Changing Landscapes of work (Argument Synthesis) Essay

Changing Landscapes of work (Argument Synthesis) - Essay Example It is also expected that the American workers would migrate to other countries in search of better and well paid jobs but only the best ones would be able to fit into an organization. New jobs would not require much physical ability it will have to be brains and brains only, it is also expected that the old American workforce and women would continue to struggle to get into decent organizations. Exporting jobs to Asian countries has become a very popular trend and this trend is expected to continue, it is expected to continue because American workers ask for too much compensation when compared to the workers in Asia, this makes the decision very simple and straight forward for the employers. The same work is being done in countries like India and Singapore for far less than in America. Low-skilled labors will be affected the most, globalization has already taken a toll on them and they have to be content with subpar wages and this is expected to continue. There is a lot of competition when it comes to the low-skilled or unskilled American workers and this competition is expected to get even fiercer. The students would inevitably have to change their career plan because a lot of changes are going to take place in the near future. Specialization and specialized courses would be preferred and would become more rewarding in the near future. America is getting older and this will be a problem in the future. Baby boomers would refrain from retiring early because they would keep looking for external sources of income and this is going to affect the economy on the whole. Technology is getting better with each passing day and sophisticated technology is going to take away several jobs in the future, it has already taken away jobs in the past. For instance, an automated voice on the telephone was earlier recorded by Indian

Case Assessment Guidebook Essay Example | Topics and Well Written Essays - 1500 words

Case Assessment Guidebook - Essay Example This study of the criminal profile and behavioral patterns of the criminal assists the investigator in distinguishing him from the rest of the crowd to create the initial suspect list which is the first step in the investigation. Criminal profiling helps in narrowing down the list of suspects in any major investigation. Based on certain studied and proved facts which point to a specific type of crime like a serial murder or offender the clues are studied to identify the person or group, the gender, race and social status of the criminal which help in identifying the person faster. The first stage would be to make sure that a crime has been committed or not and if so the type of crime has to be determined followed by the study of the crime scene to determine the nature of the killer. This evidence is then presented in court which involves an in-depth look into the behavioral profile at all stages which could be interview techniques, lie detection etc. To study the behavior patterns of a particular suspect it requires a sound knowledge of psychology and law at the same time. The motive which plays a key role comes into focus when we start looking into the criminal psychodynamics and psychopathology. The important factor to be kept in mind is the fact that there is no common profile for any type of criminal as each one is a different individual and unique in their own manner. To be close to accurate in the profiling the investigative information has to be faultless. This information coupled with the FBI’s massive database on criminal behavior offers a dis tinct analysis of the behavior profile of the criminal. There are two ways of profiling it could be inductive and deductive reasoning. Inductive is based on the fact that a particular type of crime e.g. serial murders have a behavioral profile that would be similar to all such

Human sex trafficing in united states Research Paper

Human sex trafficing in united states - Research Paper Example As the name suggest it need not involve a movement to another location , even the street prostitution or any form of sexual exploitation come under this crime. Human sex trafficking is an insult to humanity and need to be abolished for a better world. ( Thesis) According to (Polaris project,2014) â€Å"Sex trafficking occurs when people are forced or coerced into the commercial sex trade against their will.   Child sex trafficking includes any child involved in commercial sex†. The sex traffickers usually target people who have vulnerable backgrounds like poor, orphans, abused people and children. They trap their victims by false promises, threats, lies, force or control. Sex trafficking happens in brothels, hostess clubs, online escorts services, strip clubs and in street prostitution. Since the money involved in this trade is high the victim indulges in it for benefits. The human sex trafficking need to be fought from the root and this is not an easy task. Many women from third world countries are pushed in to sex trade daily from which they cannot escape. Human trafficking is a challenge for government authorities nowadays and it not an easy task to stop it as the activity has assimilated in to the society in a complex way Human trafficking is a result of weakness and helplessness rather than a voluntary activity. Human sex trafficking is an evil that has many reasons .One of it is poverty and can be seen that many victims of human sex trafficking are poor people. People living in extreme poverty are given hopes of well paid jobs and are trapped in to this commercial trade. The person making the promises is a trafficker which the victim is not aware of. They are transported to a foreign country and then sexually exploited. Another reason for ending in this trade is due t o debt which they are unable to pay off. For the need of money they get trapped in false promises and opportunities. Money is always a motivator for all the crimes and human sex

Dance Critique Essay Example for Free

Dance Critique Essay Late last Saturday day night, on April 14,2012, I attended the very first dance concert at John Anthony Theater at Collin College Spring Creek Campus. This concert was performed by Collin Dance Ensemble, which is a vibrant company that performs innovative contemporary modern dance. Their goal is to produce dance works at the highest level of artistic excellence. The dance company attends and performs at the American College Dance Festival annually and has been selected for the Gala Performance at the regional festivals sevens times. At 7:30 pm, people started walking in to the theater, just a few minutes after, the audience seats filled with the crowed people who come to support the dancer, or maybe interested in dance performance, and mostly have â€Å"dance appreciation fever† like me. After the introduction of director, all the lights dimed down and the curtain slide up. The light focuses in the middle of the proscenium stage where there are group of seven dancers sat down in the middle of the stage ready to perform. They started it off with the piece called Friendships that was choreographer by the Chair of Dance Department and also a director of Collin Dance Ensemble, Tiffanee Arnold. Under the direction of Tiffanee Arnold, Collin Colleges Dance Program has gained the reputation for excellence in dance education, choreography and performance. Music is Sinking Friendships by Jonsi, this piece was kind of bored to me as an unprofessional audience to really understand the concept of every part of the story they tried to tell. Not very clear, but I can point out some of the movement of the dancer described the image of friendships such as holding hands and dance in circle as a group. And it was ballet so I’m not very interested. Outside topic, the theater was freezing cold. I try to concentrate to the performance to forget the coldness. The Time Between choreography by Reyna Mondragon is one of my favorite piece of the show. There were many of interesting parts, there were people ran across the stage back and forth while few others were illustrated the movement of time. The dance used running motion to create tick tick tick moves, it looked kind of cool to demonstrate the clock ticking. Through the music by Clint DiFranco, Welcome to Lunar Industries, this piece is very modern. I love how to change the speed now and then during the performance. They just went freestyle in the climax of the song; there were a lot of running and walking movements, jumping, exciting and then they cut it out the slow motion dance with rhythm and powerful moves. People still ran across the stage, in my opinion they say that does not matter what’s going around you, time keeps running and life goes on. So far that night, one bored me and one got my attention to the show. Here comes the solo of Jake Harkey, the only male student in the group, performed Unseen Injuries by Tiffanee Arnold. This dance is in support of Collin College’s Center for Scholarly and Civic Engagement Book-In-Common: Soft Spots by Clint Van Winkle. And also it was inspired by several passages in the book, in particular: â€Å"But nobody talks about the mental wounds. It is the unseen injury that slips through the cracks, leads people to drinking, puts pressure on spouses, and causes healthy men to call the fire department for host symptoms. You are suppose to about-face and forward- march, forget about the war as soon as you get home, take 800 mg of Motrin and carry on like nothing ever happened. But how was I supposed to let go when I was reliving it every day? † (p. 137; C. Van Winkle). One soldier, one person stood still in the middle of the stage. He was on the basic training clothes letting all the extensive madness out of his head. He raised the hands to try to reach out a reality of peace. Sometimes, he look back at what he had done as a soldier and all the images of war come back in his mind. The stress out anger movement was dynamic with the vocal sound. I can feel the pain through what he wanted to tell. He used wide range of space to show the falling and depression. He nailed the part wonderful as a college student. The one-foot stand come up to me as unbalance mind of a soldier in the war. Growing up in a country had a long history of fighting in war, I learn and see a lot about the soldier that come back from the war through real life and books. I can see in them not only the physical pain they had been through but also the spiritual scar that the war had impacted in them. I think that is why this piece Unseen Injuries gets my intention the most. The obsession will follow them for the rest of their life. Narrative modern dance described the feeling of those soldier had been yearly in war. The performer was success to send out emotion of a soldier after war. It would seem sadly they are often overlooked impacting not only the injured but their friends, families and wider communities. Those with psychological trauma can go undetected and it can be years before medical treatment is sought. Tiffanee has a great choice on music of Message in a Bottle: Nancy’s Letter. Farewell Nancy by Ed Harcourt is very romantic and particular fit in the motif of this dance. I see a lot of dancing on ground level to create the sea scene. Soft and flexible are the word to describe their actions. The music inspired me to more focus on the dance. It represents the emotion of the main character want to see her lover so badly in distance relationship. And she also is a quite