Tsiolkas’ Loaded and Shakespeare’s Antony and Cleopatra

One of the key concerns at the heart of communities is the notion of inclusion and exclusion.

Loaded and Antony and Cleopatra

Tsiolkas’ Loaded, and Shakespeare’s Antony and Cleopatra present a primary protagonist, both conduct themselves outside of the social norms expected of them. Ari, the character in Loaded and Antony from Antony and Cleopatra will be compared. A review of their behaviour and response at times of inclusion and exclusion in society. Fukuyama suggests inclusion is, ‘the expectation that arises within a community of regular, honest and cooperative behaviour, based on commonly shared norms’ (Fukuyama: 25). Ari and Antony’s self-expectations differ from community shared norms, which exclude them; though in moments of compliance to the expected behaviours are included to which both authors represent the protagonist in a non-socially-destructive light, compared to following individualistic desire.

Tsiolkas’Ari connects his sense of community in the main narrative within the drug scene, clubs, secret homosexuality and music. Tsiolkas introduces a day and night with a 19-year-old Ari as the narrator, and the main protagonist as the reader follows to witness Ari’s dramaturgy, in his dialogue and behaviour depending on his social interactions. A self-confessed interloper of the social norms expected by the family structure he states, ‘What I am is a runner. Running away from a thousand and one things, that people say you have to be or should want to be.’ (Tsiolkas:180). The reader can be confused just like the protagonist as Ari enjoys others company and has the brotherly love to be concerned about his Sister’s relationship and protects his older Brother from their sometimes cantankerous Mother. Furthermore showing empathy towards his mother’s home situation, even enjoying the connection with his mother when drinking, and enjoying Greek music with friends and family. He considers his Thea (Aunty) during a coffee cup fortune reading, has mindfulness of his friend Joe’s uncomfortableness of homosexuality and Ari’s though struggling with Joe growing up he chooses to remain without external comment on these matters. Moreover, the acceptance of Johnno (Yianni) Toula as a valid member of society, to which Ari himself admires Johnno’s (Yianni) strength to transform himself into Toula, a brave move within the Greek community and Australia at the time. Although the reader is witness to Ari’s interactions, internal and external dialogue, comparatively Ari through action versus his inner dialogue towards family and friends presents the desire to be included.

The paradox, Ari in Loaded is an agent of his exclusion, throughout Loaded, ‘Tsiolkas’ failure to adhere to mainstream morality and sexuality meant exclusion from the immigrant communal experience.’ (Frangos:13) Moreover, portrayed by Ari’s choice by not conveying his homosexuality his Greekness or Australianisms, to himself nor his parents. Inclusion is only on his terms during a period of emerging into adulthood, understanding his sexual and cultural identity while additionally conducting himself in self-destructive binges of unprotected sex with strangers, drug and alcohol use, as he divides of his home city into negative quarters to which he does not identify as an actual community. Thus, Ari’s denial of identity in a time of confusion and rebellion as a teen verging on adulthood. He denies himself of social inclusion which notably he replaces with his walkman playing selected soundtracks to survive the everyday. Although at brief moments Ari is compelled to be included within his social network of family and friends he shifts from the Greek music, contemporary music and movie loving teen to ‘A dedicated non-conformist, he rejects media culture for its “second-rate” quality, levelling effect and mass appeal. He also abhors the shackling traditions of his Greek community, which he harshly criticises.’ (Vernay:44) Tsiolkas, therefore, presents Ari to the reader with secret identity issues and self-abuse during a difficult period of growing up showing how destructive self-exclusion from the community can impact on the personal perception of self. Additionally, though the community is not a utopia when included can bring with it belonging.

Shakespeare’s Antony in Antony and Cleopatra struggles between Roman Stoicism and Egyptian Epicureanism, fuelled by a social and internal conflict between his love for Cleopatra and the expectations from the Roman Empire. Antony, formerly a Roman hero who won his position and admiration of the Roman community as one of the three leaders of Rome. Although, Shakespeare introduces Antony proclaiming his love for Cleopatra denouncing the Roman empire and his role within it. To which the next scene Antony is struggling with this proclamation, fearing the loss of his Roman identity while idle and enjoying the luxury Alexandria has offered him, recounting the glory days of his heroism, as a leader of Rome. Shakespeare’s use of two ideological and geographical places represents the opposing directions of the individualistic desire of Antony and the conflict between his reason, loyalty, and social expectations of both locations. Antony’s duty, desire, socially expected obligations to Rome and his need to be indulgent of socially undesirable behaviour cause Antony to question his inclusion in both places but also his Roman-ness, the value he places in honour, as a part of his identity. ‘Antony, nevertheless, participates in a deconstruction of his own “not Antony” identity at the opening of the play by resisting, ignoring, or attempting to replace his “Roman-ness” with a reconstruction based on his own desires and plans.’ (Galante: 9-10)

Antony, recalls the joy and admiration of his inclusion in Roman society as a heroic champion of Rome, where is spontaneity and love of indulgence are celebrated and excepted, though frowned upon at times where his desires superseded the role Rome expected him to take. To assist Antony to his former glory, the arranged marriage of Octavian’s sister Octavia brought temporary peace, although Antony could not honour his marriage and returns to his desires back to Alexandria and Cleopatra; which Octavian himself questions Antony’s loyalty:

