Bright Ideas: featuring writing from English students in Years 7-12

Featuring writing from English students in Years 7-12

Bright Ideas

Our Voices

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Contents EDITORIAL ����������������������������������������������������������������������������������������������������� 4 NON-FICTION ������������������������������������������������������������������������������������������������ 6 Much ado about something, clearly by Alice Mao, Year 9 ������������������������� 6 Beyond Conformity: The story of Shakespeare’s Katherine and Beatrice - Subjugation or Liberation? by Anna Le, Year 9 ������������������ 8 Break Free or Stay Still? by Helena Tang, Year 9 ��������������������������������������� 10 “There is no justice in the world, only perspective”

by Sophia Chang, Year 10 ���������������������������������������������������������������������������� 12 Justice: Merely an illusion? by Olivia Xu, Year 10 �������������������������������������� 13 Feminism in the 21st century: Barbie, Buzzwords, and Beating the System by Allison Wang, Year 10 ��������������������������������������������������������� 15 What makes Shakespeare, Shakespeare? by Catherine Shi, Year 10 ����� 18 Winning speech for Patricia Burgoyne Speaking Competition by Tanvi Thomas, Year 11 ������������������������������������������������������ 21 The insults of being a woman in STEM by Charlotte Wykes, Year 11 ������� 22 Memento Mori by Elena Duta, Year 11 �������������������������������������������������������� 24 Debunking Darcy by Sophia Gao, Year 12 �������������������������������������������������� 26 FICTION �������������������������������������������������������������������������������������������������������� 28 Experience as my guide by Yen Hyunh, Year 7 ������������������������������������������ 28 The Alleyway by Bella Yang, Year 7 ������������������������������������������������������������ 29 Before you were mine by Sooan Yoo, Year 8 �������������������������������������������� 31 Mini project on the power of imagination by Meredith Au, Year 8 ���������� 32 Writing exercise by Sophia Ji, Year 11 �������������������������������������������������������� 34 S’il lui convient de refuser / If it suits him to refuse

by Daniella Cantalfio, Year 11 ���������������������������������������������������������������������� 35 At Four and Five and Six O’Clock by Isabella Watson, Year 12 ����������������� 37 POETRY ������������������������������������������������������������������������������������������������������ 38 Spider Orchid by Julie Sheng, Year 11 ������������������������������������������������������� 38

Illustrations by Isabella Xie, Vicky Hu, Allison Wang, Khatthaliya Elliot

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“We need women at all levels, including the top, to change the dynamic, reshape the conversation, to make sure women’s voices are heard and heeded, not overlooked and ignored.”

SHERYL SANDBERG

Editorial KRISTEN MCEVOY, REBECCA BROWN, AND VICTORIA WALDOCK Voice is powerful. Whilst Sandberg’s statement enshrines the power of the female voice, we feel that this notion applies to a diverse range of voices across the student body at Pymble. This edition of Bright Ideas explores student voice by examining social issues and ideas that are important to our secondary student cohort. We are pleased to present a range of opinion pieces, stories, and perspectives on a variety of topics chosen by our students.

Alice, Anna, and Helena have submitted some thought-provoking pieces that examine the complexity and diversity of female voices in our society, making comparisons to Shakespeare’s presentation of women in his Elizabethan context. Catherine thoughtfully extends on these ideas through her research into the enduring value and legacy of Shakespeare and his works.

Allison and Charlotte explore what it means to be young women in response to modern feminist culture and STEM, respectively, each reflecting on what can be learned through their experiences and perspectives. Both pieces are characterized by strong student voices in challenging perceptions of feminine identity.

Exercising their voice on political and social issues to do with justice, Sophia C. and Olivia consider their study of To Kill a Mockingbird in light of their 2023 context, considering the presence of morality and equity in their world.

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Editorial

We are also pleased to present Tanvi’s winning speech for Patricia Burgoyne Speaking Competition in 2022 where she posed the question to her audience: “If we don’t look in the mirror, recognise our own privilege, and do something to change the world around us, then how can we call ourselves empowering women?”

In addition, this magazine includes a range of imaginative pieces where our students took inspiration from authors to find their voice as writers. Yen, Bella, Sooan, Meredith, Sophia G., Sophia J., and Isabella take inspiration from the writing of others to inform their own crafting of imaginative pieces and poetry. Sophia takes inspiration from the archetypal happy endings of Austen novels and challenges this notion in her piece. Similarly, Daniela appropriates an existing voice in Jane Eyre for a new purpose, exploring the perspective of a minor character in detail.

Shortlisted for the Whitlam Institute ‘What Matters’ competition in 2023, we commend Elena on her submission ‘Memento Mori’ which presents an exploration of life and meaning found within the voice of her persona. We also congratulate Julie Sheng, who was one of the winners of the Red Room Poetry POEM FOREST competition, where writers are encouraged to use their voice to raise awareness of climate change.

Finally, we offer our sincere thanks to Isabella, Vicky, Allison, and Kat for their beautiful illustrations that help bring this wonderful celebration of student voices to life.

Congratulations to all of our contributors; your voices bring colour and perspective to our school community. To the students reading this issue, we hope that you are inspired to exercise your own voice because what you have to say is important.

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Alice Mao, Year 9 Alice’s discursive piece responds to the provocation of Emma Smith’s quote “Shakespeare’s female characters are diverse and complex, and they challenge conventional ideas about women’s roles and abilities”.

‘MUCH ADO’ ABOUT SOMETHING, CLEARLY Anyone have a time turner to the 1600’s?

In fact, we all do – in the form of Shakespeare’s many plays. No better way to learn about an era than encountering work from somebody of that time! Across his texts, we experience a gallery of female depictions, both conventional and highly controversial. What they all have in common is the feminine ideals pushed onto them.

Most of us in first world countries are probably unable to imagine having our education cruelly stripped away and being degraded to a male’s possession.

Luckily, our friend William has perspective to offer us in his dozens of literary masterpieces.

Women such as the fiery Katherine and masterful Portia paint their experiences in colourful splashes on the stage. Emma Smith’s quote is wonderfully realised with the complex natures of Shakespeare’s female characters.

In recent times, women in most regions enjoy many more liberties like the ability to work for themselves and choose to not get married without receiving societal shame, though this is still not always the case.

Now, let’s take a step back to the Elizabethan Era.

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Women were expected to remain faithful to their husbands, valued for their obedience, beauty, and children. If you were to ask an Elizabethan girl about her ambitions, raising their voice for what they believe in, like Greta Thunberg in our current world, would be something unimaginable. The answer would be something along the lines of getting married successfully, which was what their society demanded.

Katherine shatters this notion into pieces … in the beginning.

She unreservedly insults her suitor, Petruchio, exclaiming, ‘A witty mother! Witless else her son,’ essentially calling him dense. The Elizabethan gentlemen in the audience are fuming. Katherine gives the societal obligations of women in the 17th century a waspish sting in the eye. Despite the sentiment back then that girls should not be educated, she demonstrates a sharp wit and severely challenges Shakespearean conventions about a woman’s role and abilities. In this way, Shakespeare gives his women depth – Katherine fights back against her own circumstances and values her own free will above securing a husband. All that setup leaves us wondering, how on earth did the shrew get petrified – or should we say, Petruchi-fied – so badly?

On the opposite end stands a quiet Hero, who apparently fails to embody her name. In the first two acts of ‘Much Ado About Nothing,’ despite her continuous presence in the conversation, we’d be hard-pressed to find many lines of dialogue. She is praised as ‘fair’ and ‘young’ by Claudio. She even states, about her cousin Beatrice, that she would do ‘any modest office’ to help her ‘to a good husband’, clearly understanding the importance to women of having a good marriage and wishing to help others achieve it. Hero is an Elizabethan man’s dream – full of gentleness and beauty.

The fact that Shakespeare is also capable of writing meek and stereotypical women may come as a shock and betrayal. However, the real knife in the back comes when Katherine, after being ‘tamed’, gives an entire monologue to highlight that men deserve ‘love, fair looks and true obedience’ from their wives.

This begs the question; how does this contribute to any diversity or complexity?

Something to consider is that Shakespeare, back in his day, was very much a normal working individual in society. Seems hard to believe, doesn’t it? He had an audience to cater for (mostly traditional men who expected submissive ladies) and money to make. Thus, his characters could have been portrayed that way just to fit expectations, though we may never know.

interactions as a way of expressing themselves.

Petruchio gives her an opportunity to say what she wants to say, even insults, unlike Baptista who simply dismisses her, complaining, ‘was ever gentlemen thus grieved as I?’ Thus, not only do William Shakespeare’s characters have inherent diversity with their actions, but also a brilliant kaleidoscope of contemporary interpretations from the experiences of modern women.

No matter which explanation you pursue to help you sleep easier at night, Katherine is a unique character, and the flavour of Shakespeare’s broth of firy women like Lady Macbeth is mellowed out with more passive ones like Hero who add necessary balance.

Perhaps most importantly, his plays offer an insight towards the lives of women in an incredibly different era.

It may be worth the journey with this remarkable time machine, just to see Shakespeare’s unique set of strong characters who reveal, and disturb, the conventions of his era, brought back to the 21st century.

I think we can safely say that it’s not ‘Much Ado About Nothing’.

And although the common belief is that it’s all terribly misogynistic, there are many contemporary voices that have pitched in to offer alternatives. In the end, this only adds to the complex distinction that he fosters in each of his female characters.

