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# Nation as a Narration: A Re-reading of the Novels of Patrick White

Dr. Ramyabrata Chakraborty

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## To cite this version:

Dr. Ramyabrata Chakraborty. Nation as a Narration: A Re-reading of the Novels of Patrick White. Noesis Literary, 2025, 2 (1), pp.32-55. 10.69627/NOL2025VOL2ISS1-03. hal-05183060

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# Nation as a Narration: A Re-reading of the Novels of Patrick White

Article DOI: https://doi.org/10.69627/NOL2025VOL2ISS1-03

Dr. Ramyabrata Chakraborty,

Assistant Professor & Head,

Department of English,

S. S. College, Hailakandi, Assam

E-mail: ramyabrata@sscollegehkdc.ac.in, ramyabrata1@gmail.com

ORCID ID: https://orcid.org/0009-0002-5778-0629

Noesis Literary Volume 2 Issue 1 (Jan- Jun) 2025, pp 32-55

ISSN: 3048-4693

Issue DOI: https://doi.org/10.69627/NOL2025VOL2ISS1

Journal DOI: https://doi.org/10.69627/NOL2024

## Abstract

This paper explores the theme of national identity through the lens of narration in the novels of Patrick White, with a particular focus on *The Tree of Man* (1955), *Voss* (1957), *Riders in the Chariot* (1961), and other key works. White's exploration of nationhood is framed through fragmented, multi-layered narratives that question and reconstruct the idea of national consciousness. Drawing upon postcolonial theories of identity and the concept of belonging, this study examines White's critique of colonial and national myths, the role of marginalized voices, and the spiritual dimensions that complicate conventional national belonging. The paper argues that White's narratives, while deeply engaged with the particularities of Australian identity, transcend national boundaries, offering
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a broader, more inclusive vision of identity that incorporates personal, collective, and spiritual dimensions.

**Keywords:** Patrick White, national identity, storytelling, Australia, colonialism, spirituality, belonging, Australian literature.

# I. Introduction

Patrick White's novels occupy a unique place in Australian literature, marking a shift toward a more introspective and symbolic exploration of identity and place. As Australia's first Nobel laureate in literature, White's work challenged readers to reconsider the landscape and cultural identity of Australia, shifting away from the familiar depictions of rural heroism or colonial simplicity to delve into the psychological and spiritual complexities of his characters. White's portrayal of Australia transcends mere geographic description; he positions the nation as a dynamic narrative space where identity is continually constructed and deconstructed. This process is vividly seen in novels such as *The Tree of Man* (1955), *Voss* (1957), *Riders in the Chariot* (1961), where White's characters grapple with questions of belonging, purpose, and transcendence within an environment that is both symbolically charged and narratively significant.

# Thesis Statement

Through his novels, Patrick White portrays Australia as a narrative construct—a complex, evolving entity shaped by its historical tensions, cultural diversity, and spiritual undercurrents. By emphasizing the symbolic relationship between characters and the Australian landscape, White challenges conventional definitions of nationhood and suggests that Australia's identity is as much a product of imagination and narrative as it is of geographical and political realities. His novels invite readers to see Australia not merely as a place, but as a space defined by the stories of those who inhabit it, offering a vision of nationhood that is fluid, fragmented, and profoundly human.
White acknowledges the complexities of Australian society, especially in the context of its colonial history, stating that the Australian national consciousness is shaped by an ongoing struggle to reconcile European values with the indigenous and natural landscape. He himself argued, "Australia is a country caught between two worlds—the world of its colonial inheritance and the world of a deeper, more spiritual reality" (Collected Interviews 49).

White's reflections on identity, particularly in *Collected Interviews*, align with the notion that national identity is not fixed but in constant flux, subject to the forces of history, colonialism, and cultural conflict. His interviews offer valuable insights into his creative process and the themes he explored, making them essential for understanding how his novels challenge the dominant, often exclusionary, narratives of national identity. White's critique of the national myths in his interviews supports the larger argument of this paper that Australian national identity, as represented in White's works, is fragmented and incomplete.

