TRUE HISTORY OF THE KELLY GANG PDF
This paper attempts a psychoanalytic reading of Peter Carey's True History of the Kelly Gang() and particularly the ways in which Ned Kelly engages with. This thesis examines Peter Carey's reimagination of the Kelly myth in True. History of the Kelly Gang (). It considers our continued investment in Ned. Unit of work for Year 11 by Josie McKinnon and Rose Kerin on True History of the Kelly Gang by Peter Carey.
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I lost my own father at 12 yr. of age and know what it is to be raised on lies and silences my dear daughter you are presently too young to understand. First published in , True History of the Kelly Gang by Australian author Peter protagonist Ned Kelly - the famous Australian bushranger and one of. The True History of the Kelly Gang Study Guide - Download as Word Doc .doc /. docx), PDF File .pdf), Text File .txt) or read online. Study notes for English.
Look Inside Reading Guide. Reading Guide. Dec 04, Pages Buy. Dec 18, Pages Buy. Dec 04, Pages. Dec 18, Pages. To his pursuers, Kelly is nothing but a monstrous criminal, a thief and a murderer.
Paperback —. Buy the Ebook: Add to Cart. Also in Vintage International. Also by Peter Carey. Product Details. Inspired by Your Browsing History. Author Essay On publication of True History of the Kelly Gang , Peter Carey compiled a series of archival photographs that were pivotal in his imagining of the characters and the moments of the novel.
Related Links Contact us about speaking engagements with Peter Carey. Related Articles. Looking for More Great Reads? Download our Spring Fiction Sampler Now. Download Hi Res. True History of Kelly Gang exhibits many qualities of traditional picaresque novel. Ned Kelly, the protagonist of the novel is a rogue, a highwayman, a bushranger and a convict. Like a true picaro his life is series of misfortunes. He loses his father at the age of twelve and is abandoned by his mother to become an apprentice of notorious bushranger Harry Power.
Though he tried to eke out an honest living, he was falsely charged with stealing a horse. But the fact is that his friend Wild Wright sold him stolen horse without his knowledge. This led to his arrest and imprisonment for three years. Here he has a glimpse of the cruelty of the state.
He gradually descended into crime and cruelty in later period. The vileness and situation of the society led him into this world. Kelly could not stand this dishonor. So Ned shoots him in the hand in self-defense. This led to his another arrest. After that Kelly was arrested several times. His request to listen to his views was thrown to the winds. Offense, be it minor or major ultimately landed him to prison; the officers perpetrated oppression on him. They got inhuman treatment from the officers.
The final section is really pathetic. It shows how the local schoolmaster Thomas Curnow ultimately betrays Ned. In the encounter between police and Kelly Gang, Ned was severely wounded and captured.
Other members were killed. There is no mention of survivors. Possibly, these point to the fact that authority wants to suppress its heinous actions. She twice widowed and once abandoned. She was around many suitors beside her husband.
After the death of her husband, Red Kelly she takes seriously the role of paterfamilias. He returns her loyalty with gifts of food, livestock, and a new shelter at Eleven Mile Creek, the family homestead.
At a critical point in her animosity toward police www. She has sentenced three years hard labor for try to kill Constable Fitzpatrick. Mary Hearn, the next important female character witnesses the predations of disguised Irish Lord Hill. The men continue berating the agonized horse for stealing Ireland from the Irish.
By morning, the horse carcass bears the evidence of a protracted maiming. Mary uses the story as proof that terrorism brings more misery on a subject people. The novel is written in realistic tradition like any other picaresque novel. The famous Jerilderie letter was one of the main sources of inspiration to the novelist which he came across in mid , in which historical Ned Kelly recorded his own account of his action. Carey keeps specific elements of the Jerilderie Letter, adapting sections to fit his own accounts of episodic structure of the novel.