For example, an interpretation offered by Lisa Dillon in an article on ‘The Guardian’ is that Petruchio and Katherine have unconventional

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Anna Le, Year 9 Anna’s writing explores representation of women in Shakespeare’s Elizabethan context as well as in our modern world, drawing some striking parallels between social and cultural values.

BEYOND CONFORMITY: THE STORY OF SHAKESPEARE’S KATHERINE AND BEATRICE – SUBJUGATION OR LIBERATION? Are you tired of family gatherings where, “You’re not getting any younger, when are you going to settle down?” or maybe the occasional, “Your siblings already had a family of their own, when is it your turn?” seem to be the beginning and end of any conversation?

(Hint: The answer is yes.)

Although this might be a great recipe for strained smiles and awkward laughter, let’s be honest, the “gentle” reminders aren’t exactly appreciated. This recurring pattern seems to have been transpiring since at least 4 centuries ago, although I’m sure it isn’t a surprise that this frankly tiresome expectation has been around for much longer.

Take Shakespeare’s female protagonists, Katherine and Beatrice for example, two headstrong women tethered to the profoundly patriarchal society of Elizabethan England, yet defying the societal expectations set for them by committing the cardinal sin of standing up for their own beliefs! A scandalous act of ‘unladylikeness’ if the Elizabethans had ever seen it (although they aren’t exactly wellknown for advocating for women’s rights so perhaps that was a given!)

Katherine from The Taming of the Shrew wields a sharp tongue laced with venomous words

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which are potent enough for men to cower in face of her stings. Her outspoken demeanour and rebellious nature mirrors that of Beatrice from Much Ado About Nothing. Yet despite this deceptively simple description, the characters are anything but. As Emma Smith once described, “Shakespeare’s female characters are diverse and complex.” Out of their stories rises the heated controversies which surround their characters.

So - was Shakespeare a protofeminist by giving Katherine and Beatrice agency in an era where they could not have it, or did he destroy their characters by ripping it away?

Of course, we mustn’t forget that Shakespeare lived in a time where women were expected to be married caretakers, submissive and obedient to their male counterparts. He had to conform to these conventional expectations for women to appeal to the audience at the time. A delicate balance of scales to find an equilibrium between a “girlboss” and “being forever shunned by society due to giving women rights.”

Although the contemporary audience has come a long way since Elizabethan society, we unfortunately cannot say that gender inequality is no longer relevant. Take Jacinda Ardern

as an example, the former prime minister of New Zealand. Throughout her entire career as a female political figure, she faced harsh criticism for her gender and her choice to be a mother.

“So you have now chosen your career over having a family?”

A bold interviewer asks this question in 2017, apparently unaware of the misogynistic language behind the question. Or perhaps, maybe he was.

Personally, I know that there is no shortage of misogynistic language in The Taming of the Shrew. A sadist of a man abuses his wife for her family’s wealth and starves her into submission. From avid man hater to supporter of losing her own rights, Katherine seems to undergo a dramatic transformation which leaves her to declare a speech where she “flips the script”. This brings us back to the question; is Katherine’s story a tale of freedom and defiance, or one of imprisonment and misogyny?

known to the present-day audience for her assertive nature and witty wordplay, Beatrice may appear upon first glance as an independent woman with an unshakeable resistance against romantic love. Although there is truth within this statement, the nuances of her vulnerable interior reveals the truth behind her opposition to romance. The fear of rejection and hurt is one which I’m sure many, including myself, are familiar with, so why would Beatrice feel any different?

Yes, Shakespeare’s introduction to this diverse cast of female protagonists in the rapid change of his era led to these characters breaking free from the mould of docile inferiority. Their intellectual prowess and ability to level the verbal playing field with their male counterparts clearly defies the Elizabethan status quo.

Regardless of this, their agency is stripped away at the end of their stories anyway. The complex nature of Katherine and Beatrice continues to puzzle audiences of today. Although these characters may never have their true mindsets uncovered, Shakespeare has left this thoughtprovoking idea to be explored for years to come.

“Thy husband is thy lord, thy life, thy keeper, thy head, thy sovereign.” (V.ii.153.) A tragedy if I have ever heard of one.

However, many seem to argue otherwise. Lisa Dillon, known for her role as Katherine in the 2012 adaptation of The Taming of the Shrew states that, “If she didn’t marry him, she would go from shrew to witch and end her days as a madwoman.” Katherine; a wildcat tamed by Petruchio, the man who saved her from the fate of a social outcast. The fantastical idea that Katherine fell in love with Petruchio through her own will, her love rescuing her from turning mad? Doubtful.

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Helena Tang, Year 9 Helena uses the motif of a red dress to explore the freedoms and restrictions that have defined women’s experiences across time.

THE INVISIBLE CHAINS: BREAK FREE OR STAY STILL? Red was the colour of the dress I wore to my friends’ party. It was the shade of a blooming rose, as majestic as sunsets, as bright as my self-conscious blush when my Mum scowled at my revealing outfit in disapproval. Ironically, despite having gained the freedom of choice on what to wear, I was sent back to my room to change into something more “appropriate”.

Then I stepped into the living room, wearing a simplistic white with elasticated sleeves seemed more like the surrender flag on the battlefield…

It had suddenly come as an epiphany that there have been invisible chains around me all along, taking control of my behaviours. Perhaps around other women as well, through different time periods and places. Some women are witty enough to break free. But some allow rust to grow and ultimately extend into prisons without ever noticing. Shakespeare’s diverse range of female characters plays a crucial role in my sudden realisation, and I’m getting closer to figuring these “ideas” out, whatever these “ideas” are. Who knew that reading plays could be both educational and a crash course in “breaking invisible chains”?

There has always been a monotonous list of expectations for women. We are expected to be able to cook, bear and look after children.

We shouldn’t be too tall, or too strong. It’s basically the human equivalent to a Swiss Army knife. But Beatrice notices these imperceptible chains. She is blunt and mocking, believing that 10 PYMBLE LADIES’ COLLEGE

one does not have to be married to be happy, but it doesn’t seem to be attractive for women to have an opinion. Although she shows no physical strength, Beatrice has the power to manipulate others through witty words. She convinces Benedick to her wish, saying “But manhood is melted into courtesies, valour into compliment, and men are only turned into tongue, and trim ones too.”. I come to think that sometimes one doesn’t necessarily need to be able to win a wrestling match to be “powerful”, one can be powerful enough if they can persuade.

Juliet, too, speaks with high modality and dominates the conversations with her starcrossed lover Romeo. She seems to have discovered that actions are needed in order to break free from her tied wrists. She shows a willingness to challenge the long-standing animosity between her own family and Romeo’s. From every word of defiance and rebellious escape into the gardens, these actions pile up and help her break free from some family rivalry and societal beliefs.

Today, strong-willed female characters continue to be called “bossy” and “unmannered” by many members of society as a result of simply having a voice. This occurs throughout history. Let’s rewind this to the ancient period first, there is the swift-footed huntress Atlanta from Greek Mythology whose refusal to conform to traditional gender roles becomes unacceptable to others. Now after a

couple of skips forward, tomboy Jo March and Elizabeth Bennet can be seen from the classics world, then as we jump back to the present, “masculine” Scout Finch and feisty Arya Stark appear in modern literature.

Although both women are discriminated against by particular members of society, many acknowledge and celebrate their spirits of defiance against oppressive systems and prejudice and achievements.

These women who have struggled to move notice the existence of these chains and challenge conventional standards. It is not a complete answer, but it’s an idea.

So break free or stay still? Well, we are all different. Some choose to untangle themselves from these chains by offering their personal opinions, some are satirical and question men’s authorities, while some choose to embrace the situation they find themselves in. Similarly, I choose to change my party outfit obediently, but my friend chooses to argue and refuses to take off her top. There’s no way of knowing how one individual will react to our differences, but that’s the beauty of it.

On the other hand, treatment towards women has changed throughout time. Now my girlfriends and I could wear ripped jeans and crop tops in public without receiving public backlash, and women like Malala are being recognised for simply speaking up. These chains seem to have loosened a little. And female characters in movies and modern books are getting more recognition for their desire for autonomy as a gender. Katniss Everdeen defies the Capitol’s rules and becomes a symbol of rebellion. Hermoine Granger rebels against the expectation that academic prowess is primarily valued in boys.

While some women conform to societal standards, others challenge them. Perhaps this is what makes women complex. Although there are subservient women, there are those with blazing red flames too, which creates a diverse history of women throughout time.

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Sophia Chang, Year 10 Sophia’s piece reflects on the notion of justice in response to the prompt, “There is no justice in the world, only perspective.”

Damsels, dragons and dashing men, a fanciful realm of tales that have revamped our childhood into this hazy playground. Yes, fairytales may be a basket of nonsense, but the one sensical spoke that is woven through all 200+ of them is its way of justice. As a newfound hope dawns on the protagonist, a penalty awaits those with poisoned apples, vain mirrors and envious stepparents with a propensity for manual labour.

But here, why am I blabbering on about fairytales? Well, it ties into poetic justice and the Old Testament’s notion of recompense; a “happily ever after” where all virtues are rewarded, and vices punished. Fairy tales are secular. There’s no afterlife or The Good Place point system that vows to gratify a story’s protagonist in the next world, which is then why there’s an immediacy to all that Disney villains encounter. If Scar wasn’t mauled to death in his final plea for mercy by his Hyena henchmen, then you’d never see that poetically just ending. Circle of life, and all that.