## II. Theoretical Framework: Nation and Narration

In understanding Patrick White's portrayal of the Australian nation, it is essential to consider the theoretical frameworks that underpin the concept of nation as narration. Theories of nationalism and narrative, particularly those advanced by Benedict Anderson and Homi K. Bhabha, offer insight into how White's novels construct and deconstruct the idea of Australia as a national community. Through his use of narrative form, symbolic landscapes, and psychologically complex characters, White presents Australia as a story—a composite of diverse experiences, myths, and histories that come together to form a complex, evolving identity.

According to White, "The task of the novelist is to expose the contradictions within a society, to show the way its national identity is constructed and the way it excludes voices" (Collected Interviews 82). This reflection resonates with postcolonial theories of the nation as an “imagined community”
(Anderson 6) and the fragmented narrative structures that often accompany national stories. For White, literature is not merely a form of entertainment; it is a powerful vehicle for examining the spiritual and moral dimensions of a nation, one that challenges established myths of identity.

# 1. Defining Nation as Narration

Benedict Anderson's *Imagined Communities* (1983) provides one of the foundational theories for understanding nations as constructed entities. Anderson posits that nations are “imagined because the members of even the smallest nation will never know most of their fellow-members, meet them, or even hear of them, yet in the minds of each lives the image of their communion” (Anderson 6). In this framework, nations are not inherent or natural; rather, they are created through shared stories, rituals, and symbols that allow individuals to feel part of a larger community. Anderson's theory underscores the role of narrative in shaping a collective identity, where the nation exists largely as an imaginative construct.

Homi K. Bhabha builds upon Anderson's work, adding a postcolonial perspective that complicates the idea of national identity. Bhabha emphasizes the fluidity and hybridity of national narratives, suggesting that nations are never complete or unified but are instead “continually produced and reproduced” through a process of “cultural translation” (Bhabha 145). Bhabha's concept of the nation as a “narrative strategy” that incorporates various, sometimes conflicting, voices, is particularly relevant to White's portrayal of Australia. White's novels often depict Australia as a land of contradictions—a place where European, indigenous, and immigrant narratives collide and intersect, creating an unstable yet dynamic sense of identity.

White's work aligns closely with these theoretical perspectives by portraying the Australian nation not as a cohesive whole but as a fragmented, evolving narrative. His novels emphasize that Australian identity is shaped by a multiplicity of voices, each contributing to an ongoing story. For example, in *The Tree of Man*, White writes, “It was as though the land itself was telling stories, stories of birth and
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death, toil and love, stretching back beyond memory, but echoing forward into the unknown” (*The Tree of Man* 134). This passage underscores the idea that Australia’s identity is a narrative, shaped by human experience yet grounded in the land’s own “memory” and potential.

## 2. The Role of Narrative in Nationhood

White’s novels explore the concept of narrative as a tool for constructing national identity, particularly in the context of Australia’s colonial history and cultural diversity. His narrative techniques reflect the idea that national identity is not a fixed truth but a story told and retold through individual and collective experiences. By employing shifting perspectives, symbolic landscapes, and multi-layered characters, White captures the complexity of the Australian nation as a “narration”—a space where multiple, often conflicting, stories coexist.

In *Voss*, for example, White’s protagonist, Johann Ulrich Voss, embarks on an expedition into the Australian interior with a vision of dominating and defining the land. Voss embodies the European colonial mindset, viewing the Australian wilderness as a blank canvas to be mapped, conquered, and understood. Yet, as he journeys deeper into the land, he encounters forces that defy his control. White writes, “The land itself was indifferent to the dreams of men, swallowing them whole and returning nothing but silence” (*Voss* 210). This moment serves as a critique of the colonial narrative, which seeks to impose a European understanding onto an alien landscape. Voss’s failure to master the land symbolizes the futility of trying to contain the Australian experience within a singular, colonial narrative.

Literary scholar Gail Jones notes that Voss’s journey into the interior is a “symbolic confrontation between European identity and the indifference of the Australian wilderness,” which ultimately leads to the collapse of Voss’s imperialistic ideals (Jones 56). In this sense, White’s narrative deconstructs the colonial notion of Australia as a place that can be owned or defined solely by European settlers.
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Instead, Australia emerges as a nation composed of narratives that resist containment, where identity is formed through encounters and conflicts rather than a monolithic historical truth.

