Whilst individual experiences of landscapes are diverse, there are often representations of archetypal figures that relate to all. These figures, crafted articulately through composer manipulation, profoundly impact one’s relationship with their landscape, shaping their identity and perspectives. Established almost immediately, Toibin characterises the imperious Miss Kelly as a power-driven matriarch produced by her stagnant surroundings. Through an economic use of dialogue, particularly in, “Now, she said”, the composer creatively asserts the timeless universality of this character, allowing responders to more richly engage with the Irish cultural novel presented through relating their own experiences. Eilis’ conformity under Miss Kelly’s demanding persona further contributes to the integrity of the text.
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Likewise, Sally Morgan’s autobiographical text communicates archetypal experiences as deeply impactful in one’s connection to landscape, relating the experiences of her grandmother and mother to responders disowned or rejected. Through the irony of her mother’s woeful confession, “It was only a little white lie,” Sally powerfully concedes such emotional strain experienced by all people and landscapes today, evidently impacting Gladys identity as an Aboriginal woman. These synonymous experiences are further revealed as Sally herself recognises the futility of her Aboriginal discovery, as her sister provides revelation, “It’s a terrible thing to be Aboriginal. Nobody wants to know you, not just Susan.” Indeed, the naïve innocence portrayed through Sally’s disbelief ultimately conjures a sense of reality among responders, whom subsequently relate issues of refugee displacement, homeless and those victimised by world devastation
Likewise, Sally Morgan’s autobiographical text communicates archetypal experiences as deeply impactful in one’s connection to landscape, relating the experiences of her grandmother and mother to responders disowned or rejected. Through the irony of her mother’s woeful confession, “It was only a little white lie,” Sally powerfully concedes such emotional strain experienced by all people and landscapes today, evidently impacting Gladys identity as an Aboriginal woman. These synonymous experiences are further revealed as Sally herself recognises the futility of her Aboriginal discovery, as her sister provides revelation, “It’s a terrible thing to be Aboriginal. Nobody wants to know you, not just Susan.” Indeed, the naïve innocence portrayed through Sally’s disbelief ultimately conjures a sense of reality among responders, whom subsequently relate issues of refugee displacement, homeless and those victimised by world devastation