But when this translates into reality, the barrier between virtue and vices is paper-thin, which is why the law constitutes this “paranormal force of karma ” that is retribution. The law tries to punish its sinners by the book, but this book’s pages are milled from trunks of moral absolutism rather than relativism. In the first, all actions are intrinsically good or evil, which is not mitigated by context or a pure outcome.

Today, I skipped a 6-period school day.

Moral absolutism would chastise me for bad attendance, disrespect, blah blah blah. But at 12 PYMBLE LADIES’ COLLEGE

least moral relativism is willing to indulge in a dose of reasoning, which is that I did my head in with Festival of Speech.

So the question is then, is there a preconceived notion of justice? Is the law objective, or is there no universal right or wrong? Perhaps, all moral compass that we own is a carbon copy of the people that we’re amidst, the perspectives that we’ve been doused in since birth and now on a day-to-day basis. Well, MIT researcher Jimmy Rising begs to differ, saying that “justice has the same root as justify for a reason” and that it does indeed, have a concrete definition. Rising notes that justice corresponds with being impartial, and having a 3rd party as a middle-ground. I mean, that’s theoretically true. But in Dante’s words, “the hottest place in hell is reserved for those who, in time of crisis, remain neutral.”

Take Lee’s To Kill a Mockingbird. A timeless text that unmasked the US and its plague of injustice, but has a 6-year-old narrator whose impartiality doesn’t last longer than a page turn. Kids have this simplistic sense of justice, whether it’s due to their pure, untarnished hearts or simply their rock-bottom IQ. Scout’s perception of Boo Radley is based on the paper-thin rumours that are ingrained into Maycomb. That he is a monster. A six-foot tall, yellow toothed monster that feasts on the neighbourhood pets. It takes one selfless act on Boo’s part to assert reality; he’s just misunderstood. So, how quickly can action alter our perceptions? There’s a lot to be gained from stripping away both the

complexities and mundane affairs of adulthood.

So, what’ve we landed on? Justice is subjective.

It feeds off perspective. It is dynamic and ever evolving, which is namely why it is so complex.

Even in the fairytale realm, there’s a cap on how definite justice can be. Guido’s death in Life is Beautiful was not fair, Macbeth couldn’t

evade his tragic fall, nor could Humpty Dumpty, for that matter. Perhaps, the road from ‘Once Upon a Time’ to ‘Happily Ever After’ isn’t paved with gold or as feasible as what these childish myths indite.

Perhaps, objectivity in justice is non-existent. But perhaps you and I can now hack away at the world’s injustice, one perspective at a time.

Olivia Xu, Year 10 Olivia’s writing highlights the importance of perspective when considering the nature of justice in our world.

JUSTICE: MERELY AN ILLUSION? “I don’t see it,” I had said to my brother.

As the plastic debris and tangled wires hung suspended in the museum, I squinted in an attempt to decipher Michael Murphy’s illusionary art before me. Ah, modern art. What a strange phenomenon.

Exasperation emanated from my brother, and next he pointed across the exhibit. Following his extended finger and navigating around the installation, the floating pieces morphed and glimmered with each step, until finally coalescing into the image of a raised fist.

society inadvertently disputes literally everything (Thank you, Internet).

Like Murphy’s immovable art which transforms upon one’s stance, the artificial concept of justice relies purely on perspective and what we, as the human race, deem as morally right.

Since childhood, we are constantly reminded of the invariable goodness and necessity of justice in the world. Yet, this equal playing field has become a little more complicated; it has detached from its marketed black and white portrayal and delved into a multifaceted canvas of moral ambiguity.

“Perspective is everything, idiot,” he had said.

He was right - perspective is everything. It’s the way artists produce ostensible depth and character, how mathematicians visualise complex geometric shapes, and the reason

Throughout the eras, a multitude of philosophical conceptions of justice have arisen - Plato believed it to be a “virtue establishing rational order”. Augustine viewed that the principle of justice itself was to try to

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“give all people their due”. And for David Hume, it “served public utility by protecting property”.

With so many perspectives on what justice truly is, its supposed “objectivity” falls to subjectivity.

And with it, so does the idea of adequate retribution.

Today, justice itself is widely believed to be a construct reflecting the values of dominant factions.

In Harper Lee’s To Kill a Mockingbird (1960), Atticus Finch, an iconic figure of steadfast morality, preached reason above all. But even he could not save the innocent Tom Robinson from the bias of the racist, all-white, vengeful jury. In this novel, it is clear that the dominant perspective trumps justice. Maycomb County, a microcosm of Lee’s personal upbringing, was steeped in antiquated racism spread by the governing white community. This poison ultimately failed to enforce justice because of its infectious, prejudicial vapour.

It seems justice, however, is a socially constructed set of norms created by humanity in order to serve humanity, to expose and oppose certain wrongs of today, albeit sometimes resulting in questionable verdicts.

A study from New York University revealed “that we’re more likely to punish wrongdoing as a third party to a non-violent offence than when we’re victimised by it.” In other words, justice lies in the eye of the beholder.

In the extension of justice in our society, the legal system, it is found that the final decisions made by a third party often are at odds with the victim’s wishes.

If these rulings are highly influenced by stance and perspective, either victimised or neutral, to what extent does justice act as an intersubjective moral compass? This begs the subsequent question: 14 PYMBLE LADIES’ COLLEGE

Does “true justice” exist at all?

The justice system is failing vulnerable people.

In Australia alone, community centres for free legal advice turned away 160,000 people a year in 2017 due to lack of capacity and steady cuts to the sector. How can justice be served when the people aren’t being served?

Yet, every day, in unanticipated ways, our actions, realities, and mind are sculpted by the promise of justice in law. We believe and find safety in the thought the bad guys will be placed behind bars, and that good will inevitably prevail.

Perhaps justice is merely an illusion; a dazzling display of art appreciated from one stance, ignored from all the others, unless we “climb into another’s skin and walk around in it.”

Because without perspective, all we’d see are scraps in the air, the filtered fragments of a bigger picture, really.

Allison Wang, Year 10 After exploring the representation of femininity in Lady Macbeth’s character, Allison chose to extend her study to the complexities of feminism amidst the popularity of the 2023 ‘Barbie’ film as part of an extension project.

FEMINISM IN THE 21ST CENTURY: BARBIE, BUZZWORDS, AND BEATING THE SYSTEM The Barbie movie, after months of guerilla marketing campaigns and flurid fuschia press releases, has finally been released. I walked into the cinema amongst a flurry of movie-goers who were all donning pink. I walked out feeling validated, recognised, and acknowledged, somehow, by a movie about a plastic doll.

40% of the film is Ryan Gosling without a shirt on. Some are claiming it as the new girlpower bible, heralding a new age of female empowerment and recognition. Others are making it out to be “feminist cancer”, pushing an ‘agenda’, and far too radical for children to even perceive. I don’t think that twenty or so conventionally beautiful women disavowing male privilege and instances of sexist oppression are either of those things.

For all the bright, pink, campy fun Barbie brings to the table, it’s not really feminist gospel – the concepts it presents have been existent within the realm of the gender equality discussion for decades. When you look at it from a business point of view, Barbie’s rebranding as a #feminist icon serves very little purpose other than to expand their product range and market it in a way that appeals to its modern audience.

But what it did do was make people feel seen.

It allowed women, both young and old, to see a part of themselves reflected on screen, and that’s something more impactful than it seems.

The thing that’s most significant about Barbie

is simply how wide of an audience she has.

Almost every little girl and boy grows up playing with one, whether it’s dressing her up in different outfits or seeing how much force it takes for her legs to snap in half. She earns Mattel over a billion dollars annually across over 150 countries. Nowadays, Barbie takes on the duty of a role model and a cultural icon, not only shaping the recreational lives of children, but their vision of society as well.

But as a child, Barbie didn’t appeal to me at all. I had this idea in my head that she was ‘too girly’ and not interesting enough for my sevenyear-old standards. As I grew older, I rejected the colour pink in a passionate act of rebellion against the patriarchy. At school, we learnt about women’s suffrage and the #MeToo movement, and I scoffed in disdain at how little Barbie had achieved for those causes. Now, after seeing the Barbie movie’s celebration of hyper-feminine, glittery glamour and enjoying it, I can’t help but feel like some of that was misguided, and I question myself: why did I hate her?

In 2016, Mattel presented a range of Barbies with new body types, skin tones, and hair textures to mollify claims regarding the lack of diversity in their product models. In 2018, Mattel released a campaign called “Barbie Celebrates Role Models,” a line of 17 dolls showcasing famous women such as Frida Kahlo, Katherine Johnson, and Amelia BRIGHT IDEAS 15

Earhart, in a response to mothers having concerns about their daughters failing to have positive females to look up to. Even as early as the 1990s there were Barbies of differing backgrounds and abilities.

On the other hand, studies have shown correlations between the doll and eating disorders in children, with unrealistic body proportions permanently impacting the way young girls see body shape ideals. Girls as young as 8 are accessing pro-anorexia discussion pages online for dieting and weight loss tips. After the COVID-19 pandemic, researchers saw the prevalence of eating disorders in young people increase by 15.3%. In the movie, Barbie’s terrified of getting cellulite.