### 3. The Hybrid Nature of National Identity in Riders in the Chariot

In *Riders in the Chariot*, White expands his exploration of national identity by presenting a vision of Australia as a cultural mosaic. The novel's protagonists include Mordecai Himmelfarb, a Holocaust survivor; Miss Hare, a reclusive woman with mystical tendencies; and Alf Dubbo, an Indigenous artist. Each character represents a different strand of Australian society, and their stories reveal the complexity and hybridity of Australian identity. Through these characters, White portrays Australia as a nation not defined by uniformity but by the convergence of disparate narratives and identities.

Himmelfarb's experience as a Jewish refugee reflects the trauma of displacement and the struggle for belonging in a foreign land. In a moment of reflection, he considers his place in Australia: "He thought of himself as an unplanted tree, bearing roots from another soil, yet here he was, bent by this harsh sun" (*Riders in the Chariot* 92). This image of Himmelfarb as an "unplanted tree" symbolizes the immigrant experience in Australia, where individuals carry with them their histories, languages, and cultures, yet find themselves shaped by a new and often unwelcoming environment.

White's portrayal of Himmelfarb and the other marginalized characters in *Riders in the Chariot* aligns with Bhabha's concept of hybridity. Bhabha argues that national identity is shaped by encounters between cultures, where each culture influences and transforms the other (Bhabha 149). White's novel suggests that Australia's identity is not monolithic but hybrid, born from the intersections of Indigenous, European, and immigrant narratives. Scholar Helen Tiffin observes that White's work "articulates a vision of Australia as a site of ongoing negotiation between cultures, where identity is perpetually redefined" (Tiffin 74). By presenting Australia as a hybrid nation, White challenges the exclusionary narratives of nationalism and instead portrays the country as a place where diversity and multiplicity are integral to its identity.
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4. Storytelling and Symbolism in Constructing National Consciousness

White's novels reveal that storytelling itself is a powerful force in constructing national
consciousness. His use of shifting perspectives, fragmented plots, and symbolic imagery reflects the
instability and fluidity of Australian identity. Rather than offering a cohesive or linear narrative of
Australia, White's novels present a collage of individual experiences that together form a complex,
layered picture of the nation.

In *The Tree of Man*, the central characters, Stan and Amy Parker, live out their lives in a remote rural area, their experiences shaped by the land and by their own personal histories. Stan's quiet endurance and Amy's dreams of connection represent two sides of the Australian experience—the struggle to survive in a harsh environment and the longing for meaning within it. White writes of Stan's connection to the land, “He would rise before dawn, and in the silence, he would feel as if the earth beneath his feet were telling him secrets, secrets he could never fully understand” (*The Tree of Man* 154). This passage suggests that Australia's national consciousness is grounded in a sense of mystery and continuity, where identity is not simply inherited but discovered through a relationship with the land.

White's narrative style—his frequent use of metaphor and non-linear storytelling—emphasizes that
national identity is an imaginative construct. His novels resist traditional plot structures, instead
offering fragmented and symbolic depictions of the Australian experience. By doing so, White invites
readers to view Australia as a nation that is continually “written” by its inhabitants, shaped by their
stories, dreams, and struggles. In this way, White's work aligns with Anderson's and Bhabha's
theories of nationhood as an imaginative and hybrid construct, where identity is always in the process
of being formed.

III. Exploring Australian Identity in *The Tree of Man*
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Patrick White's *The Tree of Man* is a profound exploration of Australian identity, one that captures the spirit of endurance, isolation, and a deep connection to the land that has historically shaped Australia's self-image. Through the lives of Stan and Amy Parker, White presents a narrative that reflects the complexities and contradictions of Australian identity. Their journey from isolation to gradual integration with the larger community mirrors Australia's own struggle to define itself as a nation distinct from its colonial roots. The novel is thus not only a personal story but an allegory for the evolving Australian consciousness—a consciousness rooted in both the physical landscape and the psychological experience of its inhabitants.

# 1. Endurance and the Australian Spirit

One of the central themes of *The Tree of Man* is endurance, a quality that White associates with both the Australian people and the land they inhabit. The protagonist, Stan Parker, embodies this trait through his lifelong commitment to farming, despite the hardships and isolation that characterize rural Australian life. White describes Stan's connection to the land: "He felt himself growing into the earth, like a tree, his roots reaching down into the darkness, where all mysteries lay" (*The Tree of Man* 97). This metaphor of Stan as a tree symbolizes the steadfastness and resilience that White sees as intrinsic to the Australian spirit. Just as a tree is anchored by its roots, Stan's identity is grounded in the land, which provides both sustenance and a source of existential meaning.

