primarily’. This word in the prompt suggests that The Golden Age is for the most part about these ideas - for you, that means you should ask yourself how central you think they are, and make a call on whether they are the most central.

Well, it’s definitely true that elements of isolation and separation do exist in The Golden Age, but these themes are not primarily tragic ideas in the novel -London explores the way in which hope can shine through in times of hardship. In fact, the novel overall has a message of kinship and hope, and this would be the primary thematic focus, as well as the main treatment of otherwise tragic ideas. So how might this look in paragraphs?

Paragraph 1: Let’s concede that the novel does evoke sadness through its frequently sombre tone and treatment of isolation

We see this through characters such as Ida and Meyer, who have been cut off from the world in their escape from their war-torn home, and forced to transition from their landlocked Hungary to an island on the other side of the globe. Their struggle to adjust is evoked through symbols - for instance, black cockatoos, which represent a “homely, comforting” omen to locals, sound “melancholy [and] harsh” to Ida. In particular, London’s solemn characterisation of Ida as constantly “frowning”, and as having a “bitter little mouth that usually gripped a cigarette ”works to emphasise her ennui or her dissatisfaction with being cut off from the world. Their homesickness is evoked through this constant longing for home, though sometimes much more literally: Meyer feels that “never again on this earth…would, he feel at home as he once had.”

Similarly, the story of Sullivan Backhouse, confined in an “iron lung” and physically isolated from outside contact, is also primarily tragic. London develops this character and gives him a backstory - he has “just turned eighteen” and had been the “prefect [and] captain of the rowing team.” This gives readers an idea of the life he might have had if not for the tragedy of his condition. Even in spite of his “good-humoured nature”, his poetry belies the pessimism within - his book, morbidly entitled “on my last day on earth”, closes with the line “in the end, we are all orphans.” We can thus see how lonely he must have felt when he tragically passed away.

In this paragraph, we’ve considered three different characters, whereas a lot of people writing on this text might just do a character per paragraph, so this is a good way to really show the examiners that you’ve considered the full extent of what the book offers. Let’s continue this as we move onto…

Paragraph 2: We disagree, however, since the novel includes various other moods and thematic material - in particular, London explores notions of resolve and hope in times of hardship

Now, the first character that comes to mind would have to be Elsa - London uses particularly powerful imagery, such as her “translucent”, “golden wave” of hair or even her “profile, outlined in light”, to portray her as angelic or elysian. For the children, Elsa evidently represents hope - even in her state of isolation, her “graceful and dignified” demeanour and her quiet acceptance that polio “was part of her” is courageous and worthy of admiration.

Moving onto a minor character who was perhaps inspired by Elsa - the young Ann Lee, who was quite close to Elsa, also has a story which is more inspiring than tragic. When polio first crippled her, she found herself unable to give water to the brumbies in her desert town. As a result, she perseveres, “step after painstaking step” so as to be able to return home and “give a drink to thirsty creatures.” Her compassion and determination to work against her isolation become the focus of her tale.

Paragraph 3: In fact, the novel ’s focus is on hope rather than tragedy

A range of other characters demonstrate the power of love and human connection in the face of adversity, and London seems to be focusing on these ideas instead. Plus, it’s not just the children who are brave in the face of tragedy, but ordinary people prove themselves to have the potential for strength and courage. Take Julia Marai and Hedwiga, who hide Frank in their attic during the Nazi invasion of Hungary. Even though their apartment is “on the top” of the block, and isolated in its height, suspended from the world, they become “provider[s]” for Frank. London writes that in difficult times, “kindness and unselfishness were as unexpected, as exhilarating, as genius,” and it’s easy to see how these qualities form a counterpoint to the tragedies that permeate the novel, allowing hope to shine through.

And that’s the end of the essay! Being able to explore minor characters like we did here is a really good way to show examiners that you have a deeper understanding of a text, that you’ve considered it beyond just the main characters on the surface. The Golden Age is a really great one for this because London has done so much with her cast.

Essay topics

1. “Being close made them stronger.” In The Golden Age , adversities are tempered by camaraderie. Do you agree?

2. Despite the grim context, The Golden Age highlights and celebrates the potential of life. Discuss.

3. Memories of past successes and failures have significant lingering effects on characters in The Golden Age . Is this an accurate assessment?

4. “[I would be] a fox, following a Palomino.” How do animals such as these contribute symbolically to The Golden Age ?

5. It is largely loneliness which defines the struggles of the children in The Golden Age . Discuss.

6. In what ways is The Golden Age a novel of displacement?

7. Fear of the unknown is something which permeates The Golden Age . Is this true?

8. What is the role of family in Joan London’s The Golden Age ?

9. Isolation in The Golden Age exists in many oppressive forms. Discuss.

10. Throughout The Golden Age , London draws attention to beauty rather than to suffering. Discuss.

11. In spite of their youth, it is the children of The Golden Age who understand best what it means to be an individual in the world. Do you agree?

12. How do characters from The Golden Age learn, grow and mature as the novel takes its course?

13. Due to the range of different onset stories, each of the children and their families in The Golden Age face a different struggle with their identity. Discuss.

14. “Home. She hadn’t called Hungary that for years.” In spite of all their struggle, the Golds never truly feel any sense of belonging in Australia. To what extent do you agree?

15. Explore the factors which drive Joan London’s characters to persevere.

1. Summary 2. Historical Context 3. Character Analysis 4. Theme Analysis 5. Sample Essay Topics 6. Essay Topic Breakdown

Year of Wonders is usually studied in the Australian curriculum Area of Study 1 - Reading and Comparing. For a detailed guide on Comparative, check out our Ultimate Guide to VCE Comparative .

However, Year of Wonders may also be studied in Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Year of Wonders is set in the small English village of Eyam in 1665, as the town struggles through a deadly outbreak of the bubonic plague. While the characters and events are fictional, author Geraldine Brooks based the novel on the true story of Eyam, whose inhabitants, at the urging of their vicar, courageously decided to quarantine themselves to restrict the spread of the contagion and protect other rural townships.

The experience of the plague provides Brooks fertile ground to develop characters that illustrate the extremes of human nature ; displaying the dignity or depravity, self-sacrifice or self-interest that people are capable of when faced with terror, pain and the unknown . She explores the consequences of a catastrophe on an isolated, insular and deeply religious community and we see characters exhibit tireless dedication and heroism, or succumb to depression, exploitation and sometimes murderous depravity.

The novel illustrates that adversity can bring out the best and worst of people and that faith can be challenged and eroded. The novel explores how crises affect human behaviour, beliefs and values and reveal the real character of a community under pressure. Our job while studying this text is to consider how all the different responses to an external crisis contribute to an analysis of human nature .

Year of Wonders belongs to the genre of historical fiction (meaning it is fictional but based on historical events) and aims to capture and present the historical context accurately. The context of Year of Wonders is important to understand as it informs a lot of the division and instability in Eyam during the isolation and crisis of the plague (we explain in more detail why context is so important in Context and Authorial Intent in VCE English ).

In 1658, only 7 years before the novel opens, Puritan statesmen Oliver Cromwell (who defeated King Charles I in the English Civil War and ruled as Lord Protector of the British Isles from 1653) died and Charles II, heir to the throne, returned from exile to rule England as King. Charles II replaced Cromwell’s rigid puritanism with the more relaxed Anglicanism and his reign began the dynamic period known as the Restoration. During the civil war and Cromwell’s rule, all the past certainties – the monarchy and the Church – had been repeatedly challenged and overturned. This all happened during the lifetime of the Eyam villagers presented in the novel and the recent religious upheaval in Britain was beginning to influence the conservative and puritan congregation of Eyam as the old puritan rector was replaced with Anglican vicar Michael Mompellion. The tension between the puritans and Anglicans is evident early in the novel and is exacerbated by the arrival of the plague, causing further internal fission.

The 17th century also marked the beginning of modern medicine and the Age of Enlightenment. During the Enlightenment, people began to privilege reason and sensory evidence from the material world over biblical orthodoxy as the primary sources of knowledge. The Enlightenment advanced ideals such as progress, liberty, tolerance, egalitarianism and the scientific method. These values are reflected in the liberal characters of Anna, Elinor, Mem and Anys Gowdie, and to an extent, Michael Mompellion. However, we also see the limited reaches of the Enlightenment in characters who succumb to superstition or self-flagellation when the plague arrives. This was a time when religious faith was frequently challenged and redefined .

3. Character Analysis

The novel is narrated in the first person by protagonist Anna Frith . Anna, a young widow, mother and housemaid, becomes the town’s nurse and midwife during the plague alongside her employer and friend Elinor Mompellion. Anna is a compelling protagonist and narrator because she is part of the ordinary, working-class life of the village, but also has access to the gentry in her work for the Mompellions, meaning readers can see how the plague affected all social groups.

At the beginning of the novel, Anna is in many ways very conventional. Aside from her intelligence and desire to learn, evidenced by her interest and quick proficiency in learning to read, Anna married young, is a dedicated mother, had an incomplete education and never thought to question the town’s orthodox religious beliefs. However, it is revealed early that she has progressive views on class and morality and as the novel progresses, the extraordinary circumstances of the plague evoke in her heroism and courage. Brooks notes, Anna 'shrugs off the social and religious mores that would keep a weaker woman in her place'. During the plague, Anna becomes the village’s voice of reason and an indispensable figure due to her expanding medical knowledge, tenacity, resourcefulness and tireless generosity.

Michael Mompellion

Michael Mompellion is Eyam’s Anglican preacher, having been appointed three years earlier after Charles II returned to England and replaced Puritan clergies. Generally, Mompellion is altruistic and open-minded : softening strict class divisions, combatting superstition and embracing a scientific approach to the plague. When the plague arrives, the local gentry (the Bradfords) flee and due to his charisma and position in the Church, he becomes the town’s unofficial leader. Mompellion persuades the townspeople to go into self-imposed quarantine to prevent the spread of the plague. His personal charisma, powerful rhetoric and indefatigable dedication to his work mean he can motivate and inspire his parishioners.

Mompellion’s unwavering commitment to his beliefs makes him a good leader, but we also see that his single-minded religious zeal can lead to harsh irrationality and hypocrisy. While progressive on issues such as class divisions, Mompellion is conservative – bordering on fanatic – when it comes to female sexuality . When his beloved wife Elinor dies, it is revealed that Mompellion denied her sexual intimacy for their entire marriage to punish her for the premarital affair and abortion she had as a teenager. Mompellion realises upon Elinor’s death that he extended forgiveness and understanding to all but his wife and, recognising his own hypocrisy and cruelty , he suffers a breakdown and loses much of his religious faith . Through Anna’s eyes, we see Mompellion shift from a character of moral infallibility, to a flawed and inconsistent man of a more ambiguous character .

Elinor Mompellion

Elinor is Mompellion’s wife and Anna’s employer and teacher. By the end of the novel, Anna and Elinor are confidantes and friends and their friendship arguably forms one of the strongest emotional cores of the novel, sustaining both women through enormous strain and hardship. Elinor teaches Anna to read and seems not to notice or care about their different social strata, treating everyone equally . Elinor came from a very wealthy family and initially had little practical knowledge of the hardships and necessities of life. During the plague, she confronts pain, suffering and true sacrifice. Because of her beauty, fragility and generosity, the whole town – and especially Anna – view her as a paragon of virtue and the embodiment of innocence. However, Elinor reveals that as a teenager she had a premarital relationship that resulted in an illegitimate pregnancy which she ended through abortion. Elinor considers herself to be permanently marked by sin and is plagued by the guilt of her adolescent mistakes, but her commitment to atone through service and working to help others is admirable.

Anys and Mem Gowdie

Anys and her aunt Mem are the town’s healers and midwives. Both women live on the margins of society , as their knowledge of herbal medicines and power to heal certain ailments causes fear and suspicion . Additionally, Anys further alienates the villagers by having conspicuous affairs with married village men. Anna admires Anys’ herbal knowledge and healing skill and her autonomy and unashamed sexuality , which were rare for women at the time. When the plague breaks out, Anys and Mem are murdered by a mob of hysterical townspeople , who believe they are witches responsible for the plague. This episode shows the power and acute danger of superstition and hysteria .

Josiah and Aphra Bont

Josiah 'Joss' Bont is Anna’s estranged father and Aphra is Anna’s stepmother. Brooks depicts them as unsympathetic and unforgivable , if understandable, villains as they both seek to profit off the heavy misfortune of others. Joss abused Anna greatly throughout her childhood, and while she manages to forgive him due to the suffering of his own youth, when he cruelly exploits villagers in his position as gravedigger, Anna finds his actions irredeemable. As gravedigger, Joss charged exorbitant fees from desperate people to bury their dead, regularly stole from the beleaguered families and attempted to bury a wealthy plague sufferer alive to loot his home.

Aphra is similarly amoral and greedy. Although her love for her children is shown to be strong, she capitalises on the fear and superstition of her neighbours by selling fake charms while pretending to be Anys Gowdie’s ghost. After the death of her husband and children, Aphra becomes completely deranged, dismembering and refusing to bury the rotting corpses of her children and eventually murdering Elinor. Aphra’s fate and actions show how prolonged catastrophe and suffering can totally erode an individual’s sanity .

The Bradford Family

The Bradford family are arrogant and pretentious. When the plague arrived in Eyam they also proved themselves self-serving and opportunistic , exploiting their wealth and status as part of the gentry to flee Eyam instead of enduring the quarantine with the rest of the village. They provide a foil to the Mompellions , who are of similar status and are newcomers to Eyam with fewer historical ties and thus expectations of loyalty. The two upper-class families provide directly opposite responses to the crisis, with Brooks clearly condemning the cowardice and selfishness exhibited by the Bradfords.

Social Convention and Human Nature in a Crisis

Perhaps the most significant theme or exploration of the novel is what happens to an individual’s character and community norms in a crisis . Year of Wonders depicts a small and isolated community that experiences intense adversity from the plague and, because of their self-imposed quarantine, are additionally isolated from the stabilising forces of broader society. These factors cause the people of Eyam to increasingly abandon their social conventions and descend into chaos and Brooks raises the question of whether people can live harmoniously without a strong social code. She suggests that societal cohesion is the result of social pressure rather than innate to our nature. The social norms and protocols of Eyam collapse under the pressure of the plague, allowing discerning observers like Anna to explore the validity and value of her society’s fundamental values . Eyam’s experience of the plague demonstrates that some norms, like the limited role of women and the strict class divisions , do not need to be so repressive, while other norms and social virtues, like the rule of law and justice , are proved even more essential for their absence as order and civility disintegrate.

Brooks also explores the response of individuals to extreme and enduring adversity and questions whether crises reveal someone’s true nature or instead force them to act out of character .

Anna and Elinor are examples of characters who respond to the crisis of the plague, amongst other real hardships, with a steadfast commitment to their principles. Their innate charity and work ethic are only strengthened and bolstered by the demands of the plague . However, not all residents of Eyam respond to the plague with courage and decency. Many descend into fear and hysteria, while others become malevolent and exploitative in their efforts to protect themselves. The Bonts and the Bradfords are examples of people who act with appalling selfishness, yet Brooks is careful to illustrate them as cruel and self-serving even before the plague . Thus, Brooks appears to argue that our actions under intense duress are intensifications of our true nature .

Faith, Suffering and Science

A major theme explored in the novel is the role of faith in people’s lives and throughout the novel faith, superstition and emerging science contend with each other . Before the plague, the townspeople believe whole-heartedly in God’s divine plan – that the good and bad things that happened to them were God’s rewards or punishments for their virtues or sins. However, the plague makes this worldview unsupportable as the unremitting suffering of plague victims, depicted through gory and vividly gruesome descriptions , demonstrates that their suffering is not commensurate with their sin and that no one can deserve this fate. In particular, it is the suffering of children that most intensely shakes Anna’s faith in a divine plan. Her two young sons are early victims of the plague and their youth and innocence mean it is impossible to justify their deaths as punishment for sin. The sheer tragedy of the plague causes Anna to realise that faith in God’s plan is inadequate to explain suffering and tragedy and she looks for another explanation. This leads her to use science and medicine to ameliorate pain. By focusing on discovering possible cures or pain relievers, Anna and Elinor are indirectly treating the plague as just a 'thing in nature', eschewing the prevailing religious view that the plague is the result of God’s wrath . Their emerging scientific worldview does not rely on God’s presence and intervention in the material world and Anna loses her religious faith.