entertainer with piece Can’t Shake It. It got people excitement by their funky dance moves on those fluffy dresses. The audiences included myself were very enjoyable in this song. They showed that they couldn’t shake most part of their body from their trunk to head. Shame face and frustrated movements revealed to be ashamed part of their body couldn’t be shake. I think the dancer also enjoy themselves in such a piece. The performer are all college student so they were bit lack of perfection timing with each other and the steady movements which required in most ballet pieces. They were connected to the audience strongly in Scars, strong movements and ran toward downstage at the end. I would they were success to give out the message of each piece to me as the audience. Just a few was kind of bitter to figure out. I was born in 90s so ballet and jazz were not my type of entertaining dance. It is little bit far from my generation. But modern is more enjoyable to me. I like to move fast with rhythm especially hit all the beat of the music is way cooler. I don’t know any of Jazz moves in there cause I cannot tell. One thing I saw a lot that the modern and ballet, those dancers use many of motif manipulations such as incorporative with the turn and jump, repetition, levels (ground, middle, high jump), rhythm was actually the part that I pay attention the most. Overall the concert was very great to me. Couple piece I did not understand what they try to say at all or I just did not be interested. Through all pieces by Tiffanee Arnold, I see that her choreography always tell a story along the dance. There is always something meaningful and deep down inside the performance that she wants the audience to see the piece and later on cautious thinking the background story.

Why Christians Oppose Abortion :: Papers

Why Christians Oppose Abortion Abortion, the termination of an unborn child from a pregnant mother, is a topic that which has raged on for hundreds of years. Two sides to the idea exist. Pro-choice groups are for abortion, or the choice of the mother. Pro-life groups are against abortion or for the life of the baby. Yet why is it that pro-life groups are mainly made up of practising Christians? Many Christians oppose abortion because they few unborn babies as humans and therefore view abortion as murder. Strong pro-life activists may believe that life starts as early as conception and views contraceptives such as the pill as abortion. Less strong pro-life people may view the start of life later. Despite this variation in perception, all pro-life activists will view the start of life as pre birth, and that abortion after their perception of the start of life as murder of the child. Some pro-life supporters would not always view abortion as wrong and certain groups promote abortion providing it is only used when it threatens the life of the mother. There are hundreds of beliefs about when and when not abortion should be used among liberal pro-life supporters but the basic idea is that abortion should only happen if it would seriously affect the mother to have a child. Other Christians are for abortion because they believe in the right of the mother. They believe that god made humans free and the mother should be free to choose whether or whether or not she as a baby. They say that the mother should have the choice because the baby will have a massive immediate affect on her life. They argue that women who want abortions would not appreciate a child and that that child would not have a happy life. They also argue that women who have children when they are too young will wreck their entire working life because they would be unable to study and bring up the child and would not make friends or have a social life.

Why Accountability Is Important

Why Accountability Is Important It is important to note first, what accountability is. I will state why it is important as well as go over scenarios in dealing with accountability. Accountability means being liable to being called to account; answerable. A good military definition of the word would be and usually means to be liable for paperwork and or property, and personnel; usually of lesser grade and rank. When dealing with army leadership and duties; being a soldier and or a leader means being accountable for what you do or don’t do as well as implied duties and responsibilities.As a leader, being one means to be accountable not only for one’s actions, but for the actions of the soldiers for which you are assigned. One is to be accountable for equipment that is assigned to one’s-self as well. The department of defense states and defines accountability to be an obligation imposed by law or lawful order or regulation on an officer or other person for keeping a ccurate record of property, documents, or funds. The person having this obligation may or may not have actual possession of the property, documents, or funds.Accountability is concerned primarily with records, while responsibility is concerned primarily with custody, care, and safe-keeping. But again, let us not get the definitions confused. The term accountability differs from the term of responsibility. There is a big difference. There are reporting procedures and processes for recording and accounting for personnel and equipment. There are different types and ways of reporting within different sizes and types of elements of a command.There are also ways in which one will report to one who is in a designated duty position and or of higher rank and grade within different elements of commands. The ways in which a soldier may report can be orally or written in order to account for property, equipment, and or personnel. Soldiers must always be accountable for their actions. For every action there is a reaction. Soldiers are to be held to accountable for their actions because they represent the United States of America within the states as well as overseas in other parts of the world.Sometimes, we are the only source of information as to how people may think what our behavior is and how all other Americans may behave in their own country based off of even one soldier’s sole actions whether negative or positive. We must be accountable for what we do or don’t do. If we, as soldiers, are assigned a task that is to be completed, but we fail and do not get it accomplished, then we have to account and answer for it. If we lose a piece of equipment, it becomes lost or destroyed, we have to be held accountable for it and solve the problem to correct the situation however it may need to be corrected.Mission readiness is the answer to why accountability is so important. We must accomplish the mission at all costs with the least amount of loss whether it be so ldiers or equipment. Without all of the soldiers or equipment present the mission may not be able to be accomplished. Even if only one soldier or piece of equipment is not present the mission may not be fully capable of being accomplished as the lack of either one would be detrimental to the mission.If a piece of equipment or a soldier is not on time at the start or finish of a mission, it may determine the outcome of the mission in regards to it being accomplished and a success or not. Either way, to be accountable for the pieces of equipment or the lack of soldiers present means providing an answer to someone else whom will have to be accountable for them to another. One will wish to know why a mission was not accomplished. A superior ranking individual will wish to know for sure. One who is accountable must have an answer.If we are not held accountable for our actions then someone else takes the blame or we never except responsibility for them and may become a pattern. If this ha ppens, then we cannot correct the problem that causes the accountability error from the start. This would be due to a cognitive lethargic display of thought processes and or apathy. If it is not the sole cause, but a contributing factor then other problems that affect a soldiers or leaders life may be the main causal factor in not being held accountable for their actions. Someone is always accountable and answerable to the next one in a chain of command.When the answer is needed, an entire chain of command as to why and how a mission did not attain a status of successful or completed, it affects the entire chain of command and the army itself when you really think about it. One could debate about it in regards to the butterfly effect; or the chaos theory. The theory that one small move such as the flap of a butterfly wing or a car accident effects all of us on a world-wide level even though it may seem miniscule in nature. Leaders must be accountable for discipline, leadership, and training of the soldiers.While soldiers are accountable for their actions, equipment, and sometimes when directed, the actions of others; so are leaders for their subordinates actions and so forth up the chain of command. This is all an example of accountability. If we did not have this accountability in process as a standard in the United States Army then we would not be the successful fighting force that we are today. Leaders are under the most stress as they are held accountable for more actions than their soldiers. They are also responsible for training and mentorship of soldiers.They must lead and develop them to become better soldiers and future leaders themselves. Leaders have many duties and responsibilities that they must be accountable for. Keeping accountability of not only people, but equipment also helps cut down on waste. Fraud waste and abuse is a big deal in the army as there are rules and regulations to address these concerns within the army as it is written doctrin e. Do you have any idea how much it would cost to replace all the equipment and people lost if leaders simply never noticed they were gone and constantly had to replace them?One of the United States military's biggest concerns is to never leave a man behind, dead or alive. It is perhaps this knowledge that they will never be left which keeps many troops confident in their job. How hard would you fight if you knew that your life was expendable and should you go missing, you would be written off and forgotten? I know for myself that I would not fight very hard if nobody cared about me in general. Accountability is one of those ways to show subordinates that you do care about them. Others may look at it in a negative way.They may say that, â€Å"Man, he is always on my case about where I am and this and that†, but this is a way to know that one is being cared for. Knowing where items and troops are keeps superiors able to know what can be accomplished and planned as far as missi ons and tasks. How could a plan be carried out to its full potential if the equipment type and capability and an account for soldiers is not known as well? It would be impossible to get an accurate account in order to plan with without knowledge of this information. Having an account of this information also keeps the army nformed of how many more or less soldiers are needed to accomplish a mission or task. There is paperwork to be processed to help keep accountability for all of the personnel and equipment within any given unit or command group. If property is lost damaged or stolen, one will be held accountable for those issues in regards to them as well. If there is an investigation on the soldier(s) or piece(s) of equipment, CID will be in charge and held accountable for the investigation. Everyone plays a part in accountability on some level, one way or the other.