When I saw Barbie, I only saw the strict rules that Barbie’s appearance placed on women. I didn’t see her career paths, or her diversity, or her ability to do anything that she put her mind to. In a twisted, chauvinistic act of internalised misogyny, I had become what I had sought to destroy: someone who only saw a woman for her body.

In a society where we clearly recognise the disadvantages that women face, why is it so difficult to reconcile with the idea of feminism?

When the word “girlboss” was first coined in 2014, it aimed to be representative of a powerful woman, a corporate ideal that dreamed of defeating toxic workplace environments and making a path for herself within society. Now, it’s a buzzword that’s thrown around, either without care, or with a great big heaping of irony on the side. A 2020 ad campaign by UK company PeoplePerHour proclaimed “You do the girl boss thing, we’ll do the SEO thing,” sparking outrage from women all across the country as it emphasised traditional views of women being technologically incompetent. According to psychologist Magdalena Zawisza, “[the] ‘girl boss’... draws attention to the feminine… [but] 16 PYMBLE LADIES’ COLLEGE

infantilises the role of a female as a boss. Have we ever heard about ‘boy bosses’?”

It feels like the issue is trivialised when the feminist movement is reduced to a single tagline, a single product. It tells all of us that empowerment and equality isn’t something that we’re all fighting for, but a commodity that we have to purchase, regardless of whether we can afford it. The activism turns performative, and incredibly pervasive, within our everyday lives without it carrying true meaning.

It makes me think about how women, especially young women, feel the need to be so compartmentalised, how girls label all the different sections of their identity so that their pain and their struggles become trendy and palatable to the rest of society.

Why do we need to have Barbie eras and Taylor Swift phases and find a sense of ourselves amidst Virginia Woolf-inspired sadgirl Pinterest boards? When can we finally recognise ourselves, without twisting it into something for others to consume? I guess, in the words of activist and writer Rayne FisherQuann, “Selling your pain is easier than living with it.”

Barbie’s whole schtick intrinsically links the empowerment of women to a consumer. She will always be designed for people to have, to buy, and ultimately, to desire. It’s not about the woman or the movement, as long as you can earn something from it. Feminism can only be acceptable when it conforms to the existing values of our patriarchal, capitalistic system.

And as soon as a woman gains dimension, she’s too much for society to handle.

As much as people claim to celebrate strong women, we see the opposite occurring. A woman who puts herself first is selfish. A strong willed woman is too masculine. A woman who makes a way for herself is too cold-hearted. I always wondered why some people blamed

Lady Macbeth for her husband’s murders, when she was a fierce woman stuck in the trappings of a savagely sexist society, not perfect by any means, but still more innocent than Macbeth could ever be. The same kind of rhetoric is applied even now – think the Johnny Depp defamation case, the shocking absence of basic empathy, how Amber Heard was ripped to shreds as people scrambled to defend an actor with a long, visible history of violent and abusive relationships.

Psychologist Carl Jung proposed the theory of the “collective unconscious”, the idea that our innate psyche is something shared amongst all people – an inherited ancestral experience that runs deep in the marrow of our bones. Perhaps he is correct. Women in modern society bear the weight of the suffering of all the women before them; the subjugation and the oppression, however subtly it manifests, exists as an underlying thrum of anguish. Because Eve ate the apple, all women suffer the consequence of her sin. Girls are born cursed, thrust into a world hell-bent on demeaning them.

the film shows us patriarchy, flipped. Barbie Land’s utopia shows the Kens as subservient and trodden upon; even the movie concedes this, quipping that one day they’ll have “as much power and influence in Barbie Land as women have in the real world.”

I think this is what many fail to realise: that gender equality should mean gender equality.

It’s not spitting buzzwords and hoping that the people who don’t understand just accept them, and it’s not trying to exonerate everything a woman does. It’s not the subjugation of men, or a reversal of roles within an inherently rigged hierarchy. It’s not a fight against any kind of identity – it’s a fight for identity, a fight for the right to express ourselves and find peace with that (to be ‘Kenough’, even).

But maybe the real problem is the fact that we’re looking so deeply into it in the first place, desperate to pick at and pull apart anything that dares to breathe the word ‘female’ over the world. It’s a movie about a plastic doll.

She’s just a Barbie girl, in a Barbie world. Maybe that’s enough.

But at the same time, there’s a sense of connection and community threaded throughout this pain, in the love and care passed down through mothers and daughters and sisters and friends. Sometimes girlhood/ womanhood/part of being human is marathoning BBC’s Pride and Prejudice with a bowl of icecream in your lap. Sometimes it’s realising how deeply stricken with injustice the world is, and dealing with the insurmountable nihilism and desperation that follows.

Sometimes it’s seeing nearly a hundred people decked out in pink, and eating popcorn in unison under a big screen.

The truth of the matter is that we live in a conditional society, one that holds everyone to a certain standard, some (much) stricter than others. The feminist fantasy presented in Barbie is ultimately a distortion – rather than equality, BRIGHT IDEAS 17

Catherine Shi, Year 10 Catherine’s response was composed for her ‘Sokratis’ personal project in 2023. Her purpose was to explore the legacy of Shakespeare’s work and its relevance in helping us understand our world today.

WHAT MAKES SHAKESPEARE, SHAKESPEARE? Not so long ago, I had an epiphany. I recollect an experience etched in memory, a time when I had embarked on a demanding hour-long hike devoid of technological distractions, bereft of any amusement – be it a phone, books, journals, or diversions – a considerable challenge in our modern digital era. Allow me to paint a picture: the spring season had just unfurled its colors, yet traces of wintry chill lingered in the atmosphere, gently brushing against my skin, sending shivers through my body. We found ourselves surrounded by verdant trees, a lush expanse stretching as far as the eye could see. Confronted by this setting, we turned to the only logical recourse – the craft of storytelling. Coincidentally, one of my camp instructors turned out to be an English teacher. In an unexpected conversation, after I asked her if she could tell me stories that would keep us entertained, she asked me whether I wanted to hear the stories of the coursework in our high school curriculum.

I eagerly agreed.

The first story she retold was Othello, and what surprised me was that its essence undiminished even in its abridged form, even in the humid yet cold spring weather on a 20 kilometer hike. This encounter ignited an unexplainable thirst for more narratives, propelling me into a journey of diverse reimaginings, and later on, a third to know more about this fascinating English poet, 18 PYMBLE LADIES’ COLLEGE

playwright and actor we knew as Shakespeare.

The significance of Shakespeare’s work and its lasting impact in the world of literature, dramas, and the English language is unarguable, yet all too many times I have heard the loud and impressionable sighs of both my peers.

Before we started our Macbeth unit this year, I remember many people in my classroom were all asking the teacher one question: why?

Or perhaps it was more than a simple oneword. Many questions lay behind this ‘why’.

What is it that differentiates Shakespeare’s plays from other works from his time? Why is it that Shakespeare plays such a huge part in our English curriculum rather than other playwrights? What is the point of even learning about a dead playwright, who wrote in such an ‘outdated’, incomprehensible language?

So rather than simply titling my research ‘Why?’ (that would be much too short and vague, as you can most likely presume), I have named my research ‘What Makes Shakespeare ‘Shakespeare’?’, still vague enough but at least informing my readers of the general context. I feel I have rambled too much, so let’s answer the very question which brings you hear today.

What makes Shakespeare, well, ‘Shakespeare’?

I will begin not with his work but Shakespeare himself. The author’s journey can reveal countless aspects of their literary masterpiece, like where certain characters or places came from. For instance, let’s think back

to Shakespeare’s early days – he grew up among regular folks in the English countryside.

William Shakespeare was immersed in a milieu populated by inhabitants closely bound to the rustic milieu of English provinces, ordinary citizens. He later on incorporated this aspect of his life into his plays, where he described similar citizens in his play The Merry Wives of Windsor. Shakespeare’s learning journey began at King’s Grammar School, an inclusive institution, where he imbibed a literary education encompassing Latin classics and Roman plays, potentially including Plautus, whose influence resonates in Shakespeare’s own works like The Comedy of Errors.

The roots of Shakespeare’s literary craft can be traced back to the classrooms of Stratford-upon-Avon in the 1570s. A kinship emerges between Plautus’ ‘Menarchmi’ and Shakespeare’s ‘Comedy of Errors’ (Act 4, Scene 3), as Dromio delivers money to Antipholus and a courtesan demands a chain from him, leading to a comedic exchange. Symbolic objects, like a mantle in Plautus’ piece and a ring in Shakespeare’s, share thematic significance. A recurring theme of berating women surfaces, casting them as malevolent entities, echoed by shared vocabulary and character portrayals. Shakespeare’s grounding in Greco-Roman Classics is evident in works such as A Comedy of Errors and Troilus & Cressida, revealing a consistent strain of sexism spanning from Classical Greece to the Elizabethan era. Shakespeare’s wit straddles the boundary between humor and audacious mockery, serving to modernize timeless tales for a contemporary audience amidst intense competition within the theatre landscape. An entertainer at heart, Shakespeare sought to garner laughter, facilitating word-of-mouth praise and repeat attendance. In The Comedy of Errors, Plautus’ influence is evident, though the satirical depiction of women as ‘devils’ finds its roots in societal norms stretching from Plautus’ era to Shakespeare’s. Beneath the surface of his works lies an unmistakable

layer of ironic humor, as seen in scenes like the porter’s alcohol-induced musings in Macbeth.