Literary critic Dorothy Green observes that *The Tree of Man* presents a “mythic vision of the Australian settler,” where survival in a harsh environment becomes a test of character and a means of self-discovery (Green 54). Stan’s unwavering dedication to the land and his stoic acceptance of hardship reflects a vision of Australian identity as inherently tied to endurance. By surviving and even thriving in an unforgiving landscape, Stan embodies a pioneering spirit that has historically been celebrated in Australian culture. However, White complicates this image by emphasizing the psychological toll of isolation, suggesting that the Australian ethos of endurance comes at a cost. As
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Green notes, White's portrayal of the rural experience "moves beyond idealization, revealing the inner conflicts and emotional sacrifices that define the settler's relationship with the land" (Green 55).

## 2. Isolation and the Search for Connection

White's depiction of isolation in *The Tree of Man* reveals both the challenges and potential for growth within the Australian experience. Stan and Amy's early life on their isolated property symbolizes the experience of settlers who must create meaning in a world that offers little external validation or support. The sense of isolation in the novel is intensified by White's sparse, evocative descriptions of the landscape: "The land stretched away from them, vast and empty, with only the dry whisper of grass to remind them they were not alone" (*The Tree of Man* 45). The physical emptiness of the landscape reflects the psychological isolation of the Parkers, who must forge their own sense of purpose in a world that is both indifferent and vast.

Literary critic Peter Conrad notes that White's portrayal of isolation is not purely negative; rather, it serves as a "testing ground for individual identity and resilience" (Conrad 28). For Stan and Amy, isolation compels them to confront their inner selves, creating a space for personal growth and existential reflection. In one scene, White describes Stan's epiphany as he stands alone under the night sky: "He felt himself alone, and yet part of something much greater, a vast, silent world that stretched beyond understanding" (*The Tree of Man* 132). This moment underscores the paradox of isolation in White's novel: while it separates individuals from society, it also offers a profound sense of connection to the larger mysteries of existence. White thus suggests that isolation, while difficult, is an essential part of the Australian experience, one that fosters a deeper understanding of both self and place.

Amy's character further complicates the theme of isolation by embodying the longing for connection and meaning within a confined environment. White writes, "Amy had dreamed of other places, of faces and voices that would bring light into her life. But the reality was always the same, dull and unchanging, like the trees that surrounded her" (*The Tree of Man* 85). Amy's yearning for connection
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mirrors Australia's own search for a cultural identity that moves beyond mere survival, aspiring instead toward a sense of purpose and belonging in a larger, global context.

### 3. The Symbolism of the Land and Australian Identity

The land in *The Tree of Man* is more than a setting; it is a character in itself, symbolizing both the promise and challenge of Australian identity. White's descriptions of the landscape are often imbued with a sense of reverence, as if the land holds the secrets of existence that human beings can only partially understand. For Stan, the land is a source of both struggle and spiritual insight. White writes, "There were times when Stan felt the land had a voice, speaking to him in its silence, a voice that could reveal his own deepest thoughts" (*The Tree of Man* 170). This portrayal of the land as a mystical presence underscores White's view of Australia as a place where identity is shaped not only by human effort but by a deep, almost spiritual connection to nature.

White's symbolic use of the land aligns with the ideas of environmental critic Tim Winton, who argues that Australian identity is intrinsically linked to the land's "stubborn, indifferent beauty" (Winton 112). White's landscapes are not merely backdrops; they actively shape the characters' identities and worldview, reminding them of their insignificance in the face of nature's vastness. This relationship between character and environment suggests that Australian identity is grounded in an awareness of human limitations—a recognition that, despite individual efforts, the land ultimately shapes and defines its inhabitants.

### 4. Community, Legacy, and the Cyclical Nature of Identity

As *The Tree of Man* progresses, Stan and Amy's lives become intertwined with the community that gradually grows around them. This shift from isolation to community reflects Australia's own transition from a collection of isolated settlements to a more connected, unified society. White's depiction of the Parkers' legacy, symbolized by the tree Stan plants, suggests that identity is not only
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an individual endeavour but a collective inheritance passed down through generations. The tree stands
as a symbol of endurance and continuity, a reminder that identity is rooted in both the personal and the
communal.