The Tramp

NO PLACE FOR A WOMAN The Australian author Barbara Baynton had her first short story published under the title â€Å"The Tramp† in 1896 in the Christmas edition of the Bulletin. Founded in Sydney in 1880, the Bulletin was instrumental in developing the idea of Australian nationalism. It was originally a popular commercial weekly rather than a literary magazine but in the 1890s, with the literary critic A. G. Stephens as its editor, it was to become â€Å"something like a national literary club for a new generation of writers† (Carter 263).Stephens published work by many young Australian writers, including the short story writer Henry Lawson and the poet â€Å"Banjo† Paterson and in 1901 he celebrated Miles Franklin’s My Brilliant Career as the first Australian novel. 2 †¦ Stephens deemed her â€Å"too outspoken for an Australian audience† (Schaffer 154). She was unable to find a publisher in Sydney willing to print her stories as a collection a nd it was not until 1902 that six of her stories were published in London by Duckworth’s Greenback Library under the title Bush Studies. It was, on the whole, reviewed favorably.She subsequently published a novel, Human Toll, in 1907 and an expanded collection of stories in 1917. Yet, although individual stories were regularly included in anthologies of Australian literature, by the time of her death in 1929 she was better known as an antique collector and her collected stories were not reprinted until 1980. 3 Until the advent of feminist criticism in the 1980s, Baynton remained a largely forgotten figure, dismissed as a typical female writer who did not know how to control her emotions and who was unable to put her â€Å"natural talent† to good use.As late as 1983 Lucy Frost could talk of â€Å"her unusually low level of critical awareness† (65) and claim that she â€Å"relies †¦ on instinct †¦ In order to write well she needs to write honestly out o f intuitive understanding. †¦ As art it makes for failure† (65). For a long time reading the implicit in Baynton’s stories consisted in identifying the autobiographical elements and attempting to piece together her true life. She notoriously claimed, even to her own children, to be the daughter not of an Irish carpenter but of a Bengal Lancer and in later life tried to conceal he hardship of her childhood and early married life. The stories were read as â€Å"true† accounts of what it was like for a poor woman to live in the bush at the end of the nineteenth century. This paper argues that far from being a natural writer whose â€Å"talent does not extend to symbolism† (Frost 64), Baynton is a sophisticated writer who uses obliqueness simply because this was the only form of criticism open to a woman writer in Australia at this time. The apparent inability of readers to engage with the implicit in her stories stems from an unwillingness to accept her vision of life in the bush. In order to understand Baynton's technique and why earlier readers consistently failed to interpret it correctly, it is important to replace her stories in the context of the literary world in which she was working for, as Brown and Yule state, when it comes to reading the implicit: â€Å"Discourse is interpreted in the light of past experience of similar discourse by analogy with previous similar texts† (65). In 1901, the year of federation and the height of Australian nationalistic fervor, A. G.Stephens wrote: What country can offer to writers better material than Australia? We are not yet snug in cities and hamlets, molded by routine, regimented to a pattern. Every man who roams the Australian wilderness is a potential knight of Romance; every man who grapples with the Australian desert for a livelihood might sing a Homeric chant of history, or listen, baffled and beaten, to an Aeschylean dirge of defeat. The marvels of the adventurous are our d aily common-places.The drama of the conflict between Man and Destiny is played here in a scenic setting whose novelty is full of vital suggestion for the literary artist. (Ackland, 77) 5 Women are conspicuously absent in this description of Australian life as they are in the work of Henry Lawson whose stories have come to be seen as the ‘perfect’ example of nationalistic writing. In the titles of his stories women, if they exist at all, are seen as appendages of men: â€Å"The Drover’s Wife,† â€Å"The Selector’s Daughter. They are defined at best by their physical characteristics: â€Å"That Pretty Girl in the Army,† but more often than not are specifically excluded: â€Å"No Place for a Woman† or reduced to silence: â€Å"She Wouldn’t Speak. † In the texts themselves the narrators are either anonymous or male and male mate-ship is valued above marriage. In Lawson's most well-known stories the bush is a destructive forc e against which man must wage a constant battle. The landscape, perhaps predictably, is depicted in feminine terms either as a cruel mother who threatens to destroy her son or as a dangerous virgin who leads man into deadly temptation.Men survive by rallying together and are always ready to help a â€Å"mate† in distress. Women are left at home and are shown to be contented with their role as homemaker: â€Å"All days are much the same to her †¦ But this bush-woman is used to the loneliness of it †¦ She is glad when her husband returns, but she does not gush or make a fuss about it. She gets him something good to eat, and tidies up the children† (Lawson 6). Baynton's stories challenge this vision of life in the bush in a number of ways: the majority of her protagonists are female; the real danger comes not from the bush but from the men who inhabit it. From the very beginning, Baynton’s stories were subject to a form of male censorship since Stephens h eavily edited them in an attempt to render the implicit conventional and thereby make the stories conform to his vision of Australian life. Few manuscripts have survived but the changes made to two stories have been well documented. In 1984 Elizabeth Webby published an article comparing the published version of â€Å"Squeaker’s Mate† with a typescript/manuscript held in the Mitchell Library.She noted that in the published version the structure has been tightened and some ambiguity removed by replacing many of the pronouns by nouns. More importantly, the ending has been changed and, since endings play such a crucial role in the understanding of a short story, this has important repercussions on the whole text: The new, more conventionally moralistic ending demanded a more actively brutal Squeaker and a more passive, suffering Mary. So traditional male/female characteristics were superimposed on Baynton’s original characters, characters designed to question such s exual stereotypes.As well, the main emphasis was shifted from its ostensible object Squeaker’s mate, to her attacker and defender; instead of a study of a reversal of sex, we have a tale of true or false mateship. (459) 7 Despite these changes the text's conformity to the traditional Australian story of mate-ship which the Bulletin readers had come to expect remains superficial. The title itself is an ironic parody of Lawson's story titles. The woman is defined by her relationship to the man but the roles are reversed. The man has become the effeminate â€Å"Squeaker,† the woman the masculine â€Å"mate. As in Lawson's stories the male character's words are reported in passages of direct speech and the reader has access to his thoughts while the woman's words are reported only indirectly: â€Å"†¦ waiting for her to be up and about again. That would be soon, she told her complaining mate† (16). However, and this is an important difference with Lawson's sto ries, in Baynton's work the text deliberately draws attention to what is not said. For example when Squeaker leaves her without food and drink for two days: â€Å"Of them [the sheep] and the dog only she spoke when he returned† (16), or again: â€Å"No word of complaint passed her lips† (18).By the end of the story the woman has stopped speaking altogether and the reader is deliberately denied all access to her thoughts and feelings: â€Å"What the sick woman thought was not definite for she kept silent always† (20). The main character is thus marginalised both in the title and in the story itself. The story is constructed around her absence and it is precisely what is not said which draws attention to the hardships of the woman's life. 8 A similar technique is used in â€Å"Billy Skywonkie. The protagonist, who remains unnamed throughout the story, is not even mentioned until the fourth paragraph where she is described as â€Å"the listening woman passengerâ €  (46). She is thus from the start designated as external to the action. Although there is a lot of dialogue in direct speech in the story, the protagonist’s own words are always reported indirectly. The reader is never allowed direct access to her thoughts but must infer what is going on in her mind from expressions like â€Å"in nervous fear† (47) or â€Å"with the fascination of horror† (53).Despite the awfulness of the male characters, the decentering of the protagonist makes it possible for readers unwilling to accept Baynton’s views on life in the bush to accept the explicitly stated opinions of the male characters and to dismiss the woman as an unwelcome outsider. 