By delving into an author’s life, readers glean a deeper understanding of their creative intent, fostering heightened appreciation and insight into the narratives they present. One of the main differences between Shakespeare and other playwrights was the sheer magnitude and depth of his body of work.

While many playwrights of the Elizabethan and Jacobean eras produced notable plays, Shakespeare’s output was exceptionally prolific and encompassed a wide range of themes, genres, and styles. His plays delved into complex psychological depths, explored profound moral and philosophical questions, and showcased a remarkable understanding of human nature. Additionally, Shakespeare’s poetic language and mastery of verse set him apart, with his ability to craft exquisite soliloquies, sonnets, and lyrical passages that continue to captivate audiences. His profound influence on the English language and the enduring popularity of his works further solidify Shakespeare’s unique position in the realm of Renaissance playwrights.

Shakespeare’s capacity to express the nuance of the human experience in Macbeth can be observed throughout the play, but it becomes BRIGHT IDEAS 19

particularly pronounced in Act 5. This act showcases Macbeth’s descent into madness and the profound psychological impact of his actions. Through vivid metaphors, intense imagery, and poignant soliloquies, Shakespeare conveys the internal struggles, guilt, and torment experienced by Macbeth.

The famous “Tomorrow, and tomorrow,and tomorrow” soliloquy in Act 5, Scene 5 exemplifies Shakespeare’s ability to capture the despair and futility that Macbeth feels as he contemplates the transient nature of life.

The act also delves into the emotional turmoil of Lady Macbeth, portraying her guilt and madness. Overall, Act 5 of Macbeth showcases Shakespeare’s unparalleled talent in depicting the intricate depths of human emotion and the consequences of one’s choices.

The majestic and lonely man wondered in amazement about the bloody man in critical condition. You’ll be surprised to find that 5 words—majestic, lonely, amazement, bloody, critical—were coined by Shakespeare, a wordsmith credited with inventing or introducing over 1,700 terms that endure in the English language. Prior to Shakespeare’s era, written English lacked standardization, yet his literary contributions significantly shaped grammar, spelling, and vocabulary.

His linguistic innovations encompassed words like “lonely,” “frugal,” and “dwindle,” alongside numerous everyday phrases like “breaking the ice” and “heart of gold.” Beyond vocabulary, Shakespeare’s influence permeated poetry and literature, perfecting blank verse and inspiring the likes of Melville, Faulkner, Tennyson, and Dickens. This profound impact led Steiner to declare other poets as “feeble variations on Shakespearean themes.” In essence, Shakespeare’s language indelibly shapes contemporary speech, rendering the study of his works an essential facet of cultural education. Uncovering the myriad ways his language and themes persist in modern discourse proves both captivating and 20 PYMBLE LADIES’ COLLEGE

enjoyable.

My research so far consists of a long word document, a few important points in my head and annotations on my own copies of his plays. Whether it is more important for me to list those points in my head, my word document or simply straight facts in order to summarize my answer the question was a difficult decision, but I have decided to use a mix of critical thinking and human instinct, to concisely recapitulate my research and deliver the answer to your question. The answer I have drawn is not simple, but I will leave you with a concluding note; in case you are still left with questions swimming around following the body of my research.

Shakespeare makes Shakespeare… well, Shakespeare. But us audiences who have indulged, watched, acted and absorbed his plays, poems, ideas and his world have also made Shakespeare ‘Shakespeare.

Tanvi Thomas, Year 11 Tanvi was voted the winner of the 2022 Patricia Burgoyne Speaking Competition after performing the speech below to her cohort. The subject of her speech was about the contradictions and complexities of modern life.

PATRICIA BURGOYNE SPEAKING COMPETITION Did you make the decision to straighten or curl your hair this past weekend? Did you make the decision to put it up in a pony or down in a plait? Did you make the decision to wear shorts or pants? Less than a month ago Mahsa Amini was murdered in Iran because her decision of self-expression was not respected.

There is a simultaneous dichotomy in this issue.

People should be allowed to freely express and celebrate their religion. Religion is something that brings people together and provides hope for the best of times. But in the worst of times, it can be an instrument of oppression for minorities without power, such as women.

Mahsa was incarcerated because the morality police, a totalitarian group that enforces the country’s laws against immodesty, had deemed her inappropriately dressed. She was detained because her hijab was not worn tight enough, and part of her hair was showing. Three days later while in police custody, she fell into a coma and passed away.

Our responsibility is to create a space for conversation around these complex issues, because the lack of understanding can lead to a dangerously black and white world. I recognise Iran may feel like some faraway land that we only hear about in the news. But we can start right here in Australia. Our very own anthem claims we are ‘young and free’, it tells us ‘we’ve boundless plains to share’, yet people are still harassed for wearing a burqa, or visiting a temple, or wearing a bindi on their forehead.

The point of this story is not about hijab or no hijab. It’s not about religion. In fact, Islam emphasises love, peace, and community. This is a conversation about female oppression. The denial of choice amongst women. The fact that an innocent woman was killed because her way of expressing herself was criminal.

In contrast, in an ‘Australia Talks National Survey’ more than 70% of people who profess to be religious feel they are discriminated against. Last November, the Executive Council of Australian Jewry warned of a steep rise in antisemitic incidents in Australia. Shouldn’t this principle of freedom of choice also be applicable to individuals’ choice of practicing their cultures and religions.

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I recall my confused 8 year old self, in a largely Caucasian school, being on the receiving end of a barrage of questions. Are you Hindi? No, that’s a language. Because you’re brown, are you Muslim? No. Are you a terrorist? No, I’m a kid.

While the basis of these incidents may seem opposite to Amini’s murder in Iran, the principle is the same. Women’s choices, specifically in the realm of religion, are

neglected. Their right to self-expression is denied. And if we don’t look in the mirror, recognise our own privilege, and do something to change the world around us, then how can we call ourselves empowering women? As a society, are we prioritising our comfortability and just sitting back and watching this happen? Or are we brave enough to have the uncomfortable conversations and question inherent oppression in certain religions.

Charlotte Wykes, Year 11 In Charlotte’s English class she was asked to compose a piece of writing about a topic she was passionate about. Her submission was incredibly thoughtful, providing insight into the issues and experiences of women in STEM. Charlotte took influence from the authorial voice of Helen Garner in her essay ‘The Insults of Age’.

THE INSULTS OF BEING A YOUNG WOMAN IN STEM Yesterday was International Women’s Day. Defined by the United Nations as “a day when women are recognized for their achievements without regard to divisions, whether national, ethnic, linguistic, cultural, economic or political”, we are forced to reflect on the unequal and baffling society us women are faced with daily.

Consumed with thoughts of this topic, so important to me, I sat down to dinner with my two younger brothers. It was interesting to observe that both their age and gender influenced their oblivion to the ongoing issue of gender inequity. ‘But Lottie, when was the last time you genuinely experienced some sort of discrimination – because you are a 22 PYMBLE LADIES’ COLLEGE

girl?’ Oli questioned. I sighed, this was often the case, and to be fair I can see his point. To him, a fifteen-year-old boy, why would he see or feel, or know the discrimination I face every single day?

He doesn’t see the older gentlemen passing me in my school uniform, not even trying to hide that they are peering at the length of my skirt. He doesn’t see me scrolling through countless articles addressing targeted female domestic violence. He doesn’t see how fearful I am of being that I might become one of the one in three Australian women who will be subjected to sexual violence in their lifetime. He doesn’t understand my current concern about entering a STEM-based

career, dominated by the patriarchy. Yet, this underlying awareness of my gender which, strangely enough, I have accepted, floats so easily over my brothers’ heads.

It is amusing that responses to similar topics of conversation appear uniform, as people of older generations try to relate to the distant world of those thirty years younger than themselves. Usually, appearing at least once is a combination of; What subjects are you taking? Are there any boyfriends on the scene?

And by necessity, I absolutely can’t neglect my personal favourite; What do you want to do after school?

Of course, over time I’ve devised numerous ingenious responses to this anticipated question. Thankfully, womanly wisdom has helped me form the perfect resolve; it’s simple, it’s clear and it’s honest; ‘I’m not sure yet..’

So much less gruelling than having to launch into a pressure-filled explanation. Naturally, throughout my childhood there has been no limit to the extensive possibilities accessed by my imagination. The range is magnificent; a ski instructor at Whistler while on a gap year, an astronautical engineer or perhaps, whilst enveloped within a particularly musical phase, the concertmaster of the Australian Chamber Strings Orchestra.

I recall a particular conversation which took place three years ago, during the late afternoon of a classic sweltering, Australian summer’s day.Memories of the backyard dotted with mismatched chairs, family laughter and frivolous chatter, and the shared experience of over indulgence marked the occasion. Knowing that mum was in the kitchen busily preparing to serve the Christmas pudding, I wanted to help. To my surprise, my uncle joined us, not to help, rather, to engage in a conversation which I really didn’t want to have. It was Christmas Day, it was super hot, I was thirteen, mum needed my help and my uncle wanted to talk about his favourite topic-

my future career! Quite unexpectedly, when he asked, the unequivocal response “Medicine” resounded.

Immediately, I realised my mistake. Had I mentioned anything else, I would have been free to continue my festive celebration, but no, he chose to launch into further questioning.