However, the scientific method and worldview were only in its very nascent form and most people held a firm belief in supernatural intervention, making the townspeople prone to superstition and, in their ignorance and fear, murderous mob hysteria .

Women and Female Sexuality

Women in Eyam had lived highly circumscribed and restricted lives until the crisis of the plague disrupted the social order. The behaviour and speech of women were heavily policed and punished . In a particularly horrifying episode, Joss puts his wife in a muzzle and parades her through the village after she publicly criticises him. While Joss is undeniably an all-round bad guy, his misogyny cannot be dismissed as singular to him. Even Mompellion, an altruistic and in some ways quite progressive man, takes a very harsh stance on female sexuality. Although he preached to adulterous male villagers such as Jakob Merrill that 'as God made us lustful so he understands and forgives', he denied Elinor forgiveness for her teenage sexual relationship and was unfathomably rageful when he discovers Jane Martin having sex outside of marriage. However, Brooks criticises the taboo on female sexuality and shows that sexual desire is an awakening and liberating force for Anna, twice helping her to come out of deep depressions and reminding her that life has joy and meaning.

There are strong feminist undertones throughout the novel as each female character exhibits strengths that the male characters do not and challenges the limitations of her role, expressing desire for more personal autonomy and agency . From the beginning of the novel, Anna admires the sexual freedom of Anys Gowdie and the ability of Elinor to unreservedly pursue her intellectual interests. During the plague, Anna finds herself eschewing her old role and social position and assuming many challenging and indispensable responsibilities that would have been unthinkable for any woman – especially a young single working-class woman – before the plague.

Leadership and Judgement in Times of Crisis

The text explores both the power of religious leaders to influence public opinion and the ability of strong and courageous individuals to rise to positions of respect and authority in a crisis. Mompellion’s natural leadership and rhetorical skill keep the community calm and bring out the spirit of self-sacrifice in them. His clear dedication to his work and parishioners inspires trust in the community, and although Mompellion comes to doubt his judgement, it is undeniable that his strong leadership and assumption of huge responsibility saved countless lives. Anna also emerges as an unofficial leader; she becomes an essential figure and the voice of reason in Eyam. The community’s newfound respect for Anna is evident in the way she is listened to and adhered to and her confidence in firmly and decisively addressing and directing men and those of a higher social class.

We see examples of powerful leadership in the novel, but we also see how an overwhelming crisis can lead to a shortage of clear leadership and expose flaws in existing governing systems. Eyam relied on its gentry (Colonel Bradford) and vicar (Michael Mompellion) to adjudicate and administer justice. However, on the advent of the plague, the Bradfords fled from Eyam and Mompellion became overwhelmed by work, leaving the townspeople to frequently administer their own justice through group tribunals or vigilante action. Additionally, the extreme circumstances of the plague mean the town must deal with crimes it has never faced before and is unsure how to punish. Brooks explores what it means to achieve justice when the only means available are faulty. There are many examples of miscarriages of justice which forces readers to think about the necessity of a strong, fair and prompt judicial system and the weaknesses inherent in these institutions.

5. Sample Essay Topics

How does Year of Wonders explore the concept of social responsibility?
‘In stressful times, we often doubt what we most strongly believe.’ How is this idea explored in Year of Wonders ?
‘Year of Wonders suggests that, in a time of crisis, it is more important than ever to hold on to traditional values.’ Discuss.
‘How little we know, I thought, of the people we live amongst.’ What does the text say about community and one’s understanding of reality?
‘Year of Wonders explores human failings in a time of crisis.’ Discuss

Now it’s your turn! Give these essay topics a go using the analysis you’ve learnt in this blog.

6. Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Essay Prompt: ‘ Year of Wonders is a story of great courage in the face of extreme adversity.’ Discuss.

Not sure what we mean by ‘Theme-Based Essay Prompt’? Then, you’ll want to learn more about the 5 types of essay prompts here .

Step 1: Analyse

The starting point of any theme-based prompt is the ideas, and while this prompt characterises the novel as one essentially about courage, it is more generally exploring the theme of how people responded to the various challenges of the plague. ‘Discuss’ questions give you scope to partially agree, disagree, or extend the prompt . It is okay to ultimately agree with the prompt but to also demonstrate the complexity and nuance of the author’s intentions, and I think that is the best approach for this essay!

As we’ve already discussed, Year of Wonders depicts a community experiencing an acute crisis and Brooks presents the very worst and very best of human nature. There are characters who display enormous courage (Anna and Elinor), others who are cowardly (the Bradfords) and those who exploit others’ hardships for their own gain (Joss Bont). There is also an entire supporting cast of characters who individually display neither extreme courage nor cowardice but who muddle through a terrible situation with numb apathy . There is also the opportunity to define what courage means here – after all, the decision to isolate themselves within the boundaries of Eyam took immense courage from all the villagers, who knew full well that they would inevitably be exposed to the deadly contagion.

Paragraph 1: [Agree] The novel is grounded in and revolves around the initial courageous decision of the villagers of Eyam to quarantine themselves and risk their own lives to protect others from the spread of the bubonic plague.

Focus on the initial act of courage and the knowing self-sacrifice that this decision required from every single person in Eyam.
As the event that forms the basis of this work of historical fiction , a logical argument can be made that this first act of courage in adversity forms the foundation of the novel and therefore affirms the idea that Year of Wonders is about great courage.
However, importantly, this decision was an act of community courage that anticipated future adversity but was taken before many of the villagers had actually experienced the acute hardship and suffering of the plague . This is why it is important to now discuss the courage shown by individuals in the midst of extreme adversity [link].

Paragraph 2: [Agree] The individuals who displayed courage, hope and conviction in the face of acute personal adversity demonstrate the enormous power of courage to steel us through a crisis .

Anna and the Mompellions concentrate on helping others and their service helped keep some degree of social order and provided comfort to victims of the plague. What they were able to achieve and provide for the community (and how much worse the situation would have been without their courageous assumption of responsibility) illustrates Brooks' high respect for courage and service.
To demonstrate additional analytical thinking, you might consider discussing the fact that these characters were not courageous solely out of charity , but that having an occupation and something to keep them busy and focused actually became a personal survival mechanism . This further highlights the absolutely pivotal role of courage in adversity and is only reinforced through the contrast with the ignoble behaviour of those characters who did not behave courageously and forthrightly [link].

Paragraph 3: [Partial disagree] However, Year of Wonders shows how adversity can provoke extremes of human behaviour and is thus also a story of human failings under immense pressure, with many characters motivated by cowardice and self-interested opportunism .

Here, you should discuss the dishonourable behaviour of the Bonts, the Bradfords and the hysterical mob that murdered the Gowdie women . Your aim should not only be to explain that they behaved without courage, but also to focus on the negative repercussions their behaviour had for them and the community This will help you build an analytical argument that Brooks’ core message is about the power and necessity of courage in the face of adversity .
Ultimately, while no character escapes from the pain and loss of the plague , Brooks provides illustrations of how different people responded to their shared suffering and it is clear that she believes that the best way to respond to adversity is with the courage and strength to face the challenge head on.

If you found this essay breakdown helpful, let us know if you’d be interested in a complete LSG Year of Wonders Study Guide where we would cover 5 A+ fully written sample essays with EVERY essay annotated and broken down on HOW and WHY the essays achieved A+ so you can reach your English goals!

Whenever you write anything, whether it be a creative piece, a text essay or a literature discussion, keep these four words in mind:

Simple language, complex ideas.

It seems a basic concept, and at the heart of it, it is! But these four words hold the key to unlocking your English potential.

To write at your own personal best, you need to utilise the language that you are familiar with. This way, you won’t confuse yourself, and as an extension, the marker too!

Writing clearly and precisely is a skill that all academics can improve on, so how do we outdo ourselves? It’s really quite simple.

Whenever you write, choose words familiar to you. Searching for longer and more complex words can be dangerous. Rather for the simple word, the word that can be universally understood. When you truly understand the language you use, you then have the power to explore your arguments with far more efficiency.

Of course, with progression of writing comes an increase of sophistication, but do not let this be your goal. Rather, aim to allow your vocabulary to increase organically, looking up definitions when and where you need to. Expression is a facet of writing that every person can improve on, so why overcomplicate your task?

Next time you write anything, consciously focus upon how you express your argument, point of view or analysis. Often, you will find, the simplest word can be the most effective!

So, what about the complex part? This too will grow organically. Find a concept, idea or theme that you understand, and simplify it through the best language you can think of. This way, you ensure that nothing becomes lost in translation, and you demonstrate clearly to the marker that you understand the core of your topic. Next, find another idea, this time of a greater complexity. Break it down and put it into your own words. Over time, you will not only build a concise and accurate writing style, but you will also learn your arguments intimately. You can never go wrong!

Bombshells and The Penelopiad are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

1. Introductions

Bombshells is a collection of six monologues written by Joanna Murray-Smith, each featuring one female character who is symbolic of a specific stage in life and role. Together, they are a telling account of the struggles of being a woman in a modern world, and the monologue format allows the author to emphasise how they are simultaneously unique and universally relatable.

The Penelopiad is Margaret Atwood’s retelling of Homer’s Odyssey from Odysseus’ wife Penelope’s point of view. The story is narrated first-person by Penelope who resides in the underworld, but is also peppered with spoken, sung or chanted testimonies from the twelve dead maids of the story who act as a Chorus, a traditional part of ancient Greek theatre. Although the story is old and much-retold, the voice is modern and the author’s messages concerning women and their position in the world and their relationship with men are universal, regardless of the historical period.

3. Characters

The Penelopiad

4. Sample paragraphs

Prompt: How do Bombshells and The Penelopiad emphasise the subtleties of the male-female relationship dynamic?

Introduction

While the narratives of both Bombshells and The Penelopiad are firmly focused on the female perspective of issues relevant to them, the texts also address the male perspective and role in such issues. Like the women, the men created by the authors have instrumental roles in the way the stories play out, which interestingly are sometimes disproportionate to their actual involvement in the plot.

Body paragraph

One of the main differences between the texts, other than the literary format, is the level of dialogue and active participation afforded to the male characters. In The Penelopiad , the male characters arguably largely direct Penelope’s life, from her father essentially selling her into marriage to Odysseus’ life-disrupting departure, return and ‘lies…tricks and… thieving’, not to mention her ‘quite spoiled’ son Telemachus’ will to usurp and disobey his mother. Penelope’s narration gives them large amounts of dialogue and paints them as three-dimensional people in her life, whereas the male characters in Bombshells have barely any dialogue – most of them have none – and yet manage to cause a similar level of turmoil in the female characters. The marriage of Theresa McTerry to her fiancé Ted, for example, sends her into long, capitalised rants heavily punctuated with exclamation marks and profanities; Murray-Smith does not even give Ted a full description. Even without forming the male characters into rich, detailed personas, she still manages to fully showcase the chaos visited upon Theresa by her ill-considered marriage. She draws greater attention to her inner panic and desperation than we see in Penelope, whose voice retains a sense of shocked detachment even when crying or suffering. As such, the differing approaches of the authors both showcase the fact that men can wreak significant havoc with women’s lives, and that we do not actually need to know much about the particulars of the men or their acts to comprehend the women’s suffering.

The approaches of Atwood and Murray-Smith towards the level of engagement of their male characters differ significantly, yet both show the full impact of their actions on the lives of their female counterparts. Even when the men are given only cursory mentions, their presence as an agent of change within the story is sufficient for them to dramatically alter the courses of the characters they consort with.

More full sample A+ essays available in our Ultimate VCE English Study Guide Bundle.

It’s very hard to look past the overt feminist overtones of both try – even though these are some of the most interesting parts of the texts and you definitely should discuss them, there is more to them than messages about women. Maybe expand your view to more general ideas about human beings, how we live our lives and the ways we react to situations of duress.

Also consider that these texts are in two different formats; how does the live performance of Bombshells change the way it is perceived? How do the different media of these texts support or emphasise the authors’ messages? What can a monologue do better than a book in terms of transmitting an idea and vice versa?

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In this article I will be explaining some basic dos and don’ts of writing an essay on The Golden Age , providing a model essay as an example. At the end of this blog is also a video based on another essay prompt to help you prepare for your Golden Age studies!

The introduction:

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Report Writing: House On Fire

A couple of examples to help with your report writing on a house on fire.

Table of Contents

A house fire is one of the most devastating events that can happen to a family. It can cause loss of property, injuries, and even fatalities. In this report, we will describe the events that took place during a recent house fire.

As we approached the scene, we could see the thick black smoke and flames engulfing the house. The sound of sirens blaring and people shouting added to the chaos and panic among the residents and passersby. The fire had spread rapidly, and it was clear that it was going to be a difficult task for the firefighters to contain it.

The firefighters arrived on the scene quickly, and we could hear the sound of their sirens getting louder as they approached. They sprang into action, trying to control the fire and prevent it from spreading to neighboring houses. The sound of breaking glass and crackling fire filled the air as they worked tirelessly to extinguish the flames.

After several hours of fighting the fire, the firefighters were finally able to bring it under control. However, the damage had already been done, and the once-beautiful house was now a charred and blackened shell. The aftermath of the fire was a somber reminder of the destructive power of fire, and the family who once called the house their home were left with nothing but memories.

In conclusion, a house fire is a devastating event that can leave families homeless and traumatized. We must take every precaution to prevent such incidents from happening and ensure that our homes are equipped with fire safety measures. The bravery of the firefighters who risked their lives to save the affected family and their property is commendable. We must always be grateful for their service and dedication to our community.

A fire outbreak is one of the most devastating events that can happen to any homeowner. It can be a traumatic experience that leaves one feeling helpless and vulnerable. In this report, I will describe a house on fire, including the initial sight of the fire, the response to the fire and the aftermath of the fire.

The fire outbreak occurred in a two-story house located in a quiet suburban neighborhood. The initial sight of the fire was alarming as the flames were already high and had spread to the roof of the house. The smoke was thick and black, making it difficult to see the extent of the damage. The sound of glass shattering could be heard as the windows of the house exploded from the intense heat. The flames were so intense that they could be seen from several blocks away.

The response to the fire was swift, with firefighters arriving on the scene within minutes. They quickly set up their equipment and began to work on controlling the flames. The firefighters were able to contain the fire to the house, preventing it from spreading to neighboring houses. The fire was eventually put out after several hours of intense firefighting. The cause of the fire was later determined to be an electrical fault.

The aftermath of the fire was devastating. The house was left in ruins, with most of the roof and the upper floor completely destroyed. The family who lived in the house were lucky to have escaped with their lives, but they lost most of their possessions. Several of their pets were not so lucky and perished in the fire. Efforts to rebuild and restore the house were already underway, but it would take months before the family could move back in.

In conclusion, a house on fire is a traumatic experience that can leave a lasting impact on the affected family. The quick response of the firefighters helped to prevent the fire from spreading to neighboring houses. However, the aftermath of the fire is a long and difficult process of rebuilding and restoring that requires patience and support. It is important for homeowners to take preventative measures to reduce the risk of fire outbreaks and to have an evacuation plan in place in case of emergencies.

A house fire is a devastating event that can leave a lasting impact on a community. When a fire breaks out, the initial response can be crucial in determining the extent of the damage. In this report, we will examine a recent house fire and its aftermath.

The house fire was first reported around 3:00 am on a Tuesday morning. Neighbors reported seeing flames and smoke coming from the roof of the house. The local fire department was immediately called, and they arrived on the scene within minutes. Firefighters quickly began to work on containing the fire, but it was already spreading rapidly.

Despite the efforts of the firefighters, the fire quickly spread throughout the house. The intensity of the flames made it difficult for firefighters to enter the house and attempt to put out the fire from the inside. Within an hour, the entire house was engulfed in flames. The roof collapsed, and the walls caved in, leaving nothing but a pile of rubble.

The aftermath of the fire and the impact on the homeowners and community.