But whereas the actual Jerilderie Letter was addressed to a contemporary newspaper audience, and possibly to the future, Carey changes the intended audience of his invented version. This narrative may be addressed to the daughter he will never meet, but Ned writes in the belief that he will meet her, and be able to re-read what he has written Carey McCrum, The Guardian The theme of Carey is concerned within True History of Kelly Gang which are complex, and any attempt to state them will be even more incomplete since Ned speculates at one time or another on nearly every aspect of human life.
On an impersonal basis, it is brotherhood and community with all men. In the typical picaresque genre, it assumes that the picaro cannot love does not mean that he has no emotions for his fellows.
Traditional picaro has a capacity for empathy born of his struggles; in this way, he gains the knowledge of the ways of the world. He is capable of limited companionship without strong obligations. It is because he feels he must retain his freedom if he has to win in his fight for survival. On this regards McCullough argues that the picaresque hero should not be scrutinized too closely.
True History of the Kelly Gang uses these forms of picaresque and epistolary genre: The novel comprises thirteen chapters in the form of parcel, traces the chronological development of the protagonist, Ned Kelly. There are short summery at the beginning of each and every chapters. Using all these genre modes, True History of the Kelly Gang not only re-writes a national icon; it effectively re-writes the founding elements of the English novel tradition.
Ned speaks directly, with a fervour that embodies his reckless character, and this creates a sense of narrative urgency enhanced through minimal punctuation, as in the headlong opening: As Kenny points out, cross-dressing within such groups was not merely an incidental feature but in fact had many implications for gender and the distribution of power in eighteenth- and nineteenth-century Ireland: But if sex was not being questioned, gender and other forms of social hierarchy were.
In societies where the word 'woman' often signified the passionate, the disorderly, the violent and chaotic side of human nature, temporary assumption of women's identity by men was fraught with significance. Croom Helm, , Zemon Davis agrees that the "carnival right of criticism.
Mollies Down Under both men and women in a society that allowed the lower orders few formal means of protest. As Andrea Knox attests, sixteenth- and seventeenth-century English colonial documents portray Irish women as "dangerous, barbarous and pestiferous" and as "politically subversive. When the Whiteboys cross-dressed, argues Luke Gibbons, they participated through a "transgressive" act in the shaping of a nonpaternalistic form of early Irish nationalism, especially through their use of "incendiary images" of the "enigmatic female figures" who played such an important role in the "imagination of the peasantry.
Given that sumptuary legislation from the Middle Ages through the seventeenth century set the rules for appropriate dress not just for men and women but also for different ranks and professions, one might see die violation of gender rules for dress as a refusal to keep to one's "assigned place" in the hierarchy also in terms of social rank and power.
It mobilized images of Irish womanhood that stood for resistance, protective motherhood, and collective identity. Soldiers, New Women and Wiciied Ha,gs, cd. Louise Ryan and Margaret Ward Dublin: Irish Academic Press, , In particular, Kno. Luke Gibbons Cork, Ireland: Routledge, , 3; Bullough and Bullough, Cross Dressing, Routledge, , Still, they can help us see the connections between gender and nationalism in Carey's novel, especially given the historical and socioeconomic points of connection between the Ireland ofthe Whiteboys and Molly Maguires and Ned Kelly's Australia, even beyond the simple fact ofthe Irish origin of much Australian settler immigration.
The many paral- lels suggest that communal "peasant" protest may have similar functions and meanings in the two places and may help to establish the significance of Carey's addition of the Sons of Sieve to the Ned Kelly story. There are many parallels between the social contexts of agrarian protest in eighteenth- and nineteenth-century Ireland and Ned Kelly's Australia. Kenny points out that the Molly Maguires in Ireland operated according to a code of morality that was often at odds with official or legal culture: Catholic, and Irish.
In Ireland, as in Australia, religious difference was a corollary of wealth by ownership of land. A pivotal issue in many Irish agrarian protests was the enclosure of common land used by poor tenant farmers and labor- ers and its conversion to pastureland for the wealthy Tithes were extorted, rents were raised, and livestock that trespassed onto enclosed land were impounded, with steep penalties to be paid by those who could ill afford the cost.