9 The most significant changes to the original stories, and those about which Baynton apparently felt most strongly since she removed them from the text of Bush Studies, concern the story now known as â€Å"The Chosen Vessel. † This story, as many critics have remarked, is a ve rsion of â€Å"The Drover's Wife† in which the â€Å"gallows-faced swagman† (Lawson 6) does not leave.Lawson's text states repeatedly that the wife is â€Å"used to† the loneliness of her life, suggesting even that it is easier for her than for him: â€Å"They are used to being apart, or at least she is† (4). Baynton's character, on the other hand, dislikes being alone and the story shows the extreme vulnerability of women, not at the hands of Nature, but at the hands of men. 10 Baynton originally submitted the story under the title â€Å"When the Curlew Cried† but Stephens changed this to â€Å"The Tramp. † Once again his editorial changes deflect the reader’s attention away from the female character.By implicitly making the man rather than the woman the central figure, the rape and murder are reduced to one ‘episode’ in the tramp’s life. Kay Schaffer underlines (156) that this attempt to remove the woman from the story is also to be found in the work of the critic A. A. Phillips. For many years he was the only person to have written on Baynton and his article contains the preposterous sentence that her major theme is â€Å"the image of a lonely bush hut besieged by a terrifying figure who is also a terrified figure† (150).As Schaffer rightly points out, it is difficult to understand how any reader can possibly consider that the man who is contemplating rape and murder is a â€Å"terrified figure. † 11 As was then the convention, both the rape and murder are implicit: She knew that he was offering terms if she ceased to struggle and cry for help, though louder and louder did she cry for it, but it was only when the man’s hand gripped her throat that the cry of â€Å"Murder† came from her lips. And when she ceased, the startled curlews took up the awful sound, and flew wailing â€Å"Murder! Murder! over the horseman’s head (85). 12 Stephen’s delibera te suppression of two passages, however, means the reader can infer a very different meaning to events than that intended by Baynton. The Bulletin version omits the scene in which Peter Henessey explains how he mistakenly thought the figure of the woman shouting for help was a vision of the Virgin Mary. The only possible reading in this version is that the horseman was riding too fast and simply did not hear her calls: â€Å"She called to him in Christ’s Name, in her babe’s name †¦ But the distance grew greater and greater between them† (85).Baynton’s original version leads to a very different interpretation: ‘Mary! Mother of Christ! ’ He repeated the invocation half unconsciously, when suddenly to him, out of the stillness, came Christ’s Name – called loudly in despairing accents †¦ Gliding across a ghostly patch of pipe-clay, he saw a white-robed figure with a babe clasped to her bosom. †¦ The moonlight on the g leaming clay was a ‘heavenly light’ to him, and he knew the white figure not for flesh and blood, but for the Virgin and Child of his mother’s prayers.Then, good Catholic that once more he was, he put spurs to his horse’s sides and galloped madly away (86-7). 13 By clarifying what is going on in the horseman’s mind, Baynton is implying that patriarchal society as a whole is guilty. This interpretation is confirmed by the fact that the woman does not exist as a person in her own right in the eyes of any of the male characters. Her husband denies her sexual identity: â€Å"Needn’t flatter yerself †¦ nobody ‘ud want ter run away with yew† (82); the swagman sees her as a sexual object, Peter Henessey as a religious one.Taken individually there is nothing original in these visions of woman but their accumulation is surprising and ought to lead the reader to consider what place is left for a woman as a person. 14 Stephen's second omission is a paragraph near the beginning of the story where the reader is told: â€Å"She was not afraid of horsemen, but swagmen† (81). This sentence is perhaps one of the best examples of the way the implicit works in Baynton's stories. The presupposition, at the time widely accepted, is that horsemen and swagmen are different.Explicitly asserting the contrary would have been immediately challenged and Baynton never takes this risk. Only with the story's denouement does the reader become aware that the presupposition is false, that both horsemen and swagmen are to be feared. 15 The other technique frequently used by Baynton is that of metaphor and metonymy. According to Catherine Kerbrat-Orecchioni: â€Å"le trope n'est qu'un cas particulier du fonctionnement de l'implicite. †¦ Tout trope est une deviance et se caracterise par un mecanisme de substitution – mais substitution de quoi a quoi, et deviance de quoi par rapport a quoi† (94;109).Readers of Bus h Studies have all too often identified only the substitution, not the deviance. 16 In her detailed analysis of â€Å"The Chosen Vessel† Kay Schaffer examines the significance of the last paragraph of the story in which the swagman tries to wash the sheep’s blood from his dog’s mouth and throat. She is particularly interested in the last sentence â€Å"But the dog also was guilty† (88). Most readers have seen this as a simple, almost superfluous statement, whose only aim is to underline the parallel between man and dog: the man killed a woman, the dog a sheep.Schaffer on the other hand sees here a reference to the first paragraph: â€Å"but the woman’s husband was angry and called her – the noun was cur† (Baynton 81). She analyses the metonymic association of woman and dog and argues that the woman’s dog-like loyalty to a husband who abuses her is open to criticism since as a human being she is capable of making decisions for h erself. According to Schaffer's reading: â€Å"Her massive acceptance of the situation makes her an accomplice in her fate† (165). 17Most readers do identify the woman’s metaphoric association with the cow as a symbol of the maternal instinct but Schaffer again goes one step further and argues that since the woman is afraid of the cow she is consequently afraid of the maternal in herself but in participating, albeit reluctantly, in control of the cow, her husband’s property, she also participates in maintaining patriarchal society and therefore: â€Å"Although never made explicit in the text, by metonymic links and metaphoric referents, the woman paradoxically is what she fears.She embodies ‘the maternal’ in the symbolic order. She belongs to the same economy which brings about her murder† (165). 