‘Charlotte, I don’t think you’ve considered the long haul that medicine is? What about the years of great expense? How will you have balance, to travel, to meet people and to study? Have you considered your domestic timeline?’ Now, reader, while still not exactly clear what a ‘domestic timeline’ is, I know for sure that a thirteen-year-old definitely does not. I was so grateful to be saved by mum’s request for help.

In truth, what was even more concerning was the expectation placed upon me that my wish would only be to have a husband, have a family and of course “settle down”. Not that this doesn’t appeal to me but immediately imposing the expectation that I should disregard a career in a STEM based field, for the sole purpose of child-bearing definitely infuriates me. To be clear, I am in no way trying to diminish the stories of other women or their experiences. I understand and greatly appreciate that I come from an extremely fortunate position, however, this is just another example of the everyday gender discrimination I experience.

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While researching for this piece, I discovered t an alarming, yet not unexpected statistic from the Australian Department of Industry, Science and Resources: “Women only make up 27% of the workforce across all STEM industries, a 1 percentage point drop from 2020. Just 23% of senior management and 8% of CEOs in STEMqualified industries are women. On average, women still earn 18% less than men across all STEM industries.”

I found this, not only appalling but a wakeup call; a challenge for us as a community to

become more aware of our responsibility in recognising and supporting all women who pursue STEM based careers.

But for a moment, I simply ask for permission to be an indecisive child who wishes not to be discouraged from her dreams. I would like to grow up instead of being shut down. I ask not to be asked, “Why don’t we have an international Men’s’ day”, or told “You’d be a great weather girl, receptionist or teacher.”.

Why couldn’t I be a great doctor, scientist or engineer? After all, wouldn’t you want the same for your own daughter?

Elena Duta, Year 11 Elena was honored to have her writing shortlisted for the Whitlam Institute’s ‘What Matters’ competition in Term 3 of 2023. Her piece presents a thoughtful reflection on life and fulfillment. We congratulate Elena on her achievement.

MEMENTO MORI All life on earth is inevitably confronted with the reality of death. With no escape. No matter how much money we make, or who we are as an individual, it is nothing we can run from.

Our lives are unfortunately not perpetual or have the ability to hold the trophy for an immortal life. You will one-day face mortality.

This may sound like a depressing or somewhat disturbing statement, yet it is what drives us to live life more fully with the time we have.

Knowing our days are numbered encourages us to make the most of the time we have.

We’ve all heard the saying ‘YOLO.’ It’s a fact. So, 24 PYMBLE LADIES’ COLLEGE

make the most of it. Pursuing one’s passion is an extremely fulfilling endeavour, especially when it is driven with the heart. By recognising the time we have, many might choose to seize new opportunities and take those risks that may have been avoided. Do you know why? Because of YOLO. It will result in a more satisfying existence by understanding that life is to be explored to take chances.

We find our deeper meaning. We savour the moments. Knowing death is inevitable will help us recognise the time we have. Time is a source that cannot be gained once lost. I find

myself reflecting on how fast each year goes by, seeing the importance of making the most of each moment and surrounding myself with loved ones. There are times in life when you find meaning in the most difficult parts. Any experience we have in life can be meaningful, whether it’s spending time with loved ones, pursuing a hobby, learning something new, or overcoming a challenge. When we know that our time is limited, we may be more likely to savour these experiences and find a deeper meaning within them. By viewing the difficult and joyful experiences, we can have growth and learning or by focusing on experiences that have built us stronger and more resilient and acknowledging we have grown and changed as a result.

Of course, the inevitability of death can also be a source to anxiety and fear for many, it can be difficult to accept that we will die, and people avoid thinking about it altogether however

many see this as a peaceful stage of life, how it is just another new beginning into the afterlife. By embracing the reality of death and acknowledging our mortality, we can reduce the fear, and turn the fear into motivation to live life in the happiest of ways.

In conclusion, the inevitability of death is something we cannot escape however it is what we can learn from, that inspires us to make a positive impact on the world and make the most of everything by accepting the reality of death. Don’t perceive death in a negative light as it is natural; facing the fact that life is not eternal results in living a more fulfilled and satisfying life, and helps us prioritise what is truly important, for me, it is being around the ones I love.

Fiat, fatum tuum quaere impletum. So be it, seek your fulfilled destiny.

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Sophia Gao, Year 12 In her writing, Sophia challenges the romantic trope of the happy ending by having her reader explore the purposes of storytelling. Inspired by the writing and authorial voice of Zadie Smith, she explores how different archetypes of story endings can prompt insights into human experiences as demonstrated in Jane Austen’s ‘Pride and Prejudice’.

DEBUNKING DARCY A prologue Reader, I give you a task. I ask that you rewrite the ending of Jane Austen’s Pride and Prejudice. Out of the following three options, pick your poison: Elizabeth didn’t believe the revelations of Darcy’s letter, and continues to view him as pompous and arrogant. Darcy is left heartbroken and humiliated. This ending would probably warrant a sequel.

Darcy and Elizabeth do end up together, however Darcy falls ill from a debilitating disease three years later and tragically passes away. Elizabeth is devastated. Austen would definitely have made this a tear-jerker.

The ending is perfect as it is. Darcy and Elizabeth deserved a happily-ever-after and it would truly be a sacrilege to change it.

A): The unresolved ending I’ll admit that A) is nowhere near as satisfying as C). What contentment do we readers get if we’re anxiously holding our breath whilst turning into the last chapter, rather than stupidly smiling down at the page with glee?

But even as we close the book with a sad sigh (although I’d hope not, since Austen would have given us the sequel we deserve), let’s not overlook the other excitements of the storyline. The satisfaction of a fairy-tale 26 PYMBLE LADIES’ COLLEGE

ending is far from the only reason we read stories. Through a story, we can understand and experience. Every time a story subverts our expectations, our mind opens up to another complexity of life. And it’s good. It’s something we need. We all have an emotional shield at our minds’ forefront, stopping us from basking in the revealing light of reality and its vexing, gut-wrenching truths we often ignore.

Now, perhaps if you peered a little closer at A), you might find yourself reminded of the ‘don’t judge a book by its cover’ cliché all over again. A reminder to unlearn your biases and assumptions or, good god, one day a seemingly snobbish man who just so happens to have the most loving heart on top of his rumoured £10,000 fortune, might just slip through your fingers.

B): The tear-jerker If however, you’re a reader who likes your emotions riled in an indescribable way, have your expectations unexpectedly ripped apart, perhaps you’ve chosen B). Wouldn’t B) just destroy you! But sometimes we forget the trials and tribulations of stories — not only those of fanciful romance — can be mirrored in reality. Here we’re brought to another purpose of stories: its emotional stakes. Stories have a magical ability to tease out raw feelings.

Try to measure just how much of the whole gamut of human emotion and experience one can see and feel, just from the books sitting

on their bookshelf. Now, try a library. So if you’re choosing B), let yourself be emotionally transported. That shield I mentioned earlier, rip it off! Throw it into the abyss! I want you to feel spent and vulnerable by these stories that ring and resonate in their raw, revealing realism.

Some parts of life are just like this: confusing, disheartening, and down right tedious. That’s not Romantic literature, that’s reality. And whilst authors can pump out a sequel to quell any fury from their vexed readership, in life it is expected that we grapple with the harder endings, and press on.

C): The fairytale ending Ah, and here we arrive, where I shamelessly admit I must choose C). The ending is simply untouchable. How ghastly is it to imagine a ‘Pride and Prejudice’ without Elizabeth and Darcy finally together. If you’re like me, then you revel slightly too much in glittering, fairytale endings. What can give a reader greater satisfaction than having everything resolved in the end? Shall we summon for Briony Tallis of Ian McEwan’s ‘Atonement’?

Poor girl completely fabricates her sister’s love story for it ended far too awfully, far too quickly. Perhaps someone should have also ripped away the pen from T.S. Eliot to write a real love story for J. Alfred Prufrock. We love stories for all their theatricality, risks and surprises, for we know that it will be fine in the end. Go ahead! Mute the insurmountable problems of our age, spur us to continue life in the face of impossible odds, help us bank on hope in a world that seems bankrupt. Readers love their personal shield to hide from the harsh light of reality: the fairytale stuff of C) is rare. Of course, sometimes things do work out just as magically. Not always, but sometimes.

If it is to satisfy readers who set their hearts on the unblemished fairytale ending, be keen and kiddish with me, join me in choosing C).

But, if you view C) as much too romantical, and would rather tear away the imaginary emotional shield of your imaginary reader through your imaginary story, perhaps you’re bold enough for A) or B). But also remember that stories are ubiquitous. Extending far beyond literature, they weave themselves throughout all facets of life. Some stories tell an embellished version of the events, for people still seek happy endings like readers in the era of Austen and Dickens. But through other stories, one views the world through the most unfiltered lens, experiences emotion in the most raw form, and understands human experiences of the most genuine kind. Reader, I hope that in choosing your desired ending, you can achieve some of these purposes of a story. No pressure.

An epilogue Three possible denouements of ‘Pride and Prejudice’. Reader, I ask that you carefully decide your chosen ending, for now I hand you the pen. If I may, I ask that you carefully consider your desired purpose for the story.

BRIGHT IDEAS 27

Yen Hyunh, Year 7 Yen’s imaginative piece personifies experience in guiding the journey of her persona. It was written for her English unit where identity is explored as a central theme.