Whiteboys, Molly Maguires, and other agrarian protesters tore down fences enclosing common land and drove off or attacked the sheep, cattle, or deer that were pasturing there.
W Moody and F. Martin, eds.. The Course of Irish History, rev. Cork, Ireland: Mercier, , Mollies Down Under The Victoria colony of Austraha during Ned Kelly's lifetime was also experiencing a class war and "decades of social antagonism" over land and resources, in this case between squatters and selectors, in a pattern that resembles the enclosure system in Ireland. In the s and s these holdings were formalized, and squatters obtained legal rights to the lands either as leaseholders or owners and often became quite powerful.
In schemes designed to "settle the small man on the land" and encourage agricultural development a series of land acts from to set aside large areas of land that could be selected at one pound per acre. Powell writes: Bob Reece notes: OpenDocument accessed 18 December Currawong, , Powell, ed.
The True History of the Kelly Gang Study Guide
Oxford University Press, , Transportation to Australia was a common punishment for Irish Whiteboy activity and other social and political acts of protest. Convict Lives in Ireland and Australia, ed. Bob Reece Basingstoke, U,K,: Clarendon, , , " The task is made especially difficult given that almost all criminal and convict transporta- tion records in Ireland were destroyed by fire in , See George Rude, "Early Irish Rebels in Australia," Historical Studies 16, no, 62 The social and economic circumstances among the Irish selectors in Australia were ripe for at least the motivation for action if not the use of the full symbolic trappings—that is, the cross-dressing and other ritual ac- tions—of tiie Whiteboys and Molly Maguires.
Whether the organization and rituals of agrarian protest survived transportation to take root in Australia is unclear. Shaw proposes that the Whiteboys who rejected the social order in Ireland "showed themselves ready enough to accept the different one which prevailed in Australia.
The Report of the Royal Commission of Enquiry into the Circumstances of the Kelly Outbreak in Victoria from claimed that John Kelly had been transported from Tipperary to Australia in "for an agrarian outrage, stated to have been shooting at a landlord with intent to murder. Studies in Cultural and Political History, ed. Oliver MacDonagh and W. Mandle London: Angus and Robertson, , xi. Reece argues, however, that the intense climate of political Whiteboy activity in John Kelly's Tipperary should still shape how we view him: He certainly drew authority for his cause from the image of his widowed mother and her persecution by the Victoria police—a technique demonstrated by agrarian protesters as they put their struggle in the context of Irish cultural symbolism.
The catalyst for the formation of the Kelly gang and their battle with the police was Ellen Kelly's arrest on the likely exaggerated, if not fabricated, charge of aiding an attempted murder against Constable Fitzpatrick.
Ellen was jailed with her infant daughter, Alice, and their persecution provided Ned and his cause with rhetorical power: His fictionalized account accentuates the fact that Ned stayed in Australia out of loyalty to his mother but at the cost of his relationship with Mary and his own life —almost as if he had pledged to her an oath, such as those used by agrarian protesters.
Ned's mother functions in Carey's story as the iconic widow overlooking and authorizing Irish protest—albeit a tarnished, not ideal, figure. The two surviving documents from the historical Ned's hands, the Cameron and Jerilderie letters, also echo the rhetoric used by the Whiteboys and other agrarian protest groups to intimidate botli their enemies and the community they wished to bind to themselves. Beames recounts that "threatening letters and notices were the essential methods by which the Whiteboys communicated their objectives, warned their enemies and proclaimed the justice or 'legality' of their proceedings.
True History of the Kelly Gang
Hearne, , Mollies Down Under In the Jerilderie letter he threatened potential traitors with these words: I shall be compelled to make an example of some of them if they cannotfindno other employment. Of Irish convicts transported to Australia he said: The foregoing discussion helps to establish a basis for understanding the background context for Ned Kelly's generation and for seeing the Sons of Sieve in Carey's book as imaginatively possible in Australia in the nineteenth century.