18 The baby is rescued by a boundary rider, but this does not mean that motherhood emerges as a positive force in the story. Baynton’s title â€Å"The Chosen Vessel† implies that the abstract concept of the maternal can exist only at the cost of the woman by denying the mother the right to exist as a person: The Virgin Mary exists only to provide God with his Son, a wife is there to ensure the transmission of power and property from father to son.At the end of Baynton’s story even this reverenced position is denied women: â€Å"Once more the face of the Madonna and Child looked down on [Peter] †¦ ‘My Lord and my God! ’ was the exaltation ‘And hast Thou chosen me? ’ Ultimately Schaffer argues: If one reads through the contradictions, woman is not guilty at all – she is wholly absent. She takes no part in the actions of the story except to represent male desire as either Virgin or whore †¦ She has been named, captured, controlled, appropriated, violated, raped and murdered, and then reverenced through the signifying practices of the text.And these contradictory prac tices through which the ‘woman' is dispersed in the text are possible by her very absence from the symbolic order except by reference to her phallic repossession by Man. (168) 19 In a similar way Baynton's use of sheep as a metonym for women and passive suffering is often remarked upon but is seen as little more than a cliche.This view is justified by referring to â€Å"Squeaker’s Mate† where the woman is powerless to stop Squeaker selling her sheep, many of which she considers as pets, to the butcher and to â€Å"Billy Skywonkie† which ends with an apparently stereotypical image prefiguring the â€Å"meaningless sacrifice† (Krimmer and Lawson xxii) of the woman in â€Å"The Chosen Vessel†: â€Å"She noticed that the sheep lay passive, with its head back till its neck curved in a bow, and that the glitter of the knife was reflected in its eye† (Baynton 60).Hergenhan does go slightly further by arguing that this is also an example of Ba ynton’s denial of the redemptive power of the sacrificial animal (216) but when the collection as a whole is considered, and the different references are read in parallel, the metonym turns out to be far more ambiguous. 20 In â€Å"Scrammy ‘And† the knife is clearly not a dangerous instrument: â€Å"The only weapon that the old fellow had was the useless butcher’s knife† (41, my italics). Even more significantly in this story the reflection of the moonlight in the sheep’s eyes is sufficient to temporarily discourageScrammy: â€Å"The way those thousand eyes reflected the rising moon was disconcerting. The whole of the night seemed pregnant with eyes† (38). Far from being â€Å"innocent† creatures the sheep are associated with convicts: â€Å"The moonlight’s undulating white scales across their shorn backs brought out the fresh tar brand 8, setting him thinking of the links of that convict gang chain long ago† (42). Nor are sheep seen to be entirely passive: â€Å"She was wiser now, though sheep are slow to learn† (44). 21 In this respect the symbolism of the ewe and the poddy lamb is particularly interesting.The old man claims that this is the third lamb that he has had to poddy. He accuses the ewe of not being â€Å"nat’ral† (34), and having a â€Å"blarsted imperdence† (30). The narrator, on the other hand, describes her as â€Å"the unashamed silent mother† (30). What is being challenged is not her motherhood but her apparent lack of maternal instinct. Once the shepherd is dead, the ewe is capable of teaching her lamb to drink suggesting that it is in fact the man who prevents the maternal from developing. This would seem to be confirmed by the repeated remark that men insist on cows and calves being penned separately.Thus apparently hackneyed images are in fact used in a deviant way so as to undermine traditional bush values. 22 In much the same way, Bay nton’s cliches also deviate from expected usage. For example in â€Å"Scrammy ‘And† the old shepherd sums up his view of women as: â€Å"They can’t never do anythin’ right, an’ orlways, continerally they gets a man inter trouble (30). † By inverting the roles of men and women in the expression â€Å"getting into trouble† the text suggests that values in the Bush are radically different to elsewhere. Something which is confirmed in â€Å"Billy Skywonkie† where the narrator reflects: â€Å"She felt she had lost her mental balance.Little matters became distorted and the greater shrivelled† (55). 23 Similarly the apparently stereotypical descriptions of the landscape in fact undermine the Bulletin vision of Australia. In â€Å"Billy Skywonkie† the countryside is described as â€Å"barren shelterless plains† (47). Were the description to stop here it could be interpreted as a typical male image of the land as dangerous female but the text continues; the land is barren because of â€Å"the tireless greedy sun† (47). In the traditional dichotomy man/woman; active/passive the sun is always masculine and like the sun the men in Bush Studies are shown to be greedy.Although never explicitly stated, this seems to suggest that it is not the land itself which is hostile but the activities of men which make it so. Schaffer sees a confirmation of this (152) in the fact that it is the Konk’s nose which for the protagonist â€Å"blotted the landscape and dwarfed all perspective† (Baynton 50). In Baynton’s work women are associated with the land because both are victims of men. 24 The least understood story in the collection is undoubtedly â€Å"Bush Church†: Krimmer and Lawson talk of its â€Å"grim meaninglessness† (xxii) and Phillips complains that it is â€Å"almost without plot† (155).It is perhaps not surprising that this story should be the m ost complex in its use of language. Of all the stories in the collection â€Å"Bush Church† is the one which contains the most direct speech, written in an unfamiliar colloquial Australian English. These passages deliberately flout what Grice describes as the maxims of relevance and manner – they seem neither to advance the plot nor to add to the reader's understanding of the characters. 25 Most readers are thrown by this failure to respect conversational maxims and the co-operative principal. Consequently they pay insufficient attention to individual sentences.Moreover, the sentences are structured in such a way as to make it difficult for the reader to question their ‘truth’ or even to locate their subversive nature. As Jean Jacques Weber points out, the natural tendency is to challenge what the sentence asserts rather than what it presupposes (164). This is clearly illustrated by the opening sentence: â€Å"The hospitality of the bush never extends to the loan of a good horse to an inexperienced rider† (61). Readers may object that they know of occasions when a good horse was loaned to an inexperienced rider but few realise that the assertion in fact negates the presupposition.Baynton is not talking here about the loan of a horse but is challenging one of the fundamental myths of life in the bush – that there is such a thing as bush hospitality. 26 Once again a comparison with Lawson is illuminating. Lawson's anonymous narrator says of the Drover's wife: â€Å"She seems contented with her lot† (6). In â€Å"Bush Church† this becomes: â€Å"But for all this Liz thought she was fairly happy† (70). Although semantically their meaning is similar, pragmatically they could not be more different.It is not the anonymous narrator but Liz who is uncertain of her feelings and feels it necessary to qualify â€Å"happy† by â€Å"fairly. † More importantly the presupposition, â€Å"but for all t his,† deliberately leaves unsaid the extreme poverty and the beatings to which Liz is subject. 27 Susan Sheridan, talking of Baynton’s novel Human Toll, says: â€Å"the assumption that it is autobiographical deflects attention from the novel’s textuality as if the assertion that it was all ‘true’ and that writing was a necessary catharsis could account for its strangely wrought prose and obscure dynamics of desire† (67).The same is true of her short stories. By persisting in reading her as a â€Å"realist† writer many readers fail to notice her sophisticated use of language. Perhaps because none of the stories has a narrator to guide the reader in their interpretation or because the reader has little or no direct access to the protagonist’s thoughts, or because of the flouting of conversational maxims and the co-operative principal, sentences are taken at face value and all too often little attempt is made to decode the irony or to question what on the surface appears to be statements of fact.Hergenhan queries the success of a strategy of such extreme obliqueness: â€Å"It is difficult to understand why Baynton did not make it clearer as the ellipsis is carried so far that the clues have eluded most readers† (217), but it should be remembered that, given the circumstances in which she was trying to publish, direct criticism was never an option for Baynton. What is essential in decoding Baynton’s work is to accept that it is not about women but about the absence of women who are shown to be victims both of men in the bush and of language. The Tramp NO PLACE FOR A WOMAN The Australian author Barbara Baynton had her first short story published under the title â€Å"The Tramp† in 1896 in the Christmas edition of the Bulletin. Founded in Sydney in 1880, the Bulletin was instrumental in developing the idea of Australian nationalism. It was originally a popular commercial weekly rather than a literary magazine but in the 1890s, with the literary critic A. G. Stephens as its editor, it was to become â€Å"something like a national literary club for a new generation of writers† (Carter 263).Stephens published work by many young Australian writers, including the short story writer Henry Lawson and the poet â€Å"Banjo† Paterson and in 1901 he celebrated Miles Franklin’s My Brilliant Career as the first Australian novel. 