The homeowners were devastated by the loss of their home and possessions. They were left with nothing but the clothes on their backs. The community rallied around the family, offering support and donations. The Red Cross provided temporary housing and assistance. The fire department conducted an investigation to determine the cause of the fire, but it was inconclusive. The impact of the fire on the homeowners and the community will be felt for years to come.

In conclusion, the house fire was a tragic event that had a significant impact on the homeowners and the community. The quick response of the fire department helped to contain the fire, but the intensity of the flames made it difficult to save the house. The aftermath of the fire has left the homeowners with nothing but memories of their former home. The community has come together to support the family during this difficult time, but the impact of the fire will be felt for a long time.

About Mr. Greg

Mr. Greg is an English teacher from Edinburgh, Scotland, currently based in Hong Kong. He has over 5 years teaching experience and recently completed his PGCE at the University of Essex Online. In 2013, he graduated from Edinburgh Napier University with a BEng(Hons) in Computing, with a focus on social media.

Mr. Greg’s English Cloud was created in 2020 during the pandemic, aiming to provide students and parents with resources to help facilitate their learning at home.

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Like a House on Fire

Introduction, techniques and metalanguage, alienation and loneliness, fantasy versus reality, physical trauma, communication, character analysis, quote analysis, essay 1: “the characters in these stories are all finding ways of keeping up appearances.” discuss..

Essay 2: “The room is stiff with a charged awkwardness, with languages I can’t speak.” How does Kennedy show communication issues to be central in these stories?
Essay 3: “Characters in these stories have little control over their lives.” Do you agree?
Essay 4 : “Like a House on Fire shows that family relationships are never perfect.” Discuss.
Essay 5 : Cate Kennedy warns her readers of disparities between fantasies and reality in Like a House on Fire, particularly regarding families and relationships. Discuss.
Essay 6 : Discuss the role of despair in these stories.
Essay 7 : In Like a House on Fire, Kennedy shows that women are most adversely affected by gender roles. To what extent do you agree?
Essay 8: Like a House of Fire finds isolation and loneliness in all its stories. Discuss.

Like a House on Fire is a collection of short stories by acclaimed Australian author Cate Kennedy. The collection was published in 2012 by Scribe, and subsequently won the Queensland Literary Award in 2013.

Kennedy crafts fifteen short stories. She takes as her main focus the personal lives of ordinary people. She has a keen interest in families, and is particularly interested in exploring the destructive tensions which run through even the most seemingly content of families. She is similarly invested in relationships, and frequently depicts the complexities of love in its many forms. Despair at fading relationships or lost relationships is also a recurrent theme. The stories essentially focus on the importance of ordinary, tiny things. They are rarely dramatic, and even the stories which focus on life-changing trauma are more interested in the emotional aftermath of that trauma than they are in depicting the act itself. Essentially, all the stories depict events which would signify nothing to an outside observer, but which through Kennedy’s deft characterisation are shown to be absolutely vital to the people involved. The two most common settings are the household or the workplace.

All the stories are set in Australia. Kennedy gives her stories a genuine, realistic feel through attention to Australian vernacular and to specific objects or customs. The stories are clearly Australian, but the themes they touch on – of love, despair, family, the tension between earning a living and staying true to principles, disadvantage and communication – are universal. With one or two exceptions, a non-Australian would have no difficulty in comprehending any element of the text.

The stories are told from a range of perspectives; men, women, children, mothers, fathers, sisters. The characters also come from a range of socio- economic backgrounds. Ideas of poverty and social class are present in the stories, and Kennedy does not shy away from those themes, but overwhelmingly she is interested in depicting individuals with highly particular and individual experiences, rather than critiquing social systems and structures. What can be said as broadly true for the collection is the attention to detail in the creation of her settings. In Flexion the reader is told exactly how the parched grass feels under Mrs Slovak’s feet; in Whirlpool the precise difference in light is described as Anna walks from her backyard into the cool and quiet house; in Laminex and Mirrors Kennedy conjures a world of clinical sterility. This attention to detail, combined with the determined realism of the plots and characterisations, means that Like a House on Fire could be described as a “slice of life” collection. That is, the stories are realistic, detailed and accurate, as if they are a slice of real, lived life which happens to have been recorded in a short story.

The stories often depict characters at a low point in their life. Loss – from death or more often separation – is a recurring theme, as is disadvantage, trauma and emotional paralysis. Despite this, there is a fierce vein of hope and optimism which runs throughout the collection. Kennedy almost always ends her stories on a note of hope, or at least depicts characters who for all their suffering are still prepared to carry on and overcome their woes. For this reason, the stories can be thought of as affirming of humanity and life.

Like a House on Fire is a collection of highly literary stories. “Literary” in this context means that they tackle fundamental and universal themes, and that they are written in a sophisticated and technically adroit fashion.

One of the keys to Kennedy’s mastery of the short story form is her knack for characterisation. In a short story, with limited space and limited opportunity for character development, character must be established quickly and unmistakeably. Kennedy achieves this by crafting unique voices for each character. Chris in Ashes thinks in complex, scathing sentences, and with a sophisticated vocabulary, highlighting his university education. In Static , the sardonic observations of Anthony instantly establish him as witty but world- weary, and the entirety of Seventy-Two Derwents is written in the simple, naïve style of its child protagonist. Closely connected to characterisation are Kennedy’s choices regarding perspective. Many stories are written in a limited version of the third person – that is, the narrative voice speaks in the third person but is only aware of that which the character is, and picks up the inflections of that character’s voice. This allows the reader to understand the protagonist’s thought process, but also provides an important distance from them. In Sleepers, for example, the reader can sympathise with Ray because they can understand why he makes the choices he does; however, the reader is also keenly aware that he is making the wrong decision. In Whirlpool , Kennedy evokes the claustrophobia of her domestic setting by writing in the second person, and stories such as White Spirit are written in the first-person, which gives the most opportunity for conveying character voice.

The stories employ a substantial amount of evocative, descriptive language. This helps to place the reader in the setting of the story, and almost let them feel the setting in the way the characters do. In Flexion , for example, describes the “dry furrowed earth rising and falling and crumbling” under Mrs Slovak’s feet. In Cross-Country , it is little details described pointedly, such as clothing going mouldy in a basket, which best highlight the despair of the protagonist. Connected to this style of prose is metaphor and symbolism. The final lines of Whirlpool , for example, describe the “unshed tears” of the swimming pool. The figurative description of the pool can be read as a metaphor for the characters in the family who all hold their own unspoken (“unshed”) resentments against other members of the family. Structurally, many of the stories spend the majority of the text exploring the tensions between the protagonists and their surroundings or other characters, building this tension to a seemingly insurmountable level. However, the stories often then end with a sense of emotional release. That tension is usually alleviated by a small gesture of intense human connection.

Examples include:

The Slovacks clasping hands in Flexion
Chris wiping the ash from his mother’s lapel in Ashes
The narrator wheeling Moreton through the hospital in Laminex and Mirrors
The narrator letting down the hair of his wife in Like a House on Fire
Michelle breastfeeding her baby in Five-Dollar Family
Liz breastfeeding her son in Cake
The photo/embrace in White Spirit

Some stories, such as Static and Sleepers , do not end with a comfortable resolution to the tensions built up over their course, and thus end on a somewhat bleaker note.

The stories are extremely self-contained, and do not make much reference to texts outside of the collection. There are allusions to various other cultural touchstones – both Five-Dollar Family and Cake make reference to iconic Australian children’s entertainers the Wiggles, for example. There are nevertheless some references to other texts. Ashes is reminiscent of the Book of Common Prayer (“Ashes to ashes, dust to dust”), and Flexion is so similar to the iconic Australian short story The Drover’s Wife by Henry Lawson that it almost reads as a retelling of that story. Overwhelmingly, however, the texts are too closely connected to the minds of their protagonists to indulge in any serious instances of intertextuality.

THEME ANALYSIS

Many of the characters feel an intense sense of alienation and loneliness. Sometimes this sense of disconnection is a result of their workplace. In White Spirit , for example, the unnamed protagonist attempts to bridge cultural differences on the council estate where she works. Amongst the wildly diverse inhabitants of the estate she finds herself to be a “dowdy, sad sparrow among peacocks.” Similarly, the narrator of Laminex and Mirrors is working at her job, cleaning in a hospital, in order to save money to fly to London. She envisages herself “absorbing culture and life” in the great capitols of Europe, and feels a strong sense of alienation from her co-workers, who find the fact that she reads for pleasure so remarkable that they refer to her as “the scholar.” Another example is Liz in Cake , who on her first day back after her maternity leave finds herself at odds with her colleagues, who all insist that working is far superior to child-rearing, an assessment Liz herself does not agree with.

It is alienation within the family unit, however, which is perhaps most striking in Like a House on Fire . In Whirlpool , Kennedy examines the unspoken divisions and allegiances of a small family. Twelve-year-old Anna finds herself growing ever distant from her mother, who clings to an idealised image of what she imagines her family to be, symbolised by her obsession with taking the perfect photo of them all to send to her distant friends. Anna finds herself unable to communicate with her own mother, who is “grim with the need to plot exile and allegiance” within her own family. In Ashes , Chris and his mother must navigate a complex history. They scatter the ashes of Chris’ father, who could never understand Chris’ lack of interest in traditionally masculine pursuits such as fishing, or his homosexuality. Indeed, his father’s final conversation with Chris was a request not to “throw” his homosexuality in his mother’s face. This inability to be open with his family led to Chris breaking up with his boyfriend Scott, compounding his loneliness. In Static , Anthony finds himself utterly alienated from his parents and his wife during their

Christmas lunch, where the follies of both parties are clearly displayed.

Alienation in the wake of relationships is also common in Like a House on Fire . In Sleepers , Ray finds himself in a state of paralysis, under employed in a half-time job, and beholden to a strange “lethargy” following being dumped by his girlfriend Sharon. This sense of alienation and paralysis results in him making the disastrous decision to assert some degree of control by stealing some sleepers from a construction site, for which he is arrested. Similarly, in Cross-Country , Rebecca is unable to break out of her lethargy following her divorce, and isolates herself from society.

As much as the stories are characterised by isolation and alienation, many of them do end optimistically. Laminex and Mirrors , Ashes , Flexion , White Spirit and many more all end in images of intense and intimate human connection.

Many of the characters in Like a House on Fire have unrealistic expectations or fantasies which inevitably result in disappointment. In Whirlpool , Anna’s mother is driven by the desire to create a perfect image of her family as a harmonious and happy entity which she can advertise to obscure connections in her annual Christmas cards. Ironically, her desire to take the perfect photo results in an exacerbation of the sort of unspoken resentments and divisions she hopes to hide. Similarly, Anthony in Static is attracted to his wife Marie because of the little physical imperfections, such as a crooked tooth, which make her beauty real and human, whereas Marie can only see beauty in perfectly posed photos which present “a perfected study of herself.” The desire for a false, physical connection is also evident, occasionally, in Laminex and Mirrors , both in the cosmetics which the narrator’s co-worker sells and in the brief description of the rhinoplasty ward. In Cross-Country , Rebecca inhabits a dream world in which she will compete against her ex-husband in a race, and beat him. She describes this fantasy as a “short film looping” in her head, and marvels at the extent to which “we’ll invent what we need.” Her illusion is shattered, mercifully, and the story ends with her decision to symbolically shut down the computer with which she had attempted to stalk her ex-husband and leave the house.

In some stories, the illusions which characters had clung to are well and truly dispersed by the time we meet them. In Tender , Christine recalls the imagined future she dreamt up, of domestic bliss, “a golden halo of lamplight, polished floors…everything clean and wholesome as a cake of handmade soap.” Instead, the house is “makeshift and unfinished,” a “more prosaic reality” full of ideas which “buckled in the face of reality and time.” Her and Al’s dream, of a super-sustainable and ecofriendly house existing without the benefits of electric heating or even toasters, has long since had to adapt to reality, and practicality. Another character who has broken out of her illusions by the time she enters a story is Michelle. The discovery that her boyfriend Des had been sleeping with other women while she was pregnant is the final, obvious truth that he is not going to be the husband she needs or the father that her child will need. She describes the process of realising this as an epiphany. After she has given birth, she feels the certainty that Des is a no-hoper flood into her “like a door opening.”

Illusions and fantasy are not presented as being exclusively dangerous, however. In White Spirit , the unnamed narrator fantasises that the mural she has commissioned for the council estate where she works will be a joint effort bringing the diverse occupants of the estate together. When it fails in that respect, she is disheartened; however, the story ends with a moment of connection with some of the estate’s inhabitants. Her expectations may not have been met in the way she anticipated, but the effort brought her closer to the community she works for. Similarly, the final story in the collection, Seventy- Two Derwents , can be read as a metaphor for the power of hope. Twelve-year- old Tyler lives with her mother, his boyfriend and her older sister in poverty, and Shane, the boyfriend, is violent and on parole. After he nearly murders her, the account, written as a series of journal entries from Tyler, ends with a solemn “promise” to collect a baby bird from her teacher to nurture, and a declaration of her intention to keep writing and to become an artist. Thus, the ability to envisage a better world is shown to be a positive trait, and even a necessary one for survival.

Kennedy pays much attention to gender, and is deeply sympathetic to the plights of both men and women. Several of her stories revolve around women trapped in unfulfilling relationships; occasionally, these relationships are even dangerous. The first story in the collection, Flexion , depicts a woman so tied down to her thankless marriage to Frank Slovak that she is literally defined by it: she is only ever referred to as Mrs Slovak or Frank’s wife, and by the townspeople in their rural community as “the quiet one.” After a terrible accident cripples Frank, her immediate sensation at his surviving it is not joy but resentment that she must now serve him even more intently than before; she feels “cheated.” She takes some control over the farm, and orders him to “get on that phone” and thank the well-wishers who have worked on the house in his absence. However, Mrs Slovak learns that Frank’s reluctance to accept help is not because he is misanthropic but because he himself is trapped in his own gender role, as a rugged, stoic man who is entirely self-dependent and always in control. Their quiet reconnection at the end of the story is mirrored in Waiting , in which the trials of the unnamed narrator attempting to become pregnant are paralleled by her husband’s equally futile efforts to grow a bountiful wheat crop.

In Tender , Christine is infuriated by her husband Al, who is in his own way loving and dutiful but vague to the point that everything “seems to be teetering on the verge of coming apart.” Christine loves her children and her house and probably Al, but the potential cancer in her body throws her role in the world into sharp relief over the course of the story, prompting a reflection on her life. In Five- Dollar Family , as discussed above, the Michelle’s reflections on her relationship with Des are much further developed, and she has no interest in maintaining a connection with him – especially since he will almost certainly be sent to prison. Whilst in Five-Dollar Family Des is presented as clearly thuggish but has never directly threatened Michelle, in Seventy-Two Derwents Shane rapidly moves from being seedy, spying on Tyler in her sleep and asking about “boyfriends,” to actually threatening murder. In the story’s climax, he pulls a knife on Tyler, her sister and her mother after the authorities learn that he has broken the terms of his parole. The scene shows at once the worst of masculinity and the strength of womanhood: the two girls and their mother face Shane down, and Tyler’s mother stabs him with her sewing scissors.

Kennedy also displays a keen awareness of the limitations and expectations of masculinity. In Ashes , Chris reflects on his late father’s inability to accept his lack of interest in traditionally masculine pursuits such as fishing. He recalls his father angrily declaring that he doesn’t “know what’s bloody wrong” with him. Chris’ homosexuality also sits well and truly outside of his more conservative parents’ notions of masculinity. Ashes at least ends on a positive note, suggesting reconciliation between Chris and his mother. By far the bleakest depiction of masculinity in the collection is Ray in Sleepers , who, along with many of the men in his town, find himself unemployed or underemployed owing to the outsourcing of major infrastructure projects. The story charts his decline into hopelessness, until, desperate to assert himself in some way upon the world, he makes the disastrous decision to steal a few of the redgum sleepers being unearthed at the construction site, leading to his arrest. Ultimately, Kennedy’s writing stresses the importance of respect and equality, and argues that any gender role, male or female, which encroaches on the autonomy of its subject, is harmful.

