Globalisation

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GLOBALIZATION is a term used to describe many effects that occur due to a rapidly changing world and the development of multi-national markets and communication, media technologies and other systems of production and consumption. As a result of this, a new culture has emerged, the GLOBAL culture. Values taken from this culture are not those of a moralistic nature, but more of a commercial Production skills, efficiency and progress are the values upheld by this culture. GLOBALIZATION looks out for the GLOBAL community, and often the individual is disregarded and forgotten as a result of this. It affects individual's lives and LOCAL communities economically and culturally, and its effects can be seen from two different viewpoints Positively- Where focus is on the features of a changing world in which access benefits LOCAL communities through prosperity, health, freedom and communication. OR Negatively Where it is seen as a form of domination of 1st world countries over rd world countries or LOCAL communities and where individual distinctions of culture and society are erased by the homogenizing of this GLOBAL culture.

The LOCAL is a distinct community sharing certain values and beliefs often passed on from generation to generation so tradition is kept alive.

Both the ideas of the GLOBAL and the LOCAL are represented in all three set texts The Castle, The Shipping news and Seamus Heaney's poetry, in particular 'Funeral Rites', 'Digging' and Tollund Man'. They are also represented in the novel text 'Fight Club' by Chuck Palahniuk, and the short story texts 'Where the stars are lit by neon', 'Ice Breaker' and '"Are we there yet Dad"' from 'Places in the Heart' compiled by Susan Kurosawa.

Each of these texts deals with the notion of GLOBALIZATION and the retreat from it into the LOCAL.

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The movie 'The Castle' conveys a strong notion of retreat from the global, and on the whole places the values of the LOCAL in higher esteem than those of the GLOBAL. It is not however, completely biased as benefits of the GLOBAL are also dealt with and the LOCAL community is often subtlely and gently ridiculed and shown to be naive as a result of isolation.

The Kerrigan family co-exists with the influences of GLOBALIZATION quite harmoniously in the beginning of this movie. The GLOBAL and LOCAL are in a balanced state, neither imposing on the other. The Kerrigans are able to enjoy the benefits of GLOBALIZATION ease of communication, transport and advanced technology, whilst still retaining the values and benefits of the LOCAL Love for family and community, support from family and community, value of the individual and appreciation for the simple things in life.

It is not until the GLOBAL begins to impose on the LOCAL and threaten its very existence that a problem arises. The Kerrigans have to fight to retain their part of the world. To save the LOCAL from being consumed by the GLOBAL. Here the GLOBAL is represented by a multi-national airline company 'Airlink' run by the 'Barlow Group', a group of extremely wealthy businessmen. This airline threatens to demolish the Kerrigan's house, and in doing so their home, their memories and their community. The Kerrigan's value their home, and everything about it from the 'fake chimney' to the doghouse built on lead filled soil. They fight for this, but cannot do so without outside help which appears in the form of Laurie, a retired 'QC lawyer'. This is another example of where the product of GLOBALIZATION has worked with the LOCAL to produce a beneficial outcome. Laurie, while being a product of the GLOBAL, still values the individual and therefore, Laurie himself is a balance of GLOBAL and LOCAL. The overall tone of this movie seems to imply a triumph of the LOCAL over the GLOBAL, but effectively, the result is to restore the balance between the two. The movie is not so much about escape, but conservation.

Annie Proux's 'The Shipping News' also deals with these issues, but takes a different viewpoint. She still portrays a need for balance between the GLOBAL and the LOCAL, but these two entities are presented in a much more realistic and complex manner. Rather than presenting the fairy tale and stereotypical style LOCAL as is seen in 'The Castle' where all the values and beliefs of the LOCAL are good, healthy and promote a happy lifestyle, Proux's idea of the LOCAL presents us with the reality of living in an isolated community complete with its own faults, quirks and history that has been preserved and past down from generation to generation. The occupants of Newfoundland are forced to face their past, as they have nowhere to run from it as is easily achieved in the GLOBAL village. Quoyle has spent his entire life running from his past and problems. Lost in a fast changing world that has no time for self-discovery and no regard for the individual except as a commodity, Quoyle is abused, ignored and used by those around him, in particular, Quoyles wife Petal Bear. Her name alone sums her up beautiful, petit and a ruthless animal. She is a powerful symbol of the GLOBAL world. Beautiful, sexy and desirable on the surface, but rotten underneath. She treats Quoyle with contempt and finds his 'damp loaf of a body' disgusting. She seems horrifying to us as she seems to have no morals at all. She even sells her own children to sexual slavery. Her lack of morals cause her to seem inhuman. Quoyle however is completely infatuated with Petal and is distraught when she is killed in an horrific car accident. His aunt Agnis advises that he return to his roots by going back to Newfoundland.

"You've got a chance to start out all over again. A new place, new people, new sights. A clean slate. See, you can be anything you want with a fresh start." Proux's characters are complex, and therefore carry their own problems and dark secrets as well as their fond memories and good values. Issues of sexual assault and domestic violence were rife in the small isolated community of Newoundland, and the scars these subtle atrocities inflicted remain on the people. It is these problems which are so easily buried in the GLOBAL world, but must be faced when brought into the close, confronting and intimate LOCAL life.

Quoyle tries to distance himself from his past, the truth and absolutions. He tries not to face situations and protect those he loves from facing them too, in fear of causing them pain. He explains death as a kind of sleep to his children, taking away the harsh reality of it. Also, he has a habit of headlining his situation.

'Stupid man does wrong thing again.'