2 †¦ Stephens deemed her â€Å"too outspoken for an Australian audience† (Schaffer 154). She was unable to find a publisher in Sydney willing to print her stories as a collection a nd it was not until 1902 that six of her stories were published in London by Duckworth’s Greenback Library under the title Bush Studies. It was, on the whole, reviewed favorably.She subsequently published a novel, Human Toll, in 1907 and an expanded collection of stories in 1917. Yet, although individual stories were regularly included in anthologies of Australian literature, by the time of her death in 1929 she was better known as an antique collector and her collected stories were not reprinted until 1980. 3 Until the advent of feminist criticism in the 1980s, Baynton remained a largely forgotten figure, dismissed as a typical female writer who did not know how to control her emotions and who was unable to put her â€Å"natural talent† to good use.As late as 1983 Lucy Frost could talk of â€Å"her unusually low level of critical awareness† (65) and claim that she â€Å"relies †¦ on instinct †¦ In order to write well she needs to write honestly out o f intuitive understanding. †¦ As art it makes for failure† (65). For a long time reading the implicit in Baynton’s stories consisted in identifying the autobiographical elements and attempting to piece together her true life. She notoriously claimed, even to her own children, to be the daughter not of an Irish carpenter but of a Bengal Lancer and in later life tried to conceal he hardship of her childhood and early married life. The stories were read as â€Å"true† accounts of what it was like for a poor woman to live in the bush at the end of the nineteenth century. This paper argues that far from being a natural writer whose â€Å"talent does not extend to symbolism† (Frost 64), Baynton is a sophisticated writer who uses obliqueness simply because this was the only form of criticism open to a woman writer in Australia at this time. The apparent inability of readers to engage with the implicit in her stories stems from an unwillingness to accept her vision of life in the bush. In order to understand Baynton's technique and why earlier readers consistently failed to interpret it correctly, it is important to replace her stories in the context of the literary world in which she was working for, as Brown and Yule state, when it comes to reading the implicit: â€Å"Discourse is interpreted in the light of past experience of similar discourse by analogy with previous similar texts† (65). In 1901, the year of federation and the height of Australian nationalistic fervor, A. G.Stephens wrote: What country can offer to writers better material than Australia? We are not yet snug in cities and hamlets, molded by routine, regimented to a pattern. Every man who roams the Australian wilderness is a potential knight of Romance; every man who grapples with the Australian desert for a livelihood might sing a Homeric chant of history, or listen, baffled and beaten, to an Aeschylean dirge of defeat. The marvels of the adventurous are our d aily common-places.The drama of the conflict between Man and Destiny is played here in a scenic setting whose novelty is full of vital suggestion for the literary artist. (Ackland, 77) 5 Women are conspicuously absent in this description of Australian life as they are in the work of Henry Lawson whose stories have come to be seen as the ‘perfect’ example of nationalistic writing. In the titles of his stories women, if they exist at all, are seen as appendages of men: â€Å"The Drover’s Wife,† â€Å"The Selector’s Daughter. They are defined at best by their physical characteristics: â€Å"That Pretty Girl in the Army,† but more often than not are specifically excluded: â€Å"No Place for a Woman† or reduced to silence: â€Å"She Wouldn’t Speak. † In the texts themselves the narrators are either anonymous or male and male mate-ship is valued above marriage. In Lawson's most well-known stories the bush is a destructive forc e against which man must wage a constant battle. The landscape, perhaps predictably, is depicted in feminine terms either as a cruel mother who threatens to destroy her son or as a dangerous virgin who leads man into deadly temptation.Men survive by rallying together and are always ready to help a â€Å"mate† in distress. Women are left at home and are shown to be contented with their role as homemaker: â€Å"All days are much the same to her †¦ But this bush-woman is used to the loneliness of it †¦ She is glad when her husband returns, but she does not gush or make a fuss about it. She gets him something good to eat, and tidies up the children† (Lawson 6). Baynton's stories challenge this vision of life in the bush in a number of ways: the majority of her protagonists are female; the real danger comes not from the bush but from the men who inhabit it. From the very beginning, Baynton’s stories were subject to a form of male censorship since Stephens h eavily edited them in an attempt to render the implicit conventional and thereby make the stories conform to his vision of Australian life. Few manuscripts have survived but the changes made to two stories have been well documented. In 1984 Elizabeth Webby published an article comparing the published version of â€Å"Squeaker’s Mate† with a typescript/manuscript held in the Mitchell Library.She noted that in the published version the structure has been tightened and some ambiguity removed by replacing many of the pronouns by nouns. More importantly, the ending has been changed and, since endings play such a crucial role in the understanding of a short story, this has important repercussions on the whole text: The new, more conventionally moralistic ending demanded a more actively brutal Squeaker and a more passive, suffering Mary. So traditional male/female characteristics were superimposed on Baynton’s original characters, characters designed to question such s exual stereotypes.As well, the main emphasis was shifted from its ostensible object Squeaker’s mate, to her attacker and defender; instead of a study of a reversal of sex, we have a tale of true or false mateship. (459) 7 Despite these changes the text's conformity to the traditional Australian story of mate-ship which the Bulletin readers had come to expect remains superficial. The title itself is an ironic parody of Lawson's story titles. The woman is defined by her relationship to the man but the roles are reversed. The man has become the effeminate â€Å"Squeaker,† the woman the masculine â€Å"mate. As in Lawson's stories the male character's words are reported in passages of direct speech and the reader has access to his thoughts while the woman's words are reported only indirectly: â€Å"†¦ waiting for her to be up and about again. That would be soon, she told her complaining mate† (16). However, and this is an important difference with Lawson's sto ries, in Baynton's work the text deliberately draws attention to what is not said. For example when Squeaker leaves her without food and drink for two days: â€Å"Of them [the sheep] and the dog only she spoke when he returned† (16), or again: â€Å"No word of complaint passed her lips† (18).By the end of the story the woman has stopped speaking altogether and the reader is deliberately denied all access to her thoughts and feelings: â€Å"What the sick woman thought was not definite for she kept silent always† (20). The main character is thus marginalised both in the title and in the story itself. The story is constructed around her absence and it is precisely what is not said which draws attention to the hardships of the woman's life. 8 A similar technique is used in â€Å"Billy Skywonkie. The protagonist, who remains unnamed throughout the story, is not even mentioned until the fourth paragraph where she is described as â€Å"the listening woman passengerâ €  (46). She is thus from the start designated as external to the action. Although there is a lot of dialogue in direct speech in the story, the protagonist’s own words are always reported indirectly. The reader is never allowed direct access to her thoughts but must infer what is going on in her mind from expressions like â€Å"in nervous fear† (47) or â€Å"with the fascination of horror† (53).Despite the awfulness of the male characters, the decentering of the protagonist makes it possible for readers unwilling to accept Baynton’s views on life in the bush to accept the explicitly stated opinions of the male characters and to dismiss the woman as an unwelcome outsider. 