Many of the stories focus on bodily damage or trauma; or rather, on the implications of physical trauma rather than the act itself. In Flexion , Frank is crushed by his own tractor, and has his spine snapped: “not dead… but might as well be.” Miraculously, he survives, but this makes him so dependent that his wife, Mrs Slovak, can only feel barely contained “choking rage” burning through her. He cannot walk or wash unaided and is in constant pain. The sudden change in their relationship, as Frank, who had longed played the role of a bloody-mindedly stoic and self-sufficient Australian male, suddenly becomes completely dependent on his wife, forms the main part of the story. The honesty they find, as Mrs Slovak takes control of their farm, is foreshadowed neatly in the early image of a “strongbox” full of “every emotion he’s withheld from her in the last eighteen years” breaking open. Physical damage also looms over Laminex and Mirrors in the form of Mr Moreton, who is dying from cancer. The unnamed protagonist takes it upon herself to sacrifice her job in order to make his final days a little more joyous and human. In Little Plastic Shipwreck , Roland spends his days working at a pathetic aquarium complex in order to provide for him and his wife Liz, who suffered brain damage after falling from a balcony. He also sacrifices his job, although in this case it is that rather than mutilate the dead body of a dolphin. The ending of this story is less triumphant than Laminex and Mirrors , however; the protagonist of the latter is only potentially sacrificing a trip to Europe, whereas Roland must now find some new means of income to support his desperately ill wife. Finally, Like a House on Fire charts the tragi- comic feelings of helplessness that its protagonist feels as he impotently tries to maintain his household following a work injury which makes standing or walking agonisingly painful. He spends much of his story on the floor, “like a beaten dog,” attempting to get his sons to help decorate the Christmas tree. The focus of the stories is never the injury itself; indeed, in the case of Laminex and Mirrors or Like a House on Fire the exact nature of the injury is left reasonably ambiguous. Rather, the focus is on the aftermath of these injuries, and especially their ramifications for human relationships.

Poverty and Class

Cate Kennedy’s stories are focussed largely on very private human interactions, and display little in the way of political attitudes. Nevertheless, she exhibits a keen awareness of class and disadvantage. Sometimes this is through the perspective of more educated, presumably wealthier characters. Chris in Ashes for example is university-educated and thinks in a precise and eloquent fashion, conveyed in long, multi-clausal and lightly ironic sentences: “He thinks of them in formidable capitals: the Book Club Women. Women perennially sitting around modular lounge suites, criticising someone’s book.” He exhibits a certain disdain for his parents, and his desire to read rather than fish with his dad combined with his parents’ quiet disappointment with his homosexuality suggest that he is a more educated, progressive individual than his parents. In Laminex and Mirrors a similar tension exists between the narrator, who years to travel Europe and drink in the “culture” and her co- workers, who have no ambitions further than their cleaning work and find the fact that the protagonist reads for pleasure to be remarkable.

Other stories are told from the perspective of disadvantage or poverty. Five- Dollar Family does not stress so much as imply the low socio-economic status of its characters. Michelle does not mention any work awaiting her after giving birth, and Des exhibits distinctly “lower-class” tastes. Certainly they find the idea of a family photo for $5 extremely enticing. They are not mocked for their status, however: Kennedy’s stories are always compassionate. In Seventy- Two Derwents , however, some of the grimmer realities of poverty are on display. Tyler’s mum seems to have lived a life characterised by early pregnancy, estrangement, and terrible boyfriends, the latest of which is the violent Shane. The mother must prove that she can work by creating and selling luxury dolls in order to access a benefit scheme. Ellie, the older sister, is upwardly mobile, aiming to study, and this at times earns the resentment of her mother, who sees her daughter’s success as mere “showing off.” Whilst told with Kennedy’s usual warmth and humanity – possibly even more than usual – the story still emphasises the potential catastrophe of poverty; Shane almost kills Tyler.

Kennedy often takes the family unit as the focus of her stories. She is particularly interested in the divisions and tensions which simmer away under the surface of families. In Whirlpool , Kennedy presents a family riddled with unspoken resentments and bitterness. The setting, of a hot, interminable Australian summer, captures the sense of unbearably building distaste the young protagonist Anna feels for her family, and especially her mother. As discussed above, her mother obsesses over capturing the perfect photo of her family, often in such a way as to blind her to the reality of the family’s actual level of cohesion. The sense of a group of people mindlessly performing the rituals of a happy and loving family is also captured in Static . Anthony spends much of the story reflecting on the lack of love apparent in his marriage. The sense of performing the role of loving son to his parents is captured when his nephew asks why he must appear incredibly pleased with his grandmother’s lacklustre gift, and Anthony finds himself at a loss as to why he should bother pandering to “the domineering old harridan.” The title has several meanings, one of which is to be static, or still – and Anthony’s state, stuck in a seemingly joyless family unit, captures that meaning.

In Ashes , it is Chris’ homosexuality and lack of interest in traditional masculine pursuits such as fishing which drives a wedge between him and his family. He finds his mother’s determination to whitewash her strained relationship with their dead father and husband, and to rewrite history so that the pair of them went on many fishing trips which they both enjoyed, to be utterly “nauseating.” Even with Alan dead, his ghost seems to linger and strain the relationship between mother and son. A similar strain is even more evident in Seventy- Two Derwents , between Ellie and her mother. The pair frequently argue with each other and the mother seems to deeply resent Ellie’s determination to pull herself out of her family’s disadvantage by working hard, saving money and aiming to go to TAFE or university. However, the pair and the younger sister Tyler eventually face down the abusive Shane, and seem to be growing stronger by the end of the story. This vein of hope runs throughout the entire collection. In Ashes Chris, for all his (understandable) bitterness, seems to yearn for reconciliation with his mother, symbolised in his brushing ash from her shoulder in the final lines. Like a House on Fire and Five-Dollar Family both depict fraught family situations which end on positive, hopeful notes. Kennedy seems to hold that no family is perfect, but that very few families are broken beyond hope of repair.

Many of the stories in this collection feature breakdowns in communication between characters. White Spirit depicts its unnamed narrator struggling to communicate with people who speak “languages I don’t understand,” and who feels a profound disappointment that she cannot communicate as readily as she would like to with the people she ostensibly works for. Cake features a similar predicament. Liz is unable to express to her grief at having to leave her son in the care of strangers. Her co-workers are adamant that working is far superior to staying at home and tending to the needs of children. Liz disagrees, finding herself vaguely surprised at just how pointless and meaningless her work at her office really is; when she attempts to explain that she likes spending time with her son to her co-workers, however, she can tell that “this is not the answer they want.”

More commonly, however, Kennedy depicts this broken communication within relationships and families. Whirlpool vividly depicts the growing alienation between twelve-year-old Anna and her mother. Anna speaks rarely throughout the story. When she does, it is often in a whisper. Instead she finds herself giving a “traitorous” smile to her mother, who she can barely bring herself to speak to. The final image of the story is of a pool filled with “unshed tears” – symbolic of the unspoken tensions rife in the household. In Static Anthony is constantly making sardonic observations about both his wife and his mother, suggesting his growing estrangement from both of them. Flexion depicts a relationship in which no meaningful emotional connection has been made for eighteen years, and Like a House on Fire vividly explores the effects of chronic pain on a marriage in which tensions are more frequently expressed by stony silence than they are through words.

Kennedy frequently takes her characters into places where language alone no longer suffices. However, she never leaves them stranded there. The stories frequently end with a non-verbal affirmation between two characters; clasped hands, an embrace or something similar. This suggests that for Kennedy there are forms of connection and communication which run deeper than language.

Frank and Mrs Slovak

Frank Slovak and his wife, who is never named, are one of many uneasy relationships in the collection. Frank is brooding, domineering, and emotionally repressed. It takes a horrific accident – being crushed by his own tractor – to open up the emotional “locked strongbox” he has kept shut for so long. He is stubborn and wilful, and resents being compelled to accept aid from anybody. His wife is not given a name, reflecting her status in the relationship; similarly, the townspeople refer to her as “the quiet one.” The strain on their already frosty relationship is initially exacerbated by Frank’s injury, to the extent that she resents his survival. However, when he himself confides sorrowfully that his death would have been a gift he “could give [her],” she understands his own emotional turmoil, and the story ends on a hopeful note.

Ashes depicts Chris struggling with the memory of his father, who was uneasy with Chris’ homosexuality. Chris is an articulate, university-educated young man who never fit into his father’s vision of a typically masculine son. Chris also struggles not to resent his own mother, who engages in a wholesale “revisionism” of Chris and his father’s relationship. She reinvents their incredibly awkward fishing trips as cherished memories, despite the fact that they were few and deeply unsatisfactory. Chris also struggles with the memory of his ex-boyfriend. The story ends with his unspoken acceptance of his mother’s grief.

The narrator of Laminex and Mirrors

The narrator of Laminex and Mirrors is a recent high-school graduate working a temporary job as a cleaner at a hospital in order to fund her planned holiday in Europe. She is something of a fish-out-of-water character within the hospital; she yearns for Europe and is nicknamed the Scholar by her co- workers owing to the fact that she occasionally reads for pleasure. She is also frustrated by the arbitrariness of the hospital; she resents being told to clean an old wing which is “about to be demolished” and she feels uncomfortable about the strict rules which forbid any fraternising between staff and patients. She befriends the terminally ill Mr Moreton and eventually gifts him a final morning in the sun with a cigarette, presumably at the cost of her own job.

Christine is another character in the collection who is embedded in a long- term relationship which has not panned out precisely as she had anticipated. She and her husband Al attempted to create an eco-friendly, anti-modern family home, which Christine “loves” but concedes seems permanently “unfinished.” Many of their plans for the house and their lifestyles have been abandoned for practical reasons. She has a lump which must be surgically excised, and this brush with mortality serves to highlight the issues in her life – her vague husband, unfinished house and unruly children – but also reaffirms her love of her family.

The narrator of Like a House on Fire

The narrator of the titular story is a husband and father who is left crippled and helpless after a severe back injury. He must try to organise Christmas from his position on the floor of his loungeroom, where he parks himself in order to exert control over his children while his wife, Claire, works extra shifts. Like all the stories involving bodily trauma in the collection – and there are many – the focus is not on the injury itself but its repercussions, and the effect it has on the emotional life of the person who suffers it. In this case, it is the strain put on the husband-wife relationship and the emasculating effects on the narrator which Kennedy explores.

Like many female characters in Like a House on Fire , Michelle is in a relationship with a useless man. Des is a philanderer, a drunkard and a thug. The story focusses on Michelle’s experience as a new mother, who gives birth to a son and has an epiphany about Des, and determines to live a more fulfilling life once he is out of the picture – and judging by his impending court date, that will not be far off. Through Michelle, Kennedy again affirms the relationship between mother and child creates a hopeful portrait of a young woman taking control of her life.

The narrator of Cross-Country

In Cross-Country , Kennedy paints an often darkly wry and comic portrait of post-breakup depression. The central character has been divorced by her husband, and spent most of her period of leave sitting in her own home, amidst mess and chaos, and obsessively attempting to track him down on her computer. She convinces herself that he has joined a cross-country club and fantasises about competing against him and humiliating him. When she realises that she has fooled herself she feels a metaphorical “cool and unexpected breeze” and seems to determine to re-join the outside world.

Ray is a sensitively-drawn no-longer-young male. He can only find work for a few days a week in a town where much of the male population is unemployed, partially due to outside contractors being given most of the new infrastructure projects. He has also slumped into a deep lethargy following being dumped by his former girlfriend. He lives in the shed of a friend. The rail project in his town becomes a fixation for many of the un- or underemployed men, who attempt to engage in some small act of defiance by stealing the old redgum sleepers which are being pulled up. Ray convinces himself to steal some and the story closes with the police surprising him.

Anna is a twelve-year-old girl with a fraught relationship with her mother, who fixates on appearances and obsessively attempts to create the perfect family Christmas photo. Anna’s mother seems intent on creating tiny rifts, loyalties and divisions within the family. It is a deeply unhealthy dynamic for Anna, who is self-conscious about her weight and body-image. Anna is an extremely sensitively-drawn portrait of a young girl on the cusp of adolescence, and Whirlpool expertly creates a sense of menace and paranoia in a suburban Australian home.

Liz, the central character of Cake , is a first-time mother who has just returned to work after maternity leave. She is horrified at the prospect of leaving her son in the care of others, and is forced with the realisation that her office job is full of banal and completely pointless tasks. Worse, she feels a sense of alienation from her co-workers, who universally agree that maternity leave was stressful and exhausting and that they couldn’t wait to get back to work. Liz is an interesting example of a woman who finds more “liberating” gender roles to be in their won way as constrictive as traditional gender roles.

The narrator of White Spirit

The narrator of White Spirit is a well-meaning but exhausted and alienated manager on a housing estate for immigrants. The story focusses on her futile effort to create a sense of community by commissioning a huge painted mural. However, her despair is challenged by a moment of connection with her charges at the end of the story.

Roley is a typical character for Like a House on Fire . He is working a casual job he hates in order to support his brain-damaged wife as she recovers. Also like many characters in the collection, the story peaks with a small moment of defiance. Ordered to cut up the body of a dead dolphin at the aquarium at which he works, he eventually snaps and loses his job, putting his sense of decency above his economic needs.

Anthony lives with his beautiful wife Marie in a beautiful home. Their perfect life is something of a façade, hiding various tensions – the luxury of the house depends on credit and debts, Marie is ashamed of any little humanising imperfection in her body, they want children but cannot conceive and eventually Anthony is faced with the fact that his economically poorer sister and her husband might actually be happier than he is. He has a biting, ironic sense of humour, particularly when critiquing the actions of his domineering wife.

The reader experiences young Tyler’s perspective on the world through her journal which she keeps for school. She is perceptive, articulate and very artistic, but also dangerously naïve, considering her disorderly family house, characterised by poverty and abuse. Her mother’s boyfriend, Shane, clearly takes a sexual interest in the two daughters, and turns violent by the end of the novel. However, Tyler and her sister and mother overcome Shane and the story – and thus the collection – ends on an optimistic note, with the voice of a creative young girl pledging to follow her dreams.