EXPERIENCE AS MY GUIDE Trying to peer past the haze, I stood at a crossroad, scrutinising and examining the two divergent paths. The road on my right was riddled with potholes and cracks and seemed to bend sharply to the left and right every few metres. However, the left road, unlike the former, seemed like a smooth black river, the sort boats could float so effortlessly along, yet was so thickly veiled in an obscuring fog that I wouldn’t be able to see more than two steps ahead of me. And so, after a few moments of contemplation, I finally made my steady way along, inching closer and closer to the left.

“Careful there. Can you not see the pitfall traps set in front of you?”

I stiffened, knowing that it was my guide, Experience.

“Yes, I see them now. They must have been set carefully, you can only see them if you squint,” I responded after a long moment of scrutinising the pathway. I didn’t tell him I couldn’t see what he saw. I didn’t like to disappoint my teacher.

“Good. Now look at this right path. A bit rocky, isn’t it?” Experience smiled. If one stared for too long, his smile would start to seem more sickly than sweet.

“Yes. It is rough.” This time, I was telling the truth.

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Experience nodded approvingly. “You must choose now, and hurry.”

I took a hesitant step towards the left path.

“Are you sure?” Experience called out from behind me, “Why that one when trouble is disguised so cleverly behind the thick fog?”

So, I changed my direction, hesitantly started towards the right.

“Are you sure?” Experience called out again, “Why that one when it is so clearly the far more difficult road to travel?”

I let out a frustrated sigh, biting my lip in indecision. It was times like this when I felt like Experience was simply there to taunt me. My teacher walked beside me and placed a hand on my shoulder.

“The more you dither and falter, the less able you are to decide. I’ve taught you many times that you only have limited time at each crossroad”.

I glanced towards the smooth path once more, before tentatively taking a few steps across it.

Behind me, Experience chided me. “Hate, my friend, is the devil’s path, and we should leave its surface without a single footprint. Always

the temptation to walk it is a platter of logical and compelling reasons, ones that boost the ego and frame false heroes.”

At that moment, I knew that I chose the wrong path. How could I not? The road of forgiveness, although rough and less trodden, was always the correct path, never the path of hate. Even when I first stood at this crossroad, faced with

the two divergent pathways, I knew perfectly well what the right course of action was. And yet, my heart, still heavy with resentment, was not ready for forgiveness. But it was too late to turn back or stay put now. I had to take this experience in my stride and hope the next time I face a crossroad I will make the correct choice.

Bella Yang, Year 7 In Term 1 Year 7 composed narratives as their assessment task for the ‘Identity’ unit. Bella has aimed to capture an experience in an unfamiliar setting in which the protagonist undergoes a shift in identity over the course of the story. Bella’s keen interest in gothic novels has shaped her writing style, voice, and characterisation.

THE ALLEYWAY It was a frigid, bitter January evening, with the last dregs of lambent sunlight seeping out of a slate-grey sky. Dusk crept closer to night, and the dissonant peals of laughter mingled with the soft, low susurrations of murmured conversation. Soon they were stifled, fading into the semblance of serenity that descended upon the city streets like a cloak. As the sun sagged further past the horizon, the contours of the crumbling, deteriorating buildings were drenched in vantablack darkness, casting looming shadows upon the alleyway in which I stood.

I advanced haphazardly along the alleyway’s weathered path with erratic footfalls, stumbling over the grooves and dents that riddled the concrete. In the collapsed corner behind me, a mangled metal street lamp flickered wearily to life, emanating a tremulous fluorescent glow.

As I inhaled hesitantly, the pungent stench of cigarette ash flooded my senses, sending me choking and gagging as I staggered towards the grime-caked wall for support.

It was then, chest heaving against the dented brickwork, that I registered the faintest rustling, a hissing susurration rising from the shadows.

I froze, an icy pit of churning dread unfurling in my stomach.

Perhaps it was nothing but the winter breeze, carelessly brushing and shifting amongst the heaps of garbage. Perhaps it was simply the fleeting scrabble of a rat scampering down the pockmarked street and into the gutters below.

And yet the disturbance grew louder, piercing through the morbid silence.

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Pulse thundering, I took shuddering breaths of the stagnant air, all remnants of colour draining out of my pallid complexion. Turning my back to the wall, I gazed into the unadulterated darkness, shivering uncontrollably as rivulets of cold sweat trickled down my neck.

“Who’s there?” I rasped in a thick voice.

My eyes darted rapidly ahead, glazed with a sheen of abject terror. Mere metres behind me came a barely distinguishable hiss, followed by the shuffling and scraping of something on concrete pavement. I could feel a searing, malicious gaze fixated on the back of my head, a pair of merciless, glinting eyes aflame with sickening anticipation. I gulped, unable to turn around.

Staring into the darkness, obscured and grotesque figures seemed to rise from the shadows of my mind’s eye, looming above my shaking. I envisioned gnarled, twisted claws of taut skin and bone stretching out towards me, beckoning me forwards. I could feel laboured, chilly breaths bearing down on my exposed neck, dousing my senses like a bucket of cold water. The air was fraught with tension, atmosphere wound tightly like a coil as I stood, gaunt and ivory-faced, pale, bloodless lips parting to open in a silent plea.

Then a single, sharp tap of leather against stone rang deafeningly through the alleyway like a gunshot. I jolted out of my petrified haze, staggering forwards and hurtling to the end of the alleyway, fiery streams of adrenaline coursing through my veins. As I bolted, gasping and panting, my ears caught on to the rapid tap tap tap of footsteps that followed.

In a blur, I turned the corner, stumbling and tripping down the worn steps leading down to the subway. As my feet contacted the smooth, solid limestone tiles, a burst of gleaming, warm light flooded my vision, enveloping me in a reassuring, lambent glow. Soon, I was 30 PYMBLE LADIES’ COLLEGE

surrounded by the rush and roar of life, the rabble of commuters and the clear, bright tones of the station announcer. Tantalizing wafts of takeaway drifted over a reassuring sterile odour. I slumped onto a metal bench, averting my eyes from the cautious gazes and judgemental glares of other waiting commuters, letting out a trembling sigh of overwhelming relief.

But every following day, when I passed the entrance to the alleyway with trepid treads, the hairs on the back of my neck stood up. Chills ran down my spine, freezing the blood in my veins. I found myself whipping my head back jerkily, scanning the streets with a nagging, gripping sense of paranoia.

My evenings were plagued with unrest as I took different paths to the subway, adamantly steering clear of shadowy, deserted areas.

Time and time again, fragments of the memory would haunt me, with visions of murky shadows and looming figures rooting me to the spot.

Ever since that frigid, bitter January evening, my days were never the same.

Sooan Yoo, Year 8 Sooan’s imaginative piece takes inspiration from Carol Ann Duffy’s poem ‘Before you were mine’ in exploring a formative significant familial relationship. In her writing, Sooan writes about a relationship that is important to her protagonist.

BEFORE YOU WERE MINE Before you were mine, you would always leave trails of sunlight. Wherever your tiny feet took you, the moon would be tempted to chase after. Every single block of concrete you stepped on became the midpoint of earth, and the pavement of the sidewalk would light up whenever it met the soles of your sneakers.

Your small hands were always overflowing with precious treasures on your journey back home from school. In one hand would be a hotdog and in the other your backpack, which constantly was filled up with round glistening marbles, which you had procured and collected one by one throughout the years.

Now, your once dearly cherished marbles are rolling beneath the slight gap of your cupboard, and your vividly printed clothes are replaced with hard-collared school blouses.

The colourful equipment of the playgrounds no longer catches your eyes, and instead, you drag yourself into the library just in the left corner. The vast vision of the panorama beyond the clear glass windowsill is slovenly blindfolded by a layer of brumal fog. Your once Gogh-like hands are now continuously checking off the small square boxes of the calendar. Although all sides of your view are blocked by your desk’s polished wood and a collage of sticky notes, the porous barrier can never block out the maddening noises that surround you. The vexing clicks of pens ticking, the sharp swishes of thin pages flipping, and

the faint whispers of a lethargic tune, which tiptoes out of one’s unplugged earphones.

Enduring these sounds feels like nails on a chalkboard, doesn’t it? But once again, I see you picking up your pen. Bearing up. Just until you reach the finish line of your hundred metre race and face the starting line of a marathon.

You twirl past the runners of the marathon, freely but cautiously so that you stay on track.

The tattered soles of your sneakers are now replaced with sharp toed high heels. The graphic t-shirt of yours is nowhere to be seen.

Instead, there are long, pure, dazzling layers of silk draped around your body. Dragging behind you on the marble floor, as reflective as a mirror, you walk straight down the aisle with no end in sight. This is where I wait for you.

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Meredith Au, Year 8 Meredith’s suite of poetry was in response to a mini project undertaken by her class in relation to the study of ‘A Midsummer Night’s Dream’. Students were asked to create and explore their own research question and undertake evaluation of a variety of sources to gain deeper insight into their chosen concept. Meredith chose the concept of “the power of the imagination” and her research question was: Why is imagination important in life, and how is this shown through ‘A Midsummer Night’s Dream’?

MINI PROJECT ON THE POWER OF IMAGINATION Lina (sprite)

April 14

The world is Cobbled streets, Burnt leaves Dried peaches, And lost grey skies.

Ann (person)

One building, Doubled over And over Onto the edge of the world.

Ann lies in her bed, A soft fortress of thoughts.

I lurk in the shadows, Watching, Waiting, Listening.

Tomorrow falls the day of her birth.