‘No way excuse his foils when we do bear

So great weight in his lightness. If he filled

His vacancy with his voluptuousness,

Full surfeits and the dryness of his bones

Call on him for’t. But to confound such time

That drums him from his sport and speaks as loud

As his own state and ours,— ’tis to be chid

As we rate boys who, being mature in knowledge,

Pawn their experience to their present pleasure

And so rebel to judgment.‘

(1.4.3) Shakespeare)

While battling between self-desire and indulgence Antony is defeated by both Cleopatra and Octavian to which Antony is forced to face himself, and the exclusion he had created. The reality of ‘Antony’s fickle and unstable identity is an amalgamation of the opposites, he doesn’t seem to have control over himself and is tantalised by discourses’ cruel play, he is not the engineer of his identity, and every contingent event drives in different directions.’ (Mohamadi:19). In defeat in battle and love, the struggle of only knowing victory as a part of identity excludes Antony more so, complaining to his attendant Eros, he feels himself changing, transitioning from one character to another as he attempts to restore his esteem and former identity to himself. Defeated, with false information on Cleopatra’s death sent by Cleopatra herself, rather than amending his character and social inclusion which incorporated loss. His choice to attempt to restore his identity as a unvanquished hero is by suicide believing his honour would be restored, and his name and story, therefore, included in Roman society as a legend of Rome. Shakespeare’s tragedy of the fall of Antony, the hero, shows as Fukuyama suggests inclusion is only successful when a person conducts themselves within the shared norms of society, Antony’s waywardness and loss of what included him within Roman society ultimately created a self-righteous suicide.

Comparatively, Ari is at a crossroads, at a confusing time while transitioning into adulthood, discovering his sexuality while struggling with cultural identity resulting in his extreme behaviour and exclusion from the community, through drug use and nihilism, though still enjoying his self-selected inclusion. Antony formerly had inclusion which gave him power and options, to which by choice excluded himself to pursue his desires, only to espouse the inclusion of his homeland he once had. Both protagonists have control of their inclusion and exclusion within their community both choosing to exclude themselves due to desire and resulting in both losing their identities, connectedness, and ultimately wanting a place of belonging. Moreover, Loaded ends knowing Ari is out there lost within himself and disconnected; the reader is left hopeful he will find inclusion socially and with self. Unfortunately, Antony story ends with his death; the reader is left to ponder if he lived could he have brought back the heroic Antony from the lessons learnt. Tsiolkas’ Loaded, and Shakespeare’s Antony and Cleopatra are from different eras and are of a different genre, but both present geographical separation and the impact society has on self and expected norms for inclusion. The Authors allow the reader to witness the tension individualism creates when it excludes those against the social standards of the community, and the joy that acceptance can bring when the personal desire is put aside to embrace community expectations in return.

Bibliography:

Frangos, Marina. ‘Diaspora is a Greek Word: Words by Greeks on the Diaspora.’ Irish Journal for Culture, Arts, Literature and Language, Vol. 1: Iss. 1, (2016) Article 3. <http://arrow.dit.ie/priamls/vol1/iss1/3>

Fukuyama, F. ‘Trust: The Social Virtues and the Creation of Prosperity.’ New York: Free Press (1995). 25

Galante, Paul. ‘Yet cannot hold this visible shape: Antony’s Roman identity crisis in William Shakespeare’s Antony and Cleopatra .’ Theses and Dissertations. (2001) Paper 691.< http://preserve.lehigh.edu/etd>

Mohamadi, Abolfazl.’ Constructive Power and Discordant Discourses in Shakespeare’s Antony and Cleopatra.’ International Letters of Social and Humanistic Sciences Online: [SciPress Ltd., Switzerland and University of Tehran, Iran] Vol. 58, (2015) 18-24.<www.scipress.com/ILSHS.58.18>

The Shakespeare Head Press. ‘The complete works of William Shakespeare: Antony and Cleopatra.’ Wordsworth Editions, Clays Ltd, St Ives plc (1996) 924-964

Tsiolkas, Christos. ‘Loaded.’ Random House Australia: ePUB ISBN: 9781742743882 (2011) 1-162

Vernay, Jean-François. ‘Only Disconnect-Canonizing Homonormative Values: Representation and the Paradox of Gayness in Christos Tsiolkas’s “Loaded.”‘ Antipodes, Vol. 20, No. 1 Wayne State University Press (2006) 41- 45. <http://www.jstor.org/stable/41957507>

Additional references

Crane, Mary Thomas. ‘Roman World, Egyptian Earth: Cognitive Difference and Empire in Shakespeare’s Antony and Cleopatra.’ Comparative Drama, Vol. 43, No. 1 (2009) 1-17. <http://www.jstor.org/stable/23038035>

Hauthal, Janine.’Writing back or writing off? Europe as “tribe” and “traumascape” in works by Caryl Phillips and Christos Tsiolkas’, Journal of Postcolonial Writing, Vol.51, No. 2, (2015) 208-219. <http://www.tandfonline.com/loi/rjpw20>

Ricard, Nathalie ‘Effects of Social Exclusion and Inclusion on Basic Needs Satisfaction, Self-Determined Motivation, the Orientations of Interpersonal Relationships, and Behavioural Self-Regulation.’ ProQuest Dissertations Publishing [ProQuest Dissertations and Theses] (2011) 1-159. <http://search.proquest.com.simsrad.net.ocs.mq.edu.au/docview/1367650093/>