“Not dead, they said, but might as well be. Caught him straight across his spine.” (1) – Bodily trauma is a recurring motif throughout the collection. Kennedy uses damage to the body for a number of purposes, often, as in this case, as a metaphor for emotional paralysis. Frank’s incapacity represents his inability to connect to other people, especially his wife.
“Yeah, his wife, they said finally, nodding. The quiet one.” (2) – In Flexion , Kennedy begins crafting her motif of women in unfulfilled marriages. Mrs Slovak is defined by her unhappy marriage – literally so; she is never given any other name than Mrs Slovak or, more frequently, Frank’s Wife.
“As she runs she kicks off her slippery town shoes and feels dry furrowed earth rising and falling and crumbling under her bare feet all the way to where he’s lying.” (2) – Kennedy writes most of her stories in the present tense. Combined with vivid details such as the texture of the “dry furrowed earth,” this makes them feel immediate and relatable.
“It’s as if the locked strongbox inside has burst open…” (3) – Kennedy creates a vivid metaphor of a “strongbox” bursting open and repressed thoughts bursting out and “writhing” around. This is symbolic of the way in which physical trauma unlocks repressed emotions in many of the stories.
“The year she’d lost a baby…” (4) – See Lawson, The Drover’s Wife : “One of the children died while she was here alone. She rode nineteen miles for assistance, carrying the dead child.” In the original story, the Drover is physically distant from his wife. In Flexion , he is emotionally distant. Kennedy frequently uses infants and childbirth as symbols of the female experience, and as ways for women to feel a connection to others which they might otherwise lack. The repression of the story of the baby is thus symbolic of the repression of Mrs Slovak generally.
“…and she sits composing her face into relief and optimism while inside, truth be known, she feels cheated.” (6) – The image of the wife “composing” her face to hide her shameful disappointment is a powerful example of the sort of secret inner lives which Kennedy presents throughout her stories.
“It’s easier to nod and agree, to pretend to take his advice about what she should be doing about the farm work.” (7) – In these stories men, boyfriends and husbands are often portrayed as dominating women, physically or emotionally (this is most true of Seventy-two Derwents ). However, it is rarely that simple. The implicit suggestion in these lines that Mrs Slovak has no interest in actually following her husband’s advice, but rather does things her own way, reveals the complexities of their relationship. Frank, particularly in his debilitated state, needs to feel he has control over something; his wife maintains the illusion whilst seeing to it that the best courses of action are taken. The relationship is not a happy one exactly, but it is a functioning one.
“And while the physio shakes her head in admiration… she can’t trust herself to open her mouth.” (8) – This long, multi-clausal sentence is characteristic of Kennedy’s stream-of-consciousness style. We watch the scene unfold, from the doctor’s perspective and then to Mrs Slovak’s, and the manner in which Kennedy piles clauses on top of each other mimics Mrs Slovak’s train of thought.
“… choking rage burns like a grass fire, like gasoline.” (8) – This metaphor evokes the setting, of a farm, by comparing Mrs Slovak’s rage to quintessential rural objects/experiences.
“…tormented by something as incomprehensible and enraging as kindness.” (10) – Meaningful human connection is one of the hardest things for characters to experience in Like a House on Fire . Frank has walled himself off from the world so effectively that he is completely unable to understand why someone might do something out of sheer generosity.
“…and get on that phone.” (13) – Mrs Slovak takes control here – she forces Frank to acknowledge that they cannot continue in isolation; he must accept the kindness of others.
“Now would be a good time to die, while you weren’t there. That’s what I could give you.” (15) – Mrs Slovak realises here how aware of his own, self-imposed entrapment Frank is. His surliness is not evidence of an antisocial nature but rather a terrible fear of being a burden to others. This is true to the extent that he would have preferred to free his wife by dying. This is evidence that for Kennedy, traditional gender roles are as debilitating for men as they are for women.
“She places his hand wordlessly, determinedly, over his heart, and holds it there.” (16) – Kennedy uses a moment of intimate physical connection to symbolise the underlying unity of Frank and his wife.
“He thinks of them in formidable capitals: the Book Club Women. Women perennially sitting around modular lounge suites, criticising someone’s book.” (18) – A good example of the subjective third person narrative voice Kennedy writes in for several stories. Although not in first person, the narration still captures something of Chris’ character; his cynicism, and his University education. He thinks in complex sentences with a complex and self-aware vocabulary.
“As he straightened up after putting his father’s ashes inside the cabinet, longed so much to be with Scott that it almost hurt.” (20) – Chris’s conflictions over his relationship with his father and his failed homosexual relationship with Scott are very closely bound, and this association is particularly strong in this sentence, explicitly linking the two ideas. The story can be read on one level as an exploration of what it means to be male, and the turmoil Chris feels over not being “manly” in the way his father envisaged him..
“The words rage in his head, smoking like acid in behind his clamped mouth.” (27) – Kennedy employs a powerful image of “smoking” words “clamped” behind Chris’ mouth to metaphorically represent his emotional repression.
“And it’s not as if you have a wife and children at home waiting, is it?” (28) – The longstanding resentments of Chris’s family – at least in his mind, for this line is from an imagined, future conversation with his mother – lead back to his homosexuality. However, the “morose passivity” of his father, describes on pages 26 and 27, suggest that part of his father’s resentment is due to his own failure to be a stereotypically successful head of the family.
“He can’t believe this is all that’s left, this dust and grit…” (32) – ‘Ashes to ashes, dust to dust’ from the Book of Common Prayer. This passage reflects the Christian view of human life as a temporary, earthly state – the body is merely crude matter – and the afterlife as the true beginning of life. In Ashes , Chris reflects on the brevity of life, and the fact that we are all destined to turn to dust and ash, and he asks himself why he could not have been a little more patient with his father while he was still alive.
“…without interrupting her, he brushes it off.” (33) – In Like a House on Fire , small and seemingly inconsequential physical acts take on an immense significance, as a symbol of connection and love. Chris brushing the ash from his mother’s shoulder is one example of this.

Laminex and Mirrors

“The smell will stay hanging on me all day, burned and stale…” (36) – Kennedy brackets the first (and what is implied to be the last) day of the narrator’s hospital job with cigarettes.
“Feel like that thing’s choking me.” (38) – Entrapment is a common motif in Like a House on Fire , and is presented in a physical, literal depiction in Moreton, who cannot move.
“You can’t tell if she’s pretty or not because of the swelling and bruising…” (39) – The rhinoplasty patients appear as a sharp contrast to Moreton; one with (presumably) lung cancer, and the others undergoing elective surgery in order to fit into society’s stringent beauty standards. Both stand as examples of the many and varied ways that individuals can be pressured into or trapped within physical or social frameworks.
“But it’s about to be demolished.” (45) – The petty order from the matron for the narrator to clean a bathroom which will be demolished in a week is an example of the pointlessness the narrator feels in her job.
“There’s nothing to it in the end, just a steadying grip to help lift him up and over the rim.” (51) – In one of many powerful moments of physical touch representing emotional connection, the narrator lifts Moreton from the bath.
“…in the no-man’s-land of the hospital’s thermostatically cool interior, its sterilised world of hard surfaces…” (56) – The cold inhumanity of the hospital is a sharp contrast to the utterly reckless but poignant act of rebellion by the narrator. In this story, the hospital with its rules and regulations takes on the role of a physical entity which entraps the characters; in other stories, characters are trapped by less tangible forces.
“Christine had fantasies when the kids were babies…” (58) Christine’s fantasies of a “clean and wholesome” house with polite and loving children has given way to the more mundane realities of family life. As with many characters in Like a House on Fire , she must learn to reconcile expectations with reality, and learn that there is no such thing as a perfect family.
“Everything, on the contrary, seems to be teetering on the verge of coming apart.” (63) Christine’s exhausting experience of a domestic life forever on the verge of collapse is a reflection of the randomness of life in Like a House on Fire . Many characters find themselves in situations where they can barely cope with dramatic changes or disasters in their lives.
“But he’s so vague , that’s the trouble, so blind to how much organising she has to do around him to keep it all running.” (64) Christine’s frustration at her husband, who is not a bad man as such but just “vague,” is typical of the pent-up frustrations and resentments which characterise family life in the short-story anthology.
“She feels the ardent rush of helpless, terrible love.” (65) In Tender , the shadow of the narrator’s own mortality throws the mixed emotions of her family life into relief, including irritation at her thoughtless husband and intense “helpless” love for her children.
“They are eyes, it strikes me, that are all too familiar with endlessly compromised plans, as if life is already revealing itself to her as a long trail of small disappointments and changeable older brothers.” (76) The narrator, albeit with a light ironic tone, hits upon a central theme of the anthology when he describes his young daughter as already becoming aware of the “long trail of small disappointments” which characterise life. “Compromised plans” – or visions, or goals – are common throughout the anthology.
“…just to make sure I well and truly kill the occasion now that I’ve poisoned it.” (77) The narrator’s faintly comic, self-mocking tone reveals his nascent sense of shame and guilt at being so debilitated and helpless before is children.
“…and that’s the extent of how we communicate these days, in the tiny squeezed and inflamed gap somewhere between slippage and rupture.” (79) Like the image of Frank’s emotions pouring out of a “strongbox” in Flexion , this image metaphorically locates the relationship between Clair and her husband in the context of his damaged body.
“Well, it can’t be helped,’ she says, and there it is, the sound of everything she’s really talking about, echoing in the big, hollow silence under her words.” (86). As when the narrator imagines a string of rebukes he would never actually say to his wife, he imagines “everything she’d really talking about” when she answers him bluntly. Close relationships between characters in the collection are frequently communicated non-verbally, illustrating the depth of connection humans can create between one another.
“Definition of psychosomatic: something originating in the mind or the emotions rather than through a physical cause.” (88) The narrator’s definition of psychosomatic pain as something “originating in the mind or the emotions” echoes much of his own sense of shame and paranoia, which is largely due to his own sense of guilt rather than genuine resentment on the part of his family.
“….and I reach up to pull the elastic band and grips out of her hair.” (93) Like many of the stories in the collection, Like a House on Fire ends with a symbolic moment of physical connection between to characters, suggesting a deeper connection which is capable of surviving the difficulties life throws at them.

Five-Dollar Family

“The person she’d been before the birth, in fact, seems like a dopey, thickheaded version of who she’s become now.” (102) Whereas most of the characters in the first half of the anthology find themselves reconnecting in the wake of trauma or sudden change, Michelle finds herself finally accepting that she cannot rely on Des for anything.
“She couldn’t believe she’d ever needed him for anything.” (104) In Five-Dollar Family and later, in Seventy-two Derwents , Kennedy presents the bond between mother and child as infinitely more fulfilling than that between a woman and a “useless” man.
“First one thing, and then another thing, and the click when it happens, like a door opening.” (105) Michelle’s description of the way in which the birth of her child led to an important sense of finality about Des echoes the structure of many stories in the collection, where a sudden change or trauma leads to an epiphany.
“Felt herself as indulgent and forgiving and tolerant as his mother, like it was a club women belonged to.” (108) Michelle’s notion of the “club women belonged to” is a powerful example of the way in which women are trapped by society – in this case, through their emotional attachment to manipulative and uninspiring men.

Cross-Country

“There’s a short film looping in my head” (120) The narrator, like many characters in the collection, is a victim of her own fantasies, which threaten to distance her dangerously from the real world.
“It’s amazing, isn’t it, the level to which we’ll invent what we need.” (125) The narrator of Cross-Country , like Chris’ mother in Ashes , fulfils her desires in part by imagining a world in which they are met. For the narrator, this means imagining her ex-husband ringing her in the night, whilst for Chris’ mother it means imagining a version of the past in which her son and husband enjoyed a fulfilling relationship.
“…my face cools as if lifted to a merciful and unexpected breeze.” (125) The narrator of Cross-Country is one of the starkest examples of a character who is trapped by their own mind and their own fantasies. It is implied that the narrator of this story is, however, eventually set free by a “merciful” revelation.
“Ray was stuck in traffic” (127) Ray’s physical state at the opening of the story is a metaphor for his emotional and mental state of paralysis or, as he puts it, “the lethargic kind of trance he’d felt himself lapsing into more and more recently.”
“…passing another man who was pretending to be doing a job of work, bored shitless and leaning on a one-word sign.” (129) Ray’s appraisal of the road worker reflects his own exhausted view of life as consisting of pointless drudgery, a feeling shared by the narrator of Cross-Country .
“Frank, who hadn’t worked for fourteen months.” Kennedy explores the social effects of underemployment and poverty in Sleepers , charting the collapse of Ray’s life, and depicting various male characters who seem to struggle to find work and are reduced to petty theft and drink.
“His mind swam over this bit…” (136) Like many of Kennedy’s characters, Ray blurs the line dangerously between fantasy and reality, and his fate in Sleepers suggests that Kennedy is highly critical of this approach to life.
“…hauled up and discarded but with so much life in it, still, it just broke your heart to see it go to waste” (139) The final comment on the redgum is clearly metaphorical for the state of Ray and many of the underemployed men in the unnamed town who can feel their lives draining away.
“I can’t send one of these – every one’s a disaster.” (142) The mother in Whirlpool , like many characters is the collection, is obsessed with a fantasy of her family, and feels compelled to project an impossibly perfect image of them – even, ironically, as the pressure she applies actually puts strain on that same family.
“You hover there clenched, rooted to the spot.” (143) The description of Anna, silent and “rooted to the spot” as she listens to her mother, suggests that she is yet another character who feels a strong sense of alienation and paralysis, brought about by her sense of distance from her own family.
“You’re barely twelve, you’re nowhere near old enough for that.” (147) Anna’s mother’s obsession with envisaging an ideal family results in her denying reality, such as the fact that her daughter is maturing physically and emotionally. This denial of reality results in a sense of alienation and paranoia in Anna.
“You’re all touching and it feels weird.” (150) Unlike in many other stories in the collection, where physical connection is symbolic of emotional connection, Anna finds the proximity to her family discomforting and intrusive.
“…grim with the need to plot exile and allegiance…” (153) The schemes of “exile and allegiance” constantly gyrating in Anna’s mother’s head suggest that for Kennedy the family unit is as much a place of tension and division as it is love and unity.
“She senses, as they nod and smile, that this is not the answer they want.” (161) Like many of the stories in Like a House on Fire , Cake demonstrates Kennedy’s keen interest in the minutia of social interactions, and particularly the way thoughts and feelings are conveyed non-verbally.

White Spirit

“I don’t understand why this whole process hasn’t worked out like I thought, like I said it would on my grant project description.” (191) The narrator, like many characters in Like a House on Fire , must come to terms with reality as it is, rather than as she imagines it should be, or as it is idealistically depicted in “grant descriptions” and other such bureaucratic paraphernalia.
“…I feel two arms on either side of me, stretching tentatively round my waste, drawing me tighter, and in spite of everything I smile.” (195) Like many stories in the collection, White Spirit closes on an image of physical connection, which temporarily breaks through the narrator’s sense of alienation.

Little Plastic Shipwreck

“You fucking do it.” (207) Like the narrator of Laminex and Mirrors , Roley finds a small degree of comfort and release in a small act of defiance, placing his principles above his economic needs.
“Her hand there for comfort. Warmth and pulse flowing between us, skin to skin.” (213) In Waiting , the cold and clinical hospital is made human through physical human connection – a motif which appears time and again in Like a House on Fire.
“…lips closed and chin raised like a model of cool serenity, a perfected study of herself.” (226) Marie, like many of Kennedy’s characters, obsesses over a perfect, unattainable image of herself. This is often reflected in the myth of the perfect family, as in Static , where a group of people who clearly dislike each other must play at happy families for the occasion.
“Why indeed? Why is he pandering to the domineering old harridan?” (231) One of Kennedy’s many flashes of humour, this line illustrates the absurdity of the fictions which characters create and maintain in order to survive.
“Does she love him? She lets him see her in the morning without make-up, does that count?” (233) Anthony’s bitingly ironic tone skewers the level of artifice and make-believe which characterises his life, suggesting that allowing him to see her without make-up is the closest thing to genuine affection Marie shows him.

Seventy-Two Derwents

“Maybe that’s why Shane comes over to our place to have a shower and get changed.” (250) Kennedy creates an almost unbearable sense of tension in Seventy-Two Derwents through Tyler’s innocent and naïve child voice. The dramatic irony, whereby the reader can see that Shane is a despicable character long before the narrator can, helps build a sense of dread.
“I’m right behind you, Ty. Right here.” (275) Throughout the collection, there are occasional hints of a sort of female solidarity, of women characters who bond through the ineptitude of the men in their lives. It is most vividly portrayed in the set-piece at the end of Seventy-Two Derwents , of three girls and women standing up to a violent male.
“I kept writing mine these holidays so that you will know you were right.” (277) The collection ends with a powerful affirmation of the power of literature, and an image of Tyler collecting the budgie’s egg, suggesting hope and renewal. The overall effect is to affirm the power of art and literature to provide solace and hope.

A House on Fire Essay

I had never seen a house on fire. So, one evening when I heard the roar of fire engines rushing past my house, I quickly ran out and a few streets away joined a large crowd of people.

But the police did not allow anyone to go near the building on fire. What a terrible scene I saw that day! Huge flames of fire were coming out of each floor and black and thick smoke spread all around.

Every now and then tongues of fire would shoot up almost sky-high, sending huge sparks of fire all around Three fire engines were engaged in putting out the fire by pouring water over it.

The rushing water from several houses soaked the building, but it did not seem to have any effect on the flames. Thereafter firemen stretched upwards a huge ladder structure and I could see some fireman climbing up with hoses in their hands.

On reaching almost the top of the ladder, they began to pour floods of water on the topmost part of the building. The continuous flooding brought the fire under control but the building had by then been completely destroyed.

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A House on Fire Essay for Students and Children in English

January 3, 2021 by Sandeep

A House on Fire Essay – A burning house attracts many shocked spectators trying to take care of the situation. People come out with buckets of water, sand and dust trying to control the growing flames. Neighbours can be seen trying to help victims holed up inside the house and trying to care for their burns and injuries. Rescue personnel and fire engines from fire brigade with long water pipes would be deployed immediately to extinguish the fire.

Essay on A House on Fire 200 Words in English

Below we have provided a house on fire essay, suitable for class 1, 2, 3, 4, 5 and 6.