9 The most significant changes to the original stories, and those about which Baynton apparently felt most strongly since she removed them from the text of Bush Studies, concern the story now known as â€Å"The Chosen Vessel. † This story, as many critics have remarked, is a ve rsion of â€Å"The Drover's Wife† in which the â€Å"gallows-faced swagman† (Lawson 6) does not leave.Lawson's text states repeatedly that the wife is â€Å"used to† the loneliness of her life, suggesting even that it is easier for her than for him: â€Å"They are used to being apart, or at least she is† (4). Baynton's character, on the other hand, dislikes being alone and the story shows the extreme vulnerability of women, not at the hands of Nature, but at the hands of men. 10 Baynton originally submitted the story under the title â€Å"When the Curlew Cried† but Stephens changed this to â€Å"The Tramp. † Once again his editorial changes deflect the reader’s attention away from the female character.By implicitly making the man rather than the woman the central figure, the rape and murder are reduced to one ‘episode’ in the tramp’s life. Kay Schaffer underlines (156) that this attempt to remove the woman from the story is also to be found in the work of the critic A. A. Phillips. For many years he was the only person to have written on Baynton and his article contains the preposterous sentence that her major theme is â€Å"the image of a lonely bush hut besieged by a terrifying figure who is also a terrified figure† (150).As Schaffer rightly points out, it is difficult to understand how any reader can possibly consider that the man who is contemplating rape and murder is a â€Å"terrified figure. † 11 As was then the convention, both the rape and murder are implicit: She knew that he was offering terms if she ceased to struggle and cry for help, though louder and louder did she cry for it, but it was only when the man’s hand gripped her throat that the cry of â€Å"Murder† came from her lips. And when she ceased, the startled curlews took up the awful sound, and flew wailing â€Å"Murder! Murder! over the horseman’s head (85). 12 Stephen’s delibera te suppression of two passages, however, means the reader can infer a very different meaning to events than that intended by Baynton. The Bulletin version omits the scene in which Peter Henessey explains how he mistakenly thought the figure of the woman shouting for help was a vision of the Virgin Mary. The only possible reading in this version is that the horseman was riding too fast and simply did not hear her calls: â€Å"She called to him in Christ’s Name, in her babe’s name †¦ But the distance grew greater and greater between them† (85).Baynton’s original version leads to a very different interpretation: ‘Mary! Mother of Christ! ’ He repeated the invocation half unconsciously, when suddenly to him, out of the stillness, came Christ’s Name – called loudly in despairing accents †¦ Gliding across a ghostly patch of pipe-clay, he saw a white-robed figure with a babe clasped to her bosom. †¦ The moonlight on the g leaming clay was a ‘heavenly light’ to him, and he knew the white figure not for flesh and blood, but for the Virgin and Child of his mother’s prayers.Then, good Catholic that once more he was, he put spurs to his horse’s sides and galloped madly away (86-7). 13 By clarifying what is going on in the horseman’s mind, Baynton is implying that patriarchal society as a whole is guilty. This interpretation is confirmed by the fact that the woman does not exist as a person in her own right in the eyes of any of the male characters. Her husband denies her sexual identity: â€Å"Needn’t flatter yerself †¦ nobody ‘ud want ter run away with yew† (82); the swagman sees her as a sexual object, Peter Henessey as a religious one.Taken individually there is nothing original in these visions of woman but their accumulation is surprising and ought to lead the reader to consider what place is left for a woman as a person. 14 Stephen's second omission is a paragraph near the beginning of the story where the reader is told: â€Å"She was not afraid of horsemen, but swagmen† (81). This sentence is perhaps one of the best examples of the way the implicit works in Baynton's stories. The presupposition, at the time widely accepted, is that horsemen and swagmen are different.Explicitly asserting the contrary would have been immediately challenged and Baynton never takes this risk. Only with the story's denouement does the reader become aware that the presupposition is false, that both horsemen and swagmen are to be feared. 15 The other technique frequently used by Baynton is that of metaphor and metonymy. According to Catherine Kerbrat-Orecchioni: â€Å"le trope n'est qu'un cas particulier du fonctionnement de l'implicite. †¦ Tout trope est une deviance et se caracterise par un mecanisme de substitution – mais substitution de quoi a quoi, et deviance de quoi par rapport a quoi† (94;109).Readers of Bus h Studies have all too often identified only the substitution, not the deviance. 16 In her detailed analysis of â€Å"The Chosen Vessel† Kay Schaffer examines the significance of the last paragraph of the story in which the swagman tries to wash the sheep’s blood from his dog’s mouth and throat. She is particularly interested in the last sentence â€Å"But the dog also was guilty† (88). Most readers have seen this as a simple, almost superfluous statement, whose only aim is to underline the parallel between man and dog: the man killed a woman, the dog a sheep.Schaffer on the other hand sees here a reference to the first paragraph: â€Å"but the woman’s husband was angry and called her – the noun was cur† (Baynton 81). She analyses the metonymic association of woman and dog and argues that the woman’s dog-like loyalty to a husband who abuses her is open to criticism since as a human being she is capable of making decisions for h erself. According to Schaffer's reading: â€Å"Her massive acceptance of the situation makes her an accomplice in her fate† (165). 17Most readers do identify the woman’s metaphoric association with the cow as a symbol of the maternal instinct but Schaffer again goes one step further and argues that since the woman is afraid of the cow she is consequently afraid of the maternal in herself but in participating, albeit reluctantly, in control of the cow, her husband’s property, she also participates in maintaining patriarchal society and therefore: â€Å"Although never made explicit in the text, by metonymic links and metaphoric referents, the woman paradoxically is what she fears.She embodies ‘the maternal’ in the symbolic order. She belongs to the same economy which brings about her murder† (165). 