The shared social and economic conditions between agrarian peasant culture in Ireland and Ned Kelly's Irish Australian selec- tor culture make comprehensible both the communal loyalty in Kelly's society and the place that ritual has in it. I return now to the dynamics of gender, sexuality, and nationalism that Irish agrarian cross-dressing reveals and demonstrate how that analysis can help us to understand the construction of Australian national identities. I first address how anxiet- ies about sexuality have shaped Australian responses to the Ned Kelly mythology and then proceed to an examination of how Carey's evocation of Irish agrarian cross-dressing makes of his novel a profound challenge to Australian heteromasculine national identities.
Postcolonial revisionary work often addresses pardy buried cultural and social anxiedes. In his novel Carey exploits the gender-bending possibilities of the Kelly legend and of masculine and feminine identities available in Australia in the s and s. He has as his key resource a declaration, contained in official police records, that Steve Hart, a Kelly gang member, was known to wear women's clothes.
The True History of the Kelly Gang Study Guide | Crimes | Police
Kenneally described it in , Steve Hart "appears to have been possessed of considerable courage and " Kelly, Jerilderie Letter, 49, , So successful was this disguise that he was taken to be one of the Kelly sisters, and the police attributed many of his daring exploits to Kate Kelly.
Kenneally's description, quoted above, served as the caption for the catalog in which one of Nolan's paintings of Hart, en tided Steve Hart Dressed as a Girl, was reproduced. Nolan's comment for the Australian National Gallery, given at the time these paintings were first exhibited, reads: Carey's provocative representation of cross-dressing and the Kelly gang, then, joins a long-standing debate. That debate took a new turn in , when the journalist Sidney J.
Baker in his book The Australian Language said of Ned and his gang in a parenthetical remark, "After examining all of the relevant evidence, I have litde doubt that they were a group of homosexuals.
Nolan's title for the version of this painting, Steve Hart Dressed as a Girl, points up the image's function as gender inversion rather than simple costuming. Rosenthal calls "a touch of glamour"—in comparison with the plainly titled Steve Hart, in which Steve sports a moustache and less intense facial expression. During an interview Nolan, however, apparently "shrugged off the possibility of any sexual significance" and maintained that the costume was simply a useful disguise for eluding police Rosenthal, Sidney Nolan [London: Thames and Hudson, ], In an interview with Carey he remarked: Australian National Gallery, , Then they went off in his cart and robbed the Euroa bank.
The latter, in effect, is impossible to determine, and I believe an attempt to determine it would be wrong- headed.
What matters is the profound role such cultural anxieties can play in the establishment of a national identity, especially a popular identity tied so closely to the legacy of an historieal figure. Carey's literary precursors have dealt with this legacy in a variety of ways that can only be briefiy touched upon here. Kenneally's historical study of the gang, perhaps not unexpectedly, omitted any reference to the perfiime and referred only to the thefi: McQuilton's account quotes Mrs.
Scott, a witness at one of the gang's holdups, who reported that the gang stole new suits of clothes and "white handkerchiefs, highly perfiimed, and they looked very respectable and no doubt would have been the admiration of the girls at Greta.
A Short Life, acknowledges the wearing of perfiame but then emphasizes the number of women who may have spent Ned's last evening with him and explains the same-sex dancing thus: Later, perhaps while Joe was dancing with Jane or her mother, Dan invited Curnow to join him. Allen Lane, , Pan Macmillan, , Any of the old lags give you a try?
Interestingly, this film version adds in cross-dressing where it does not otherwise appear in the historical record: Joe dresses as a woman to lure Aaron outside his house before he shoots him for being a traitor. Scent wearing and same-sex dancing may well have been common masculine practice at the time, but it is a mark of Carey's playful project here that he takes advantage of the modern campy meanings for such acts and of the gang's reputed flamboyance.
True History of the Kelly Gang abounds with references to high-heeled boots and the gang members' penchant for new outfits, "flashy" horse riding, and the affectation of wearing their hat straps under their noses.