One evening, I was peacefully studying in my room because I had an important test the next day. I was so engrossed in my studies that I could not hear the noise of people shouting fire! fire! outside my house. My sister entered my room and told me that a home in our neighbourhood had caught fire. I panicked and screamed. We rushed outside along with my mother and father to help our neighbour.

The entire community were pouring buckets of water and dry sand to extinguish the fire. Many even tried to cover some area of the house by a blanket to control fire, but it was blazing. The view was horrifying. People were trying relentlessly to put out the fire but to no avail. The fire brigade was taking a lot of time to arrive on the spot because of which the fire caused considerable damage to the house.

Since the house was a three-storey structure, the inmates were trapped on the third storey and were crying for help. Their lives were in danger as the flames were encroaching them rapidly. We were helpless and at a loss to help the victims who were screaming for help. All of us were praying and waiting anxiously for the fire brigade. Meanwhile, the fire brigade turned up. People took a sigh of relief. The secretary of that area explained the scenario and efforts made to extinguish the fire to the staff.

Essay on A House on Fire

One night, as I was sleeping, I heard loud cries of “Fire! Fire!”, I got up and saw our neighbor’s house on fire. I rushed out along with my parents.

Everyone in our neighborhood was out and trying to help put off the fire with water and sand. Thick smoke was coming out of the house.

Soon the fire engine came. It was a big red vehicle. The firemen got down to work immediately. They sprayed water on the house. After an hour’s effort, they were finally able to control the fire.

Everyone in the house was safe and only one portion of the house was damaged. We asked our neighbors to stay with us for the night. It was such a scary experience that none of us could sleep that night.

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Essay on A House on Fire in English For Students & Children

We are Sharing an Essay on A House on Fire in English for students and children. In this article, we have tried our best to provide a Short Essay on A House on Fire for Classes 3,4,5,6,7,8,9,10,11,12 in 100, 150, 200, 300, 400, 500 words.

Short Essay | Paragraph on A House on Fire ( 100 to 150 words )

It was the month of April. I was having a sound sleep. Suddenly cries of Fire! Fire! woke me up. People are running on the street. It took me a few minutes to realise that a house had caught fire. I went downstairs in hurry and rushed to the affected house. There were clouds of smoke. The flames were running to the sky. One baby was left sleeping in the upper house. Her mother was crying bitterly. Her cries touched every heart. Showing some courage, I put the ladder against the wall and saved that child. She was happy to see the baby. Everyone thanked me. The lady blessed me again and again. People started throwing buckets full of water and sand. In the meantime, the fire brigade rushed to the affected houses and controlled the fire.

Essay on A House on Fire for students ( 300 words )

Last Sunday, I went to bed a bit late. I had slept just a few minutes when I heard loud cries outside.

I came out of my house and looked out in the street. I found the people running hurriedly in one direction. I learned from n of the runners that Mr. Kirpal Chand’s house in the neighbour. ing street had caught fire. I bolted the house from outside and began to move quickly in that direction.

As I reached Danny’s house, I was shocked to see that the flames of fire were touching the sky. Mr. Danny was a cloth merchant. He was in the habit of keeping bundles of cloth in his house before being taken to his shop for sale in the market. I was told that the entire stock of cloth in his house had been engulfed by the fire which had started from an unextinguished butt of a cigarette.

Danny was a chain-smoker. It was a strange combination for a cloth merchant to be a chain-smoker also, and this fact was being discussed by the by slanders.

Danny’s wife was in a state of frenzy. She was crying loudly. I learned that her little child who was sleeping in its cradle had been left in the house.

Nobody, dared go and fetch the child, as there was real risk involved in the venture. But it was, at the same time, difficult to hear the loud pathetic wails of the lady. Moreover, it was a question of human service and humanity had been thrown a true challenge by the circumstances.

For a few moments, I looked at all the bystanders and then without a warning, jumped straight into the fire.

Within a few minutes, I brought the child out and handed it over to the poor lady. She was so overwhelmed with gratitude that she could hardly utter a word. But her silence and sobbing were more eloquent than any speech, and the bruises and slight burns that I got seemed sweet slich a noble venture for which I needed no recompense.

# Speech | Paragraph on A House on Fire for kids # A House on Fire composition

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Rainy Day Essay

Friday essay: living with fire and facing our fears

Senior Research Fellow in Creative Writing, Flinders University

Disclosure statement

Danielle Clode previously received a State Library of Victoria fellowship while writing her book A Future in Flames. She was previously employed by the Country Fire Authority.

Flinders University provides funding as a member of The Conversation AU.

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It is only mid-November but we have to walk early to avoid the heat. A northerly wind picks up clouds of dust and pollen, sending dirty billows across the paddocks. The long limbs of the gum trees groan overhead. Leaves and twigs litter the road. We stop to pull a branch off to the side.

Not even summer yet and already we are facing our first catastrophic fire rating of the season. Normally, I don’t even worry much about fires until after Xmas. In the southern states, it is January and February that are the most dangerous.

We live in the Adelaide Hills and never schedule holidays away from home in those months, even though it is hot and unpleasant. Now I’m worried we will have to cancel our pre-Christmas holiday plans. Winter will be the only time we can leave.

We cross paths with a friend walking her dog. We share mutual exclamations about the weather and the risk and she reminds me about the neighbourhood fire group meeting. I should go. I know, better than most people, just how important and lifesaving they can be. But I just don’t want to.

On the weekend, my husband had made us start the fire pump. It’s good to make sure it is all working, but I harbour a vague, irrational resentment at having to be taught how to do it every year. I know why. Mike has all that mechanical knowledge embedded in his brain like a primary instinct, but the information trickles out of mine like water through sand. I cannot rely on remembering what to do in an emergency.

I know my limitations. I’ve attached a laminated, labelled diagram to the pump with numbered instructions on it. Leave nothing to chance. My daughters are running through the pump this year too – in case they find themselves home alone.

Fuel on, throttle on, choke on.

I worry that the pull cord will be too hard, but my youngest yanks at it with practised determination and the pump starts first go.

Choke off, throttle up, water on.

The sprinklers fire up a dull, thudding rhythm around the verandah, spraying a mist over the garden and the cat while Mike runs through the finer details of protecting the pump with a cover and sprinkler in the event of a fire.

I watch the garden soaking up the unexpected bounty and notice that some of the plants have gone a bit leggy. Their undergrowth is woody with age. I’ll have to cut that back, prune off the old growth. Some of them may have to go. Much as I love Australian plants and their waterwise habits, I can’t have many in the garden. Most of them are just too flammable.

Everything we do here, every decision we make, is shaped by fire risk: the garden, the house, our holidays, our movements, where we park the cars, our power and our water supply, even our telecommunications.

It is relentless. A friend of mine who went through Ash Wednesday said she was just tired, after 45 years, of the constant worry. She wanted to move somewhere safer. But she couldn’t bring herself to leave the bush.

Perhaps it would be easier not to know the risk, to live in ignorance.

My local fire brigade had an open day a few weeks ago. The volunteers were busy for days, cleaning the shed, preparing the sausage sizzle. Lots of new people have moved into the area, mostly from the city, and chances are they don’t appreciate the risks of living in a bushfire-prone area.

The brigade put up signs, distributed flyers and knocked on doors with invitations. On the open day, I wander over and ask how many people have turned up.

“Oh about half a dozen,” says the captain brightly, before adding, “Well, maybe four actually. And only two of those are new.”

Someone asks about a family who has moved into a property down the road, a younger couple with kids and a stay-at-home dad. Would he be interested in joining the fire brigade?

“Said he was too busy. Maybe later when the kids are older.”

There are more and more people moving into the high risk urban fringes of our major cities, where houses mingle with flammable vegetation. Fewer and fewer people have the time or inclination to join their local volunteer fire brigade.

Many of them commute for work. They think fire-fighting is what happens when you ring 000. They don’t seem to realise that outside of the city, it is every community for itself. We have to fight our own fires.

Read more: Grim fire season looms but many Australians remain unprepared

I’m watching the news filled with images of the fires in New South Wales. Traumatised householders stand in front of the twisted wreckage of their homes. Tumbled masses of brick and iron are all that remain of a house full of memories.

“We never expected….”

“I’ve never seen….”

“I never imagined….”

No matter how well prepared we are for fires, we always underestimate the scale of the loss – the photos, the family pets, the mementos and heirlooms, or simply the decades of work building a house, a property, a business.

Looking at the television screen, I can’t help but notice the blackened tree trunks next to the ruins of their homes. I worked for a while in community safety for the Country Fire Authority when we lived in Victoria, researching and writing reports , and later a book , on how people respond to bushfires.

I’m well versed in the risk factors – proximity to native vegetation, fuel loads, clearance around houses, house construction and maintenance and most importantly of all, human behaviour.

Leaving is not easy

I used to live in a forest too, with mature eucalypts surrounding my house. We always knew this was a risk. We cleared the undergrowth and removed any “ladders” of vegetation that could allow ground fires to climb the trees. We removed new saplings growing close to the house.

We did as much as we could to make our 1970s home fire safe: installing sprinklers, sealing the roof, covering all the timber fascias in metal cladding.

In an average fire, we probably would have been fine. But when the Kinglake fires approached from the north on Black Saturday, I was no longer sure we would survive. A last-minute wind change swept the fire away from our home.

Like many people, in and around the impact zone, the fires uprooted us and disconnected us. There were so many deaths, so many people and houses gone. And yet so many are still living in the same risky buildings, often rebuilt in the same risky locations. As if we never learn.

We no longer felt so attached to our home. When the opportunity to leave arose, we took it. When we moved to South Australia, we still wanted to live in the bush, despite the fire risk. But it seemed impossible to find a home that had been built for bushfire safety.

A real estate agent showed me an elevated timber home that looked out to the south-west across vast hectares of native forest. A death trap if ever there was one.

“Yes,” agreed the agent. “I’ll just have to find a buyer who doesn’t mind about that.”

Our new house is built of stone, steel and iron, with double-glazed windows and a simple roofline surrounded by sprinklers and hard paving. Every crack and crevice is sealed. And it sits in the middle of a cleared paddock surrounded by a low-flammability garden. We look out over the bushland from a safer distance.

When my children were small, I packed them up and took them into town on every or total fire ban day. It was the prevailing advice from fire authorities. I cannot recall anyone else who did so – it is too hard, too disruptive and too inconvenient. And what do you do with the pets and horses and sheep? Let alone farms and businesses whose assets are practically uninsurable.

Besides, there are so many total fire ban days and they are getting more and more frequent. We’d be leaving for all of summer soon and not everyone has somewhere safer to go.

My former colleagues at the CFA confirmed that few people take this advice to leave on total fire ban days . When the fire risk categories were upgraded to include “catastrophic”, people simply recalibrated their fire risk range to suit.

Now total fire ban days are everyday, ordinary events and people only talk about leaving if the risk is catastrophic or “code red”. And even then, few of them do.

That’s why fire agencies continue to put so much effort into teaching people how to stay and defend their homes – because that is where they are going to end up, no matter what they are told or what they say. After the shocking deaths on Black Saturday, urban politicians thundered in self-righteous fury.

“Why don’t you just tell people to leave?”

Like it is that easy.

Other people’s fates

I’m reminded of the neighbourhood fire safety programs . These are groups of neighbours in fire risk areas who meet up regularly to undertake training in fire preparation. They run in several states, such as Community Fireguard in Victoria, Community Fire Safe in SA and Community Fire Units in NSW.

Some of the groups in Victoria have continued for years, often meeting annually just before the fire season to run through their plans and discuss issues they might be having. They share advice on how to protect properties, what to do when things go wrong, whose house offers the safest refuge, who is leaving and who is staying. They establish phone trees to warn everyone of imminent dangers and to stay in touch.

I know these programs work . I surveyed many of the fireguard groups who survived Black Saturday and compared them to neighbours who weren’t in groups.

The active members of fireguard groups were more likely to defend their houses. Active members’ houses were also more likely to survive, even when they were not defended. A handful felt their training had not prepared them for the severity of the fires they faced. In truth, I don’t think anyone, not even the most experienced firefighter, expected the severity of those fires. But the vast majority were certain their training helped, and had saved their lives.

In every group, there are people who do the work and those who don’t. There are always neighbours who are too busy for the training and just ask for the notes, which they never read. They want to be on the phone tree, even though they have not prepared their property and have not thought about what they will do in an emergency. These “inactive” members do not seem to benefit from training. Their houses have the same loss rates as people who aren’t in fireguard groups.

No matter how much other members of the group support them and encourage them, it does not help. I’ve tried to help before, running a fireguard group, but I don’t want to do it again. I don’t want to hold myself responsible for other people’s fates. It is enough to take responsibility for myself and my family.

I remember the fireguard trainers who blamed themselves, who were blamed by others, when neighbourhoods they had worked with suffered deaths and house losses. They often targeted the riskiest locations, areas that were virtually indefensible. Their information was not always accepted.

Trainers, some of whom had lost friends, neighbours and houses in the fires themselves, felt criticised for advice that had not been given, and also for advice that had not been taken. You cannot defend yourself against such angry grief, particularly when you are carrying so much of your own. You just have to listen. A court of law, which looks only for someone to blame, is no place to resolve the complexities of bushfire tragedies .

I had originally thought, when I wrote my book about bushfires , that it would be a simple analysis of the lessons we had learnt. After the Black Saturday fires, I had to write a completely different book. I realised it wasn’t about lessons learnt (even though there are many), it was about our failure to learn from history, our astonishing capacity to repeat the mistakes of the past.

Harder and harder to protect people

The same things are said after every fire. Blaming a lack of prescribed burning in distant parks when we know that preparation within 100 metres of our own homes is far more important.

Waiting for an “official” warning, as an evil-looking, yellow-black cloud streams overhead and embers land sizzling in the pool beside you.

Politicians with slick, easy point-scoring ways that divert attention from their own policy obstruction.

The hopeful denial that bad things only happen to other people and won’t happen to us.

We’ve just experienced the hottest year on record, and the second driest year on record . We have lost rainforests that have not burnt for millennia and may not recover. With climate change, fires have become more frequent across all the Australian states, and with more extreme weather events, they are likely to become even less predictable and more dangerous .

There is no avoiding the fact that for the next few decades, we face an increasingly dangerous environment. We have more people living in more dangerous areas, in a worsening climate. Our volunteer firefighters are ageing, and local brigades struggle to entice new members to join. It’s getting harder and harder to protect people.

It would be nice if there was a silver bullet to protect us. If broad-scale prescribed burning in parks actually protected houses and lives, or if we had enough fire trucks and water bombers to save us all.

It would be great if we had a cohesive suite of integrated bushfire policies across states, strong enough to survive from one generation to the next. They could include adequate building standards and access to materials , effective planning and development codes , integrated municipal, state and federal strategies incorporating education, health and safety campaigns. We could create a culture of fire-awareness, rather than panicked responses to disasters followed by a long, inevitable slide into apathy and ennui.

Perhaps one day we will. But in the meantime, our best protection lies in our own hands, safeguarding our own property and making carefully considered plans in advance as to how to save our own lives. It is not an easy path, and one none of us wants to take. But in the end, we are the only ones who can do it.

To preserve anonymity the anecdote about a local fire brigade open day is based on multiple conversations in different brigades at different times. It represents a typical discussion had in brigades across the country and should not be taken to represent the views or behaviour of any brigades or individuals in particular.

Views expressed are the author’s own and do not reflect or represent those of the CFA or any other fire agency.

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Descriptive Essay on Witnessing a House On Fire

descriptive essay house on fire The House on Fire That cold night of December 2004 had left behind a memory which will stay in my mind for a never ending period of time. That night was not the same as the rest of the days in my life. Instead of going to bed, that night I was standing in the middle of the road, in complete terror. My heartbeat was accelerating with fear and tears were rolling down my cheeks as I saw Emily taken away by the ambulance.

The house, which I was standing in front of, was burning as fire engulfed it from all sides. There was fire everywhere.

The roof was on fire, the doors and the windows were on fire, fire was even coming out of the house through various openings, looking like a fire-breathing dragon was inside the house, puffing fire. The flames burned deep red and amber, almost livid purple as I saw various firefighters trying to put out the fire.