Which is possibly Quoyle's way of detaching himself from the situation. Proux explains this by saying,

"For many people - for me certainly - the life of the mind, the realm of the imagination, is more brilliant and compelling than the world we live in. If you have nothing and no place in the world, the imagination is an engine of incredible power, both to lift you out of where you are and to impel you into another reality."

In Newfoundland, Quoyle has the opportunity and time to find himself, his positive qualities and his place in the world. The GLOBAL world could not afford Quoyle this time.

In 'The Shipping News', the GLOBAL world ultimately fails due to lack of understanding. It tries to assist the small town of Newfoundland by setting up factories and industries there to provide jobs and income, but lack of understanding of the environment, the people and the needs of this place caused these attempts to fail. A particular blow was the introduction of commercial fishing in the area that hijacked the people's jobs, lifestyle and income.

In Seamus Heaney's poems, an entirely different viewpoint of GLOBAL and LOCAL is given. The LOCAL is seen more as a refuge, a place of reflection and inspiration. A muse for life. It is truly a retreat from the harsh world of the global. A place to find your own identity through the land, your countries history and your family history. A strong sense of place and belonging is set up in his poetry, which is strongly linked to his constant reference to the earth and land.

In 'Funeral Rites' Heaney makes a comment about the comfort taken in retreating to the rituals and regularities of the LOCAL,

'Now as news comes in of each neighbourly murder we pine for ceremony, customary rhythms.'

Time is taken to savour events and address them head on, then lay them to rest. Ritual is a way of dealing with the intangible, resorting to certainty to understand and comprehend.

'their dough-white hands shackled in rosary beads.'

In 'Digging', the retreat Heaney takes is into his past. Finding meaning, purpose and inspiration in his forefathers and their work. The main focus here is the connection to the land. All his forefather's work involved the land, their lives revolved around it, it was their livelihood. Heaney, although noting that he cannot literally follow them in their profession by carrying on their work physically, but he can retain the essence of it through his writing.

'I've no spade to follow men like them…Between my finger and thumb the squat pen rests. I'll dig with it.' He'll carry on the exploration and discovery that is connected with digging, and use it as inspiration. He'll use the monetary gains from it to make his way in the world just as successfully as they did. He must however, go back to his roots before he can take on the GLOBAL aspect of the world.

'The Tollund Man', although based around a subject, which is not LOCAL to Heaney, also carries with it a sense of retreat from the GLOBAL. However, this retreat is more into his imagination rather than his past.

The most unusual thing about the Tollund Man would be that Heaney does not create a sense of understanding and empathy until the last three stanzas. These show Heaney feels the Tollund man's "sadness', and a distinct link with retreat and isolation.

'Out there in the Jutland In the old man-killing parishes I will feel lost, Unhappy and at home.'

Heaney finishes the poem with a paradox (lost and at home), stating that he empathises with the Tollund man by relating to him through his homeland.

Another important note on retreat in 'The Tollund Man' is the first line,

'Someday I will go to Aarhus.'

In this line Heaney reveals a detached 'what if?', a dreamy imagination, which creates a sense of escaping from the GLOBAL into his imagination and poetry.

'Fight Club' is distinctly anti-GLOBAL, and conveys the idea of salvation in total retreat. To give up everything to gain anything. 'First you have to hit rock bottom'. When every purpose in your life becomes to better yourself in the eyes of the GLOBAL world, you have to give everything up from it and start again. When culture, doesn't matter which one, becomes a fascinating commodity, 'hand-blown green glass dishes with the tiny bubbles and imperfections, little bits of sand, proof they were crafted by the honest, simple, hard-working indigenous aboriginal peoples of wherever'.

'you're trapped in your lovely nest, and the things you used to own, now they own you.'

Tyler Durden, one of the main characters who is actually a projection of the narrators subconscious mind, basically sets up an army with which to bring down major corporations and return everyone back to starting point. The idea is to retreat to the basics to remove all the unnecessary layers forced upon you by the GLOBAL world which cause you to be trapped.

'Places in the heart' is a compilation which doesn't demonise the GLOBAL so much, but celebrates the LOCAL and the refuge it supplies when the GLOBAL is too overwhelming. It is about memories, places and events that certain authors retreat into for inspiration and relaxation. In 'Where the stars are lit by neon' Graeme Blundell writes about Kings Cross, a place largely influenced by the GLOBAL world, but as a result of this, allows a complete retreat into the imagination due to the anonymity of the city. 'you enter a world where you can reinvent yourself in the casual act of hanging around. In such a big place you can find something in everybody that you can relate to. A piece of the LOCAL everywhere that you can retreat into. 'I loved the idea of layer upon layer of humanity living and loving and suffering, exulting or dying in…the great ant-heap of its brick and concrete.'

In 'Ice breaker', Tim Bowden talks of his love for the Antarctica. Hardly LOCAL it seems at first, but his entire childhood in Tasmania was filled with his fascination with the place, combined with his own father's enthusiasm for it. Going there 'was like coming home and fulfilling all my dreams.' 'You are so isolated there and confronted with yourself alone for company that the troubles of the outside world can't touch you.'

Paul Dyer also tells of how he retreats from the GLOBAL world into memories of his childhood which are brought back by the old beach-house his family used to own and holiday in. An escape from his busy life as a musician, he sometimes visits the house to stay and reflect on carefree days. 't seems like the rest of Sydney is so far away when you're there, like it belongs to another world in another time that you don't have to deal with. An escape from responsibility and reality.'

All these texts that I have discussed deal with the concept of GLOBALISATION and the retreat from the global, although from different perspectives. Whether positive or negative they convey their message strongly and with complexity but with clarity.

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