18 The baby is rescued by a boundary rider, but this does not mean that motherhood emerges as a positive force in the story. Baynton’s title â€Å"The Chosen Vessel† implies that the abstract concept of the maternal can exist only at the cost of the woman by denying the mother the right to exist as a person: The Virgin Mary exists only to provide God with his Son, a wife is there to ensure the transmission of power and property from father to son.At the end of Baynton’s story even this reverenced position is denied women: â€Å"Once more the face of the Madonna and Child looked down on [Peter] †¦ ‘My Lord and my God! ’ was the exaltation ‘And hast Thou chosen me? ’ Ultimately Schaffer argues: If one reads through the contradictions, woman is not guilty at all – she is wholly absent. She takes no part in the actions of the story except to represent male desire as either Virgin or whore †¦ She has been named, captured, controlled, appropriated, violated, raped and murdered, and then reverenced through the signifying practices of the text.And these contradictory prac tices through which the ‘woman' is dispersed in the text are possible by her very absence from the symbolic order except by reference to her phallic repossession by Man. (168) 19 In a similar way Baynton's use of sheep as a metonym for women and passive suffering is often remarked upon but is seen as little more than a cliche.This view is justified by referring to â€Å"Squeaker’s Mate† where the woman is powerless to stop Squeaker selling her sheep, many of which she considers as pets, to the butcher and to â€Å"Billy Skywonkie† which ends with an apparently stereotypical image prefiguring the â€Å"meaningless sacrifice† (Krimmer and Lawson xxii) of the woman in â€Å"The Chosen Vessel†: â€Å"She noticed that the sheep lay passive, with its head back till its neck curved in a bow, and that the glitter of the knife was reflected in its eye† (Baynton 60).Hergenhan does go slightly further by arguing that this is also an example of Ba ynton’s denial of the redemptive power of the sacrificial animal (216) but when the collection as a whole is considered, and the different references are read in parallel, the metonym turns out to be far more ambiguous. 20 In â€Å"Scrammy ‘And† the knife is clearly not a dangerous instrument: â€Å"The only weapon that the old fellow had was the useless butcher’s knife† (41, my italics). Even more significantly in this story the reflection of the moonlight in the sheep’s eyes is sufficient to temporarily discourageScrammy: â€Å"The way those thousand eyes reflected the rising moon was disconcerting. The whole of the night seemed pregnant with eyes† (38). Far from being â€Å"innocent† creatures the sheep are associated with convicts: â€Å"The moonlight’s undulating white scales across their shorn backs brought out the fresh tar brand 8, setting him thinking of the links of that convict gang chain long ago† (42). Nor are sheep seen to be entirely passive: â€Å"She was wiser now, though sheep are slow to learn† (44). 21 In this respect the symbolism of the ewe and the poddy lamb is particularly interesting.The old man claims that this is the third lamb that he has had to poddy. He accuses the ewe of not being â€Å"nat’ral† (34), and having a â€Å"blarsted imperdence† (30). The narrator, on the other hand, describes her as â€Å"the unashamed silent mother† (30). What is being challenged is not her motherhood but her apparent lack of maternal instinct. Once the shepherd is dead, the ewe is capable of teaching her lamb to drink suggesting that it is in fact the man who prevents the maternal from developing. This would seem to be confirmed by the repeated remark that men insist on cows and calves being penned separately.Thus apparently hackneyed images are in fact used in a deviant way so as to undermine traditional bush values. 22 In much the same way, Bay nton’s cliches also deviate from expected usage. For example in â€Å"Scrammy ‘And† the old shepherd sums up his view of women as: â€Å"They can’t never do anythin’ right, an’ orlways, continerally they gets a man inter trouble (30). † By inverting the roles of men and women in the expression â€Å"getting into trouble† the text suggests that values in the Bush are radically different to elsewhere. Something which is confirmed in â€Å"Billy Skywonkie† where the narrator reflects: â€Å"She felt she had lost her mental balance.Little matters became distorted and the greater shrivelled† (55). 23 Similarly the apparently stereotypical descriptions of the landscape in fact undermine the Bulletin vision of Australia. In â€Å"Billy Skywonkie† the countryside is described as â€Å"barren shelterless plains† (47). Were the description to stop here it could be interpreted as a typical male image of the land as dangerous female but the text continues; the land is barren because of â€Å"the tireless greedy sun† (47). In the traditional dichotomy man/woman; active/passive the sun is always masculine and like the sun the men in Bush Studies are shown to be greedy.Although never explicitly stated, this seems to suggest that it is not the land itself which is hostile but the activities of men which make it so. Schaffer sees a confirmation of this (152) in the fact that it is the Konk’s nose which for the protagonist â€Å"blotted the landscape and dwarfed all perspective† (Baynton 50). In Baynton’s work women are associated with the land because both are victims of men. 24 The least understood story in the collection is undoubtedly â€Å"Bush Church†: Krimmer and Lawson talk of its â€Å"grim meaninglessness† (xxii) and Phillips complains that it is â€Å"almost without plot† (155).It is perhaps not surprising that this story should be the m ost complex in its use of language. Of all the stories in the collection â€Å"Bush Church† is the one which contains the most direct speech, written in an unfamiliar colloquial Australian English. These passages deliberately flout what Grice describes as the maxims of relevance and manner – they seem neither to advance the plot nor to add to the reader's understanding of the characters. 25 Most readers are thrown by this failure to respect conversational maxims and the co-operative principal. Consequently they pay insufficient attention to individual sentences.Moreover, the sentences are structured in such a way as to make it difficult for the reader to question their ‘truth’ or even to locate their subversive nature. As Jean Jacques Weber points out, the natural tendency is to challenge what the sentence asserts rather than what it presupposes (164). This is clearly illustrated by the opening sentence: â€Å"The hospitality of the bush never extends to the loan of a good horse to an inexperienced rider† (61). Readers may object that they know of occasions when a good horse was loaned to an inexperienced rider but few realise that the assertion in fact negates the presupposition.Baynton is not talking here about the loan of a horse but is challenging one of the fundamental myths of life in the bush – that there is such a thing as bush hospitality. 26 Once again a comparison with Lawson is illuminating. Lawson's anonymous narrator says of the Drover's wife: â€Å"She seems contented with her lot† (6). In â€Å"Bush Church† this becomes: â€Å"But for all this Liz thought she was fairly happy† (70). Although semantically their meaning is similar, pragmatically they could not be more different.It is not the anonymous narrator but Liz who is uncertain of her feelings and feels it necessary to qualify â€Å"happy† by â€Å"fairly. † More importantly the presupposition, â€Å"but for all t his,† deliberately leaves unsaid the extreme poverty and the beatings to which Liz is subject. 27 Susan Sheridan, talking of Baynton’s novel Human Toll, says: â€Å"the assumption that it is autobiographical deflects attention from the novel’s textuality as if the assertion that it was all ‘true’ and that writing was a necessary catharsis could account for its strangely wrought prose and obscure dynamics of desire† (67).The same is true of her short stories. By persisting in reading her as a â€Å"realist† writer many readers fail to notice her sophisticated use of language. Perhaps because none of the stories has a narrator to guide the reader in their interpretation or because the reader has little or no direct access to the protagonist’s thoughts, or because of the flouting of conversational maxims and the co-operative principal, sentences are taken at face value and all too often little attempt is made to decode the irony or to question what on the surface appears to be statements of fact.Hergenhan queries the success of a strategy of such extreme obliqueness: â€Å"It is difficult to understand why Baynton did not make it clearer as the ellipsis is carried so far that the clues have eluded most readers† (217), but it should be remembered that, given the circumstances in which she was trying to publish, direct criticism was never an option for Baynton. What is essential in decoding Baynton’s work is to accept that it is not about women but about the absence of women who are shown to be victims both of men in the bush and of language.