Nothing inside was likely to survive the fire. Flames were licking up in the air with the wind, trying to catch something else on fire, and finding nothing but air, disappearing into the windy night, like disappointed flutters. Everything was happening too fast.

My Experience of Witnessing a House Burning Down

During a minute or less, fire had spread across the entire landing. I was petrified by the sight of the fire, which crawled lizard like up the house. The house was exploding in yellow blue flames that quickly turned orange.

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I was trembling and whimpering softly as I saw Emily’s mother sitting on the ground, helplessly. She was crying out of despair. Her reaction had made me even more scared. I wanted someone to console me by telling me that nothing will happen to Emily. She was my best friend. We had spent seven years of our childhood together and I did not want to lose her.

I was praying silently while Emily’s mother had lost all the hope of her survival. I had never felt so alone before. Even the thought of losing her, frightened me. I felt as if I was living through the worst nightmare. Grief is the worst feeling in the world. You feel hopeless, scared, angry, frustrated, alone and afraid. Going through a phase in life when you have a feeling of losing someone is hard to accept and it is much harder for an eight years old child. You feel as if the world had stopped and you could never move on in life.

It is very painful to accept that you will no longer be able to see someone who was very close to the heart. I was crying while looking at the crowd of people that had clustered around the house by that time. The voices of the people echoed in my ear hauntingly. Their screams and shouts gave rise to my fear. I was horrified by the siren of the ambulance, the police car and the firefighters, the ringing of the phones of the crowd, the yelling, the cries, the increasing roar of the fire; everything added chaos to that place and frightened me even more.

Ghosts of smoke were drifting across the street. I smelled smoke. It was not heavy, but it had a pungent smell. I started to cough as the smoke enfolded me. The air surrounding me was becoming less breathable by the second. My mouth was filled with the bitter taste of the smoke. I wanted a draught of clean air to rinse out my polluted lungs. The cough had aggravated pain in my head. My eyes were becoming swollen and watery. Soon after, the fire got quite out of control as the whole house was on fire. The firefighters evacuated the street and told everyone to go inside their houses.

I had no choice but to retreat to my room where I could see, feel, and hear Emily’s house burn down. In a few minutes, the house had been reduced to a pile of rubble, ashes, and smouldering wood and items. There was a rotting smell that took over the whole neighbourhood, like a bad barbeque party gone horribly wrong. The smell was so overpowering that it took almost a week to get it out of my nose. That horrifying night of December still reminds me how valuable a person is in our life. If the firefighters were even one minute late in rescuing Emily, I would have lost my best friend that day.

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Kamila Shamsie

Ask litcharts ai: the answer to your questions.

Twenty-eight-year-old Isma Pasha is detained at Heathrow Airport, where she is held and interrogated for two hours, singled out specifically for her hijab and her Muslim background even though she is a British citizen. After officers question her on whether she considers herself British, she is allowed to board the plane to Boston, where she will be pursuing a PhD in sociology under an old professor of hers, Hira Shah .

Isma spends her days working and reading in a coffee shop, where she befriends 24-year-old Eamonn Lone , who is also from London. Isma recognizes Eamonn as the son of Karamat Lone , a British politician who, though he is Muslim and has a Pakistani background, has largely made British Muslims feel like he has turned his back on them in order to gain support of the wider British public. Eamonn and Isma become friends over the next few weeks, and Isma grows romantically interested in Eamonn as well, even though Isma quickly realizes that Eamonn has little understanding of his Muslim or Pakistani heritage. When Karamat is appointed Home Secretary of the U.K., Isma admits that she knows who Eammon’s father is, and that she is critical of his treatment of his Muslim constituents. As a person who looks up to his father a great deal, Eamonn grows cold toward her as a result.

That night, Isma is woken by a call from her 19-year-old sister, Aneeka , who is extremely upset after finding out that Isma was the one to report their brother, Parvaiz , to the police. Aneeka feels completely betrayed, even though Isma assures her that the police would have found out about what Parvaiz had done anyway and that she was trying to protect Aneeka. Aneeka says that Isma has made Parvaiz unable to come home, and she tells Isma not to contact her anymore. Upset, Isma texts Eamonn, wanting comfort and to explain her perspective more fully. Isma tells him that her father, Adil , left her family to become a jihadi in Bosnia. He was imprisoned in Bagram and then died while being transported to Guantánamo. When her family tried to approach Karamat, a new Member of Parliament at the time, to find out more information about Adil’s death, Karamat said that they were “better off without him.” In the present, Eamonn apologizes to Isma, but he still defends his father’s actions. As they part, Eamonn tells Isma that he is returning to London and offers to deliver M&Ms that Isma was planning to send to Aunty Naseem , a neighbor with whom Aneeka is currently staying.

Back in London, Eamonn delivers the M&Ms to Aunty Naseem and meets Aneeka, who is instantly suspicious of him because of his father. But when he leaves, Aneeka follows him and asks him to take her to his apartment. Eamonn does so, and when they arrive, Aneeka takes off her hijab and the two have sex. The next morning, Aneeka tells him that she wants to keep their relationship a secret, and he agrees. This also means that Aneeka will not give Eamonn her cell phone number, nor can he find her online.

A few weeks pass, and their relationship deepens, though occasionally they also butt heads over Karamat’s attitudes towards Muslims. Eamonn gives her keys to his apartment, and they get to know each other better. Eamonn is amazed at the fact that Aneeka can be so devoted in her prayer and yet still have so much control over and freedom in her own sexuality. Eamonn even suggests to Aneeka that he wants to propose to her. Aneeka then admits to Eamonn that her twin brother Parvaiz left to go to Raqqa, Syria, the previous year, to join ISIS ’s media unit. At first Eamonn is extremely hurt, particularly after realizing that this is why she pursued him in the first place, but Aneeka assures Eamonn that she truly loves him, and that she just wants to get her brother home.

Eamonn approaches his father, telling him about Aneeka and then about Parvaiz. Karamat immediately grows furious with how Eamonn has been completely blinded by Aneeka, and he tells Eamonn that he cannot see Aneeka again.

The perspective then shifts to Parvaiz, hopping between the present and the events that led to his leaving for ISIS. The previous fall, he was approached by a man named Farooq , who told him that he had heard stories of heroism about Adil. Parvaiz eagerly listens to Farooq, excited to hear about his father as a hero rather than as a “feckless husband,” as his mother, Zainab , and grandmother always told him before their deaths when he and Aneeka were 12 years old. Farooq teaches him about the conflict between Islam and Christianity, and he often talks about how to be a man. One day, Farooq invites Parvaiz over to his flat, and two cousins chain Parvaiz to the floor in a squatting position for hours before waterboarding him. Parvaiz is at first horrified, but then he realizes that this torture makes him feel connected to his father for the first time, and so he asks to be tortured again. Over time, Farooq convinces Parvaiz to come to Syria with him to find more people who knew his father.

Parvaiz creates a cover story about getting a job on a popular music show in Pakistan, then leaves for Syria. When he arrives, Farooq takes his passport and leaves for the front lines before Parvaiz realizes how little information he’s been given. He undergoes months of training, then joins the media unit of ISIS. He also learns that Aneeka and Isma know where he has gone, and that MI5 is now monitoring them. Parvaiz recognizes that he has become like his father only in his “abandonment of a family who had always deserved better than him.” Parvaiz is taken out for a field recording, but when he realizes this means filming an execution, he grows queasy and cannot watch. In another incident, Parvaiz sees a woman pinned underneath a wall that has been bombed, but because she is not wearing a face veil, he is not allowed to approach her even as she begs for help. This is a turning point, as he realizes the horrible mistake he has made. He calls Aneeka, who tells him to get to Istanbul, Turkey, to go to the British consulate.

A few weeks later, he and Farooq take a trip to Istanbul to pick up new recruits and to buy media equipment. When Farooq leaves Parvaiz alone in the electronics store, Parvaiz runs out and takes a cab to try to get to the British consulate. He calls Aneeka, who says that she will fly to Turkey and tells him to wait for her. He also receives a text from Farooq, implying that Farooq is coming after him. Realizing that it is unlikely that they will let Aneeka onto a plane, he approaches the British consulate alone, desperate to get home. Before he steps inside, he is shot and killed by Farooq.

Aneeka is overwhelmed with grief after learning of Parvaiz’s death, and she refuses to be comforted by Isma, who flies home immediately. They watch stories mount about Parvaiz, calling him “the latest name in the string of Muslims from Britain who have joined ISIS.” The news then shows a clip of Karamat, who says that he has revoked the citizenship of all dual nationals who have left Britain to “join our enemies.” He says that Parvaiz’s British citizenship has been revoked and that he will be buried in Pakistan. Policemen then come to interview Aneeka about her relationship with Eamonn. She admits she pursued him because she thought he could help get her brother home. Isma is appalled to learn of the relationship and the reason for it. Despite Isma’s attempts to reconcile with Aneeka, Aneeka refuses to be comforted because she believes that Isma is the reason that Parvaiz could not come home and is now dead.

More articles come out about the story: one quotes Isma, who says that she and Aneeka were shocked and horrified to learn that Parvaiz had joined ISIS, and that she immediately informed the Counter Terrorism Command. Another article centers on the fact that Parvaiz’s father also fought with jihadi groups. A third article comes out, explaining that Karamat’s office revealed Aneeka and Eamonn’s affair in the name of transparency. The article describes Aneeka as Parvaiz’s accomplice, having hunted down Eamonn to try and convince Karamat to return her brother to Britain. Meanwhile, Aneeka applies for a Pakistani passport and goes to Karachi to retrieve Parvaiz’s body.

The story shifts perspective once more, to Karamat. Eamonn, who is now staying with friends, calls Karamat and tells him that his actions do not look good from the outside. Eamonn continues to try to talk through the politics, but Karamat dismisses him, telling him not to try to “develop a spine,” and he also denigrates Aneeka. After the call, Karamat watches the Pakistani news, and he sees that Parvaiz’s body is delivered to a park near the British Deputy High Commission, where Aneeka is holding vigil. She implores Karamat and the Prime Minister for justice. The Prime Minister and Karamat refuse to allow Parvaiz’s body to return, a decision which is supported by Parliament.

The next morning, Eamonn arrives in Pakistan. Eamonn has also released a video, criticizing Karamat’s decision and supporting Aneeka, whom he describes as his fiancée. He says that Karamat’s actions are due to his own “personal animus”—a phrase which deeply hurts Karamat. Articles are released in the morning papers, painting Karamat as an ambitious son of immigrants who married into wealth, used his identity as a Muslim to win elections, and then left it behind when it was no longer valuable.

Karamat returns home to be with his wife, Terry , and his daughter, Emily . After talking through the situation with Terry, he comes to the realization that he should allow Aneeka to bring Parvaiz’s body back to Britain. Soon after, his security detail receives word of a threat. Karamat, Terry, and Emily are taken to the safe room in his house, then released when they find out that the threat wasn’t intended for them.

In Pakistan, news outlets capture Eamonn’s arrival in the park. When he approaches Aneeka, two men run up to him and lock a belt of explosives around his waist. Everyone else starts to flee, but Aneeka approaches him and holds him. For a moment they are “two lovers in a park, […] at peace.”

Man sets himself on fire outside Trump courthouse

Updated: Apr. 19, 2024, 3:42 p.m. |
Published: Apr. 19, 2024, 1:42 p.m.

New York Police officers inspect a backpack left at the scene where a man lit himself on fire in a park outside Manhattan criminal court, Friday, April 19, 2024, in New York. Emergency crews rushed away a person on a stretcher after fire was extinguished outside the Manhattan courthouse where jury selection was taking place in former President Donald Trump's hush money criminal case. (AP Photo/Mary Altaffer) AP

Kevin Manahan | NJ Advance Media for NJ.com

As MSNBC reporter Yasmin Vossoughian was announcing on live TV that the jury for Donald Trump’s hush-money trial had been seated, with all six alternates, she announced in horror that a man had set himself on fire across the street from where she was reporting outside the Manhattan courthouse on Friday.

With tensions running high because of the first criminal trial for an ex-president, Vossoughian reported in horror as spectators rushed to assist the man and extinguish the fire, which Vossoughian said was about 50 feet from her. The incident occurred at approximately 1:40 p.m. inside an area set aside for demonstrators.

It is unknown whether the man was protesting the trial. He was taken to a hospital, where he was in critical condition in the burn unit, police said at a news conference later in the day.

It was the climax of an intense day inside the courtroom that resulted in two jurors breaking down in tears and three being excused after expressing anxiety about being on the case.

“We have our full panel,” Judge Juan Merchan declared after the last of the six alternates were added. They will serve alongside the panel of 12 jurors, and the completed jury sets the stage for opening statements to begin Monday.

Within minutes of Merchan’s declaration, the fire was lit. With flames leaping toward the sky, police raced in to put out the fire with extinguishers. Emergency personnel were summoned and arrived quickly. EMT personnel took the man away on a stretcher. Vossoughian reported that the man could move his limbs.

“There was no threat to anyone else in the area,” Vossoughian reported. “He was standing alone. People were yelling he was on fire.”

Laura Coates from CNN , also reporting from outside the courthouse, watched the incident unfold:

“We have a man who has set himself on fire, a man has been emblazoned himself outside of the courthouse just now,” she shouted during a live report. “Our cameras are turning right now. A man has now lit himself on fire outside of the courthouse in Manhattan.

“We are watching a man who is fully emblazoned in the front of the courthouse today. We are watching multiple fires breaking out around his body and person. We have seen an arm that has been visible that has been engulfed in total flames. There is chaos that is happening. ... I’m looking across the corner, across the courtyard. There is a man racing towards him, there’s coats coming off to try to put out the fire.

“We have members of security details. NYPD is rushing to the scene. They are trying to come now ... officers are on the scene with fire extinguishers right now. They are trying to put this man out. They’re climbing over barricades to try to separate the public and put out the flames on this man. He has lit himself out in fire in front of the courthouse right now.”

According to The Associated Press:

Emergency crews rushed away a person on a stretcher after fire was extinguished outside the Manhattan courthouse where jury selection was taking place Friday in Donald Trump’s hush money criminal case.

No other details were immediately available from police.

It’s unknown whether Merchan, who is presiding over the case, Trump or the jurors were aware of the incident, which occurred amid heavy security. The jurors had been dismissed for the day.

“There’s some irony in the fact that in this heavily fortified courthouse behind us that someone was able to so easily self harm,” MSNBC legal analyst Lisa Rubin said from outside the courthouse. “With all of this spectacle and all this security around them — and to what extent the jurors are aware of this, we can’t say we don’t know, but obviously we want to. And after we come back from the break. If the proceedings are called, we’ll come back out here and we’ll share that as soon as we can.”

In the afternoon session, prosecutors will argue for the judge to admit prior acts by Trump that they believe are relative to the case. The hearing is designed to inform defendants of the scope of questions they could face from prosecutors on cross-examination if they choose to take the witness stand in their own defense.

Manhattan District Attorney Alvin Bragg’s office disclosed in a court filing that it would ask Trump about more than a dozen items, including a $464 million civil judgment against him and his company for fraud, $88 million verdicts and liability findings for sexual abuse and defamation in lawsuits brought by writer E. Jean Carroll, and a number of other adverse court rulings. Merchan will rule on what’s allowable.

One of the prospective jurors who broke down in tears told the court: “I feel so nervous and anxious right now. I’m so sorry. I wouldn’t want someone who feels like this to judge my case, either. I don’t want to waste the court’s time.”

The trial centers on a $130,000 payment that Michael Cohen , Trump’s former lawyer and personal fixer, made to porn actor Stormy Daniels to prevent her claims of a sexual encounter with Trump from becoming public in the final days of the 2016 race.

The AP contributed to this report. Our journalism needs your support. Please subscribe today to NJ.com .

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Max Azzarello, man who set himself on fire outside Trump trial court, dies

Police had earlier said the Florida man was being viewed as ‘sort of a conspiracy theorist’.

A man who set himself on fire outside the New York court where former United States President Donald Trump is on trial has died after suffering serious injuries, police said.