Her first pleasant gift Awaits in her dreams, To pluck her out from the world, To worlds beyond, Colourful and picturesque.

Today, I feel happy.

On a bouncy cloud Of many ickle thoughts, Leaping, Smiling, Happy.

An illusion Appeared last night.

Verdant branches shade me, Pink buds brush my arms, Dewdrops sink into my eyes.

For once, I wish That my home Could be as delightful as my dream.

Downstairs, I eat my breakfast, Consisting of grains: Grey flax and Green pumpkin seeds.

How bland it tastes After the joy when fantasising Red dates, And seedy dragon fruits.

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At school, my teacher asks How to spell decomposition.

I answered in song In a melodious tune.

She stood there, shocked, While I blocked out the snickers behind my back.

April 15 Lina Today, Ann felt numb, Joyful, yet downcast Out of mind, But her imagination grows still.

Tonight when she sleeps, Her head will be filled with glee, With apricocks’ and dewberries, Purple grapes, green figs and mulberries.

Dream, dream, child, Another vision shall be sent.

In my world, Our feet Walk over tar smoke, Our eyes See grey lumps doubled, Our ears Hear dreadful silence.

I wonder How to fix A broken, Rational thinking world.

April 15-16 At school, I wear bright colours, I sing my answers To questions.

Hopefully I can get others To imagine a world That imagines.

April 15

April 17

Ann

Lina

I run, Far off into the Blue distance, Wind raking my hair, Light as a feather.

I am glad.

Ann has turned Cobbled streets Into Lovers Lanes.

Burnt leaves Into Ginkgo leaves.

And dried peaches Into juicy, succulent fruits.

I look around, At a world so charmed, Peaceful, Drowned in emotion.

Daisies grow beside riverbanks, White metal birds Fly high in the clouds, Beautiful melodies ring In songful chords, Great spindle wheels Spin glittering threads,

Now I can Return to my master, Report on Ann’s progress, And continue to be Oberon’s jest.

September 27

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Sophia Ji, Year 11 On 16th May a group of senior English students attended a creative writing workshop led

by Sarah Attfield, a Senior Lecturer in the School of Communication at the University of Technology, Sydney. Following the session, Sophia was inspired to write a small poem in response to a creative exercise the students completed requiring them to write about an everyday event using their senses.

Tiredness absorbing the dreams, quietude consuming the room.

My eyes slowly shut, as the darkness shadows the moon.

I recount what had happened today, those images vividly appear.

I’d like to fall asleep soon, though my mind would not adhere.

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Daniela Cantalfio, Year 11 In her appropriation of Adele’s voice from ‘Jane Eyre’, Daniela aims to challenge the expectation that children are undeveloped and blind to power imbalances within their family structures. This attitude was endorsed during the Victorian era, where children were expected to be ‘seen and not heard.’ By writing from the first-person person perspective of the child narrator, Adele, Daniela voiced her unexpected resentment of her guardian due to her social alienation at Thornfield.

S’IL LUI CONVIENT DE REFUSER / IF IT SUITS HIM TO REFUSE I emerge from the archway into the empty drawing room, freed from my chrysalis– O, how I have longed to spread my wings once more and fill the halls with song. For in this dollhouse they call Thornfield Hall, solitude has been my only friend. But if only for a night I may dream of being reunited with my beloved Paris, then I shall hasten before the hours melt into dawn and I am sentenced to my room once again.

As my heels pass the threshold of dull wood and sink into the plush carpet, I shed the skin of the lonely maiden Adèle Varens and transform into a wild and ravishing gypsy. I slip the straps of my frock further down, for the gypsy woman is coquettish as she pleases, much like my Mama.

I take to the stage, exchanging candlelight for limelight, armchairs for an audience. “Merci tout le monde,” I smile coyly, flapping my hand as a fine lady might with a feathered fan, waiting for the din of soundless applause to subside.

I draw in a long breath, lungs filled to the brim, and I am Carmen.

“L’amour est un oiseau rebelle…”

This Habanera is Carmen’s entrance aria, the moment when she is first known to the world, when all stop in their tracks to listen. It is a tale of fiery passion they think a child should not know. But they have not known love, when they have only seen England’s sliding rivers and rolling hills, when their wall-paintings only boast bare fields and grey skies. No, they have not known a love like mine until they have run through luxurious Parisian gardens swathed in colour, not until they have wandered the cobbled lanes of the Champs-Élysées by moonlight. My true home is the stage, where stardust runs through my veins and rouge dusts my cheeks, where my Mama holds me up for the audience and I am a prima donna in my own right.

But one winter swept all the glamour away, when Mama finally closed the curtains. Stage left, exit. Like a gypsy cannot stay put, my Mama left for a new production in Italy, or so they tell me. I was cast into the care of Madame Frédéric, a lady whose heart was as small and unfurnished as her house. The smell of the monsieur’s cigarettes would cling to clammy skin, peeling upholstery and tangled bedsheets alike. Cue Monsieur Rochester, the enigma they claimed was my father. When letters came brimming with sweet words and BRIGHT IDEAS 35

honeyed promises, what could my foolish heart do but follow? Clutching nothing but a suitcase and the hand of my Mama’s faithful bonne Sophie, I left my beloved Paris, for a country of which I knew nothing.

“S’il lui convient de refuser…”

If it shall please, he will refuse anybody who calls. This man grimaces through pecked kisses and stiffens at my tender embrace. He does not indulge in child’s play, this Papa of mine, for a dollhouse is just make-believe in the end. But it turns out his very presence was a pretence, for he attends to his castles and manors every other month of the year. It would be unfair to say he doesn’t try, for he fills his absence with satin dresses and glass-eyed dolls that I love with utmost guilt. He would only play Papa to a good English girl, so Mademoiselle Jane stuffs me with lessons until I am fit to wear English dress and speak befitting of a lady. What can a doll do, but sit still and listen?

“L’amour est enfant de Bohême…”

The gilded doors open, letting peals of laughter slip between the notes. It is those mesdames that Monsieur Rochester has brought into the house, all frills and no manners. My mother tongue is foreign to their lips, a dance too fast and complex for them. But it is Monsieur Rochester himself who fawns over them with most enviable attention, and indulges in their flattery. When the evening did wane, I sat perched next to the railing, hearing how he crowed of good deeds and repentance by taking me and easing Mama’s burden. But any fool can see guilt is his only burden for a stray child like myself. In the end I am only another Varens, another doll he can toss aside when the novelty is over.

Now entering the theatre, they are struck by my spell, voices hushed, and fingers pressed, lashes lifted towards me. All is silent.

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“Tout autor de toi, vite, vite…”

As if fair Fortuna has swept her baton, the melody slips into the minor key as Rochester enters the room, eyes imbued with anger.

He will look for someone to blame for my disobedience, whether it be the senile Madame Fairfax, my sweet Sophie, or the unsuspecting Mademoiselle Eyre. As the last stanza draws near, my breaths become more frequent and hurried. I fear the morning, for when light breaks through the curtains, I must retreat into my cocoon, a stranger to this man and his wrath.

“Si tu ne m’aimes pas…”

If he does not love me, he does well to show it. But my vibrato quivers a little as the monsieur tenderly lifts the piano lid and begins the left-hand ostinato, softly at first then slowly crescendoing with my pulse. Though I despise this man to the tips of my curls and to the ends of the earth, I cannot deny his earth-shaking talent. “…prends garde à toi!”

The last arpeggio flourishes and surges with my heart. Let their rowdy applause and gushing praise be thunder in his ears, for his daughter’s untimely debut shall not stay beyond felled curtains. Tonight, he yields to my stage.

Isabella Watson, Year 12 On 16th May a group of senior English students attended a creative writing workshop led

by Sarah Attfield, a Senior Lecturer in the School of Communication at the University of Technology, Sydney. Following the session, Isabella was inspired to write a poem which takes inspiration from the observational nature of T. S. Eliot’s work and his attention to sensory imagery.

AT FOUR AND FIVE AND SIX O’CLOCK The cogs crunch, They grind they crinkle, Each a turning, twisting twinkle Of metal, screws, knobs and bobs, Twirling, swirling, locking locks, They spin, they clink They interact; Turning wheels Movement to fact A time, each spasm of the hand Read by passers-by Who stand and gaze, necks taut and craned To surpass the bricks, to climb the maze Above which the glazed divided face resides; A round milky yawn over the dusky dawn As mist and fog browned by smog Clear and part for another day “Tick-tock” Is all it can, and all it will, ever say.

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Julie Sheng, Year 11 Julie was the recipient of the Red Room Poetry POEM FOREST prize in the Upper Secondary category in 2023, where a tree was planted for every submission. The purpose of the prize is to use student voice to contribute to positive climate action. We congratulate Julie on her achievement.

I speak in flowers – In silken threads of nectar, Stitched by the languid arachne.

In crystalline petals quivering, At the wooing of the wind.

In coquettish shoots prodding, The sable velvet of the world.

A slender arch of rose-tinged white, For a keen, crisp spring.

A curl of delicate green, For a full-bodied summer.

A velveteen mink of pollen, For a deep, dusky autumn, But it has been a long winter for me, A winter of harsh razed hinterlands.

It has been a bitter winter for me, A winter of brittle seeds and wilted buds.

Look, here comes a hand, cruel and calloused, That wrenches my soul from my belly, And, with a tortured wail, plucks me by the roots.

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