On Saturday, the New York City police department said the man, identified as Max Azzarello of St Augustine, Florida, was declared dead at a local hospital where he was taken for treatment after the incident on Friday.

Keep reading

Three key takeaways from donald trump’s iowa town hall, donald trump’s claim of absolute immunity rejected: what next, what is donald trump’s ‘hush money’ trial all about, how the world reacted to trump’s arraignment.

Police said the man, who was born in 1987, did not appear to be targeting Trump or others involved in the trial.

During the incident, which took place on Friday, the fourth day of Trump’s trial on criminal charges of falsifying business records, Azzarello threw pamphlets in the air before using an alcohol-based cleaning substance to douse himself and light the fire.

Police had said earlier that he was being viewed “as sort of a conspiracy theorist”.

Trump, the first former US president to face criminal charges, is on trial in connection with hush-money payments he allegedly made to adult film star Stormy Daniels.

Many police officers were present at the scene on Friday as part of the extensive security precautions to ensure the safety of the trial.

Journalists from across the world were also waiting outside the court, and some were live on air when Azzarello self-immolated.

Police had said the man had not breached any security checkpoints to access the park across from the court, and that he had recently travelled from Florida to New York.

Authorities said following the incident that they are reviewing security protocols and considering shutting down access to the park where Azzarello set himself ablaze. The side street where Trump enters and leaves the building is off-limits to everyone.

Man Sets Himself on Fire Near Courthouse Where Trump Is on Trial

Onlookers screamed as fire engulfed the man, who had thrown pamphlets in the air before he set himself aflame. He was taken to a hospital and died hours later.

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By Nate Schweber and Matthew Haag

April 19, 2024

A man set himself on fire on Friday afternoon near the Lower Manhattan courthouse where jurors were being chosen for the criminal trial of former President Donald J. Trump.

The man, who had lingered outside the Manhattan Criminal Courthouse earlier this week, doused himself with accelerant at around 1:35 p.m. in Collect Pond Park, across the street from the building. Onlookers screamed and started to run, and soon, bright orange flames engulfed the man. He threw leaflets espousing anti-government conspiracy theories into the air before setting himself on fire.

People rushed and tried to put out the flames, but the intensity of the heat could be felt from some distance.

After a minute or two, dozens of police officers arrived, running around and climbing over barricades to extinguish the blaze. The man was loaded into an ambulance and rushed to a hospital burn unit. He died on Friday night.

The New York Times

City officials identified the man as Max Azzarello, 37, of St. Augustine, Fla. Mr. Azzarello had appeared outside the courthouse on Thursday, holding a sign displaying the address of a website where the same pamphlets were uploaded. The top post of the website says, “I have set myself on fire outside the Trump Trial.”

Mr. Azzarello walked around Lower Manhattan earlier in the week, holding a sign on Wednesday critical of New York University at Washington Square Park before moving on Thursday to Collect Pond Park.

At the park on Thursday, Mr. Azzarello had held up various signs and at one point shouted toward a group of reporters gathered there, “Biggest scoop of your life or your money back!” One of his signs claimed that Mr. Trump and President Biden were “about to fascist coup us.”

In an interview that day, he said his critical views of the American government were shaped by his research into Peter Thiel, the technology billionaire and political provocateur who is a major campaign donor, and into cryptocurrency.

Mr. Azzarello said he had relocated from Washington Square Park because with the cold weather, he thought more people would be outside the courthouse.

“Trump’s in on it,” Mr. Azzarello said on Thursday. “It’s a secret kleptocracy, and it can only lead to an apocalyptic fascist coup.”

Mr. Azzarello arrived in New York City sometime after April 13, the police said, and his family in St. Augustine did not know about his whereabouts until after the incident. While Mr. Azzarello was recently in Florida, he had connections to the New York City area and worked for Representative Tom Suozzi during his 2013 campaign for Nassau County executive on Long Island.

A man at a Brooklyn address associated with a possible relative of Mr. Azarello’s declined to comment on Thursday.

Over the past year, however, Mr. Azzarello’s behavior appeared to become more erratic. He was arrested three times in 2023 on misdemeanor charges in Florida, and he posted online in August that he had just spent three days in a psychiatric hospital.

Later that month, while dining at the Casa Monica Hotel in St. Augustine, he threw a glass of wine at a framed autograph of former President Bill Clinton. He showed up to the hotel again, two days later on Aug. 21, stripped to his underwear and shouted profanities at guests while blasting music from a speaker.

Three days later, police arrested him for defacing and breaking signs belonging to several businesses. He took a pest control sign from the yard of one business that had warned passers-by to keep children and pets away for their safety. In comments to the police, he said that “the pest control company was there to exterminate children and dogs.”

His mug shot shows Mr. Azzarello sticking his tongue out.

In addition to his website, Mr. Azzarello was also active on social media, promoting anti-government literature on Instagram. Most of his online posts before the spring of 2022 were of his travels and his family, and he noted that his mother died in April 2022 from complications of chronic obstructive pulmonary disease.

About a year later, he posted a photo of what appeared to be his Covid-19 vaccination card — defaced with the words “Super Ponzi” and the symbol for Bitcoin.

People who witnessed the fire said they were in disbelief as they saw Mr. Azzarello, who was in an area of the park reserved for supporters of Mr. Trump, toss the pamphlets into the air and then flames shoot toward the sky. Mr. Azzarello, who was wearing jeans and dark gray T-shirt, fell to the ground amid the fire.

Some of the pamphlets referred to New York University as a “mob front” and also mentioned former President George W. Bush, former Vice President Al Gore and the lawyer David Boies, who represented Mr. Gore in the 2000 presidential election recount. Another pamphlet contained anti-government conspiracy theories, though they did not point in a discernible political direction.

Most officers who responded to the fire on Thursday ran from the direction of the courthouse, which is a couple of hundred feet across the street; some struggled to immediately reach Mr. Azzarello because of steel barricades in the park.

Al Baker, a spokesman for the court system, said the trial schedule would not be affected, though one court officer had been taken to hospital because of the effects of smoke inhalation.

Fred Gates, 60, said he had been riding his bike through the park when he stopped to watch the Trump supporters and saw Mr. Azzarello getting ready to light himself on fire. Mr. Gates said he thought it was a prank or a performance until he saw the flames.

Another witness, Gideon Oliver, a civil rights lawyer, said he saw smoke rising from the park and a court officer rushing from a building carrying a fire extinguisher.

“When I saw and smelled the smoke I thought someone, I assumed one of the pro-Trump protesters, had lit a fire in the park,” Mr. Oliver said. “When I saw police and court officers running, I then thought it might have been a bomb.”

Mr. Azzarello stood tall as he poured the accelerant on himself and then held a flame at chest level. As people nearest him fled, others cried out as they realized what he was about to do.

Screams and shouts — though not from him — filled the air as the flames consumed him and he slowly collapsed.

If you are having thoughts of suicide, you can call or text 988 to reach the 988 Suicide and Crisis Lifeline or go to SpeakingOfSuicide.com/resources for a list of additional resources.

Wesley Parnell , Alan Feuer , Chelsia Rose Marcius , Jan Ransom , Maria Cramer , Stefanos Chen , Nicholas Fandos and Dana Rubinstein contributed reporting.

Matthew Haag writes about the intersection of real estate and politics in the New York region. He has been a journalist for two decades. More about Matthew Haag

Our Coverage of the Trump Hush-Money Trial

News and Analysis

Manhattan prosecutors delivered a raw recounting of Donald Trump’s seamy past as they debuted their case against him, reducing the former president to a co-conspirator in a plot to cover up three sex scandals that threatened his 2016 election win. Here are five takeaways .

Trump has assembled a team of defense lawyers with extensive experience representing people charged with white-collar crimes to defend him. Here’s a look at his defense team .

With support from demonstrators in Lower Manhattan spotty so far, Donald Trump issued a call to “rally behind MAGA,” and suggested the poor turnout was a result of a plot against his supporters.

Video Shows Moment Man Set Himself on Fire Outside Trump Trial in New York, After Throwing Flyers

V ideos and photos showed the moment that an unidentified man set himself on fire outside the Manhattan courthouse where former President Donald Trump is on trial.

You can see some of the videos and photos throughout this article, but be forewarned that they are graphic and very disturbing. The man’s name has not been confirmed by authorities.

CNN confirmed with “two law enforcement sources” that the man “lit himself on fire outside of the courthouse” where the Trump trial is unfolding.

The motive is not clear, including whether his actions had anything to do with the Trump trial, although the man threw flyers in the air and left behind a manifesto, according to The New York Post. A witness told PIX11 that the man “made statements of a political nature” before setting himself on fire. It was not clear what they were.

According to the New York Post, the flyers linked to a Substack page that said, “I have set myself on fire outside the Trump Trial.”

The New York Post reported that left “a rambling, incoherent 2,648-word manifesto, a man who identified himself as an investigative researcher, Max Azzarello” and said the self-immolation was an “extreme act of protest” over a “totalitarian con” and impending “apocalyptic fascist world coup.”

The man is in critical condition, according to PIX11.

Here’s what you need to know:

The Man Threw Flyers in the Air That Said, ‘NYU is a Mob Front,’ Reports Say

According to CNN, the man “walked into the park across the street from the courthouse, throwing flyers into the air.” Again, CNN cited a “senior law enforcement official” the network did not name.

The man then “pulled something out of a backpack,” CNN reported, and “lit himself on fire.”

According to CNN, some of the flyers contained the words “NYU is a mob front” and contained accusations against the university.

The incident is reminiscent of the death of Aaron Bushnell, the San Antonio, Texas, U.S. Air Force airman who set himself on fire on February 25 outside the Israeli embassy in Washington D.C., and later died from his injuries. Bushnell shouted “Free Palestine” before setting himself on fire while on streaming video.

A Person Tried to Put the Fire Out With a Suit Jacket, Reports Say

https://twitter.com/simonateba/status/1781379969630814523

According to The Hill, bystanders tried to put the fire out. One person tried to “pat down the fire with a suit jacket, before another individual with a fire extinguisher put out the fire that way,” the Hill reported.

A video showed that moment as a man ran up with a suit jacket while the man lay twitching on the ground in the fire.

A witness told PIX11 News “they were standing next to a man when he poured a flammable liquid on himself, told her to stand back, and then lit himself on fire.”

Trump was made aware of the incident after it occurred, ABC News reported, citing a source, adding that the former president was inside the courthouse where a jury was selected.

The New York Post reported that the incident occurred around 1:30 p.m., right as Trump’s jury was selected.

READ NEXT: Maxwell Anderson, Milwaukee Man Accused of Dismembering College Student.

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The post Video Shows Moment Man Set Himself on Fire Outside Trump Trial in New York, After Throwing Flyers appeared first on Heavy.com .

A man set himself on fire outside the Trump trial.

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A House on Fire Essay
This short essay on the topic is suitable for students of class 6 and below. I quickly rushed out to see, a large number of people had already gathered there. Everyone was trying to put out the fire with water and sand. But this did not seem to help much. We heard many, screams from inside the house, which belonged to Mr. Williams, a shopkeeper.
Narrative Essay- Fire in our house
Narrative Essay- Fire in our house. Essay by car1a26, High School, 11th grade, May 2006 . download word file, 3 pages, 3.0. Downloaded 39 times. Keywords knowing, my head, covers, reflexes, tuesday morning. 0 Like 0 Tweet. At 2:00 A.M. on Tuesday morning, I was awakened by an uneasiness that was being caused by the hot temperature in the room. ...
450 words essay on A House on Fire
A house in my neighborhood had caught fire; people from the neighboring areas were rushing towards the house. They were pouring buckets of water to extinguish fire. Many people were throwing sands and dust over the fire. A few people were trying to control fire by throwing blankets on it. But the fire was ravaging.
Descriptive Essay on Witnessing a House On Fire
There was fire everywhere. The roof was on fire, the doors and the windows were on fire, fire was even coming out of the house through various openings, looking like a fire-breathing dragon was inside the house, puffing fire. The flames burned deep red and amber, almost livid purple as I saw various firefighters trying to put out the fire.
Home Fire by Kamila Shamsie Plot Summary
Home Fire Summary. Twenty-eight-year-old Isma Pasha is detained at Heathrow Airport, where she is held and interrogated for two hours, singled out specifically for her hijab and her Muslim background even though she is a British citizen. After officers question her on whether she considers herself British, she is allowed to board the plane to ...
Narrative Essay- Fire in our house
Lady Of Angels School Fire Essay. The Lady of the Angels fire was the worst school fire from Illinois history. This fire taught other schools in the future how to prepare for fires, and what is not safe to have in a school in the event of a fire. The fire killed many children and nuns in just two hours.…. 623 Words.
Narrative Essay- Fire!
Narrative Essay- Fire! Narrative Essay- Fire! The skies were painted into a blend of rosy pink to salmon orange. I admired the natural beauty in awe as the calm breeze caressed my face gently. After taking in some fresh air, I cleaned up and dressed up for the day and went downstairs. My father was reading the newspapers one Sunday morning.
Man sets himself on fire outside Trump courthouse
Published: Apr. 19, 2024, 1:42 p.m. New York Police officers inspect a backpack left at the scene where a man lit himself on fire in a park outside Manhattan criminal court, Friday, April 19, 2024 ...
Florida man dies after setting himself on fire outside of Donald Trump
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Short Essay on a House on Fire [100, 200, 400 Words] With PDF

Table of Contents

Short Essay on a House on Fire in 400 Words

Short Essay on a House on Fire in 200 Words

More from English Compositions

Essay on A House on Fire

100 Words Essay on A House on Fire

The Brave Firefighters

The Aftermath

250 Words Essay on A House on Fire

The Awakening

The Battle Against Time

Reflections

500 Words Essay on A House on Fire

Physical Manifestation and Impact

Psychological Implications

Sociological Perspective

Fire as a Metaphor

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The Terrifying Experience Of A House On Fire: My Personal Account

A House On Fire

The Start Of The Fire

The Fire Spreading

The Aftermath

Fire Prevention And Preparedness

FAQ’s On A House On Fire

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Historical Context

1. Historical Context

Order and Disorder

Communication

3. Essay Planning

Question 1: ‘Gender plays no role in the tragic identities of the characters in Like a House on Fire.’ To what extent do you agree?

Body paragraph 2:

Body paragraph 3:

Question 2: ‘Like a House on Fire shows that family relationships are never perfect.’ Do you agree?

Beyond the Basics:

4. Essay Topics

5. Resources

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[Video Transcription]

Essay Topic

‍ Step 1: Analyse

Step 2: Brainstorm

Step 3: Create a Plan

‍ Body paragraph 1:

Body paragraph 2:

Body paragraph 3:

Dissecting the Prompt

Detailed Plan

First paragraph

Second paragraph

Third paragraph

💭What's the essay topic type ?

💭 What are the question tags ?

💭 How do I ensure I respond to each keyword ?

5 Tips for a mic-drop worthy conclusion

2. Don't tell the reader you are concluding!

3. Rephrase, not repeat

4. Keep things short and sharp

5. The last line is where you get to really shine

2. Historical Context

Task: You are Ida, composing a letter to Julia Marai after Frank’s diagnosis. Convey succinctly (in 250 words or less) what you think and how you feel. ‍

Task: Selecting one of the above themes, write a poem from the POV of an imaginary spectator in the novel, outlining how you perceive/experience these themes in other characters. Use all five senses(how you see it, hear it, smell it, taste it, and touch/feel it)

Task: You are Elsa, Ida, or Meyer and you’ve just discovered Frank’s poem book. What are your thoughts and feelings towards his writing? Consider the context of your chosen character’s own experiences

Task: Pick a minor character from this list and a character from the above list of major characters, and write about them meeting each other for the first time. Pick two that do not already interact closely within the novel e.g. Elsa meeting Sullivan

Dissecting an A+ Essay using 'The Golden Age'

Planning: the silent killer of A+ essays

The introduction: how to start your essay off with a BANG!

The body paragraphs: To TEEL or not to TEEL?

The conclusion: closing the deal

The Golden Age Essay Topic Brainstorm

Essay topics

3. Character Analysis

Michael Mompellion

Elinor Mompellion

Anys and Mem Gowdie

Josiah and Aphra Bont