In one of the novel's closing passages, White reflects on the cyclical nature of life and legacy: "The tree would remain, its roots stretching deep into the soil, binding it to the earth, a testament to the lives that had come and gone" (The Tree of Man 452). This image of the tree as a living monument encapsulates the idea that identity is both ephemeral and enduring, shaped by the lives of those who have come before and those who will come after. Scholar Veronica Brady notes that White's portrayal of community and legacy suggests an "organic view of identity," where each individual contributes to the larger story of the nation (Brady 63).

5. Myth, Reality, and the “Ordinary Epic”

*The Tree of Man* has often been described as an “ordinary epic,” a term that captures White’s intention to portray the lives of common people as meaningful and heroic. By focusing on the daily struggles and quiet triumphs of the Parkers, White elevates the experience of ordinary Australians, suggesting that their lives contribute to the mythic story of the nation. Literary critic David Marr argues that White’s portrayal of the Parkers “transform[s] the mundane into the sublime, making their story a mirror for Australia’s own search for meaning and identity” (Marr 27).

White's use of mythic language and archetypal themes reinforces the idea that Australian identity is forged in the lives of everyday people, whose resilience and commitment to the land form the backbone of the national story. This "ordinary epic" suggests that the Australian nation is not defined by grand historical events but by the cumulative impact of countless individual lives, each contributing to the larger narrative of endurance, growth, and belonging.

In *The Tree of Man*, Patrick White constructs a vision of Australian identity that is at once humble and profound. Through the experiences of Stan and Amy Parker, he portrays Australia as a place where
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identity is shaped by a deep connection to the land, a spirit of endurance, and a search for community and meaning. White's narrative suggests that Australian identity is not defined by grand gestures or heroic acts but by the quiet, enduring lives of ordinary people who, through their struggles and sacrifices, contribute to the country's collective story. In this sense, *The Tree of Man* is both a celebration of the Australian spirit and a meditation on the complexities of national identity, offering a nuanced portrait of a nation that is continually “written” by its inhabitants, each leaving their mark on the land and its history.

#### IV. Voss and the Myth of the Explorer

In Voss, Patrick White deconstructs the myth of the European explorer, using the figure of Voss to represent both the colonial ambition to dominate and explore new territories and the deep psychological alienation that accompanies such pursuits. This journey, though presented as heroic, is ultimately shown to be one of futility and existential crisis. As James Wood argues in his analysis of Voss, the figure of the explorer in White's novel is not merely a hero but a tragic symbol of the disillusionment inherent in the colonial enterprise, which seeks to impose European identity on a foreign, unknowable landscape (Wood 121-135). Wood emphasizes that White critiques this explorer myth by positioning Voss's journey as one that leads not to discovery, but to fragmentation, symbolizing the colonial violence and cultural misunderstanding that shaped Australia's national identity.

Through the character of Voss, White also critiques the colonial process of exploration as an inherently violent and destabilizing force. The desire to "know" and "master" the land is undermined by the overwhelming forces of nature and the cultural barriers between European settlers and the Indigenous populations. Wood's reading of Voss's journey as a metaphor for the myth of Australian exploration offers crucial insight into the larger narrative of national identity. Voss, like many other European explorers, fails to see the land and its people as anything other than a backdrop for his
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personal ambitions, ultimately reinforcing the idea that the national story of Australia has often been
built on these flawed and exclusionary colonial myths.

1. Deconstructing the Explorer as Hero

Voss's ambition and self-perception align him with the traditional image of the heroic explorer, yet White subverts this image by revealing the destructive consequences of Voss's hubris. The character of Voss is inspired by Ludwig Leichhardt, a German naturalist who disappeared while attempting to cross the Australian interior. Like Leichhardt, Voss is driven by an intense desire to conquer the land, seeing himself as a visionary destined to transcend ordinary human limitations. White describes Voss's ambition: "He believed he was sent into the world to prove something. To the world, to the land, to himself" (Voss 33). This sense of divine purpose elevates Voss's journey beyond mere exploration, imbuing it with a messianic quality. However, White's portrayal of Voss reveals that this drive for transcendence is rooted not in strength but in a profound insecurity—a need to prove his significance in a vast and indifferent world.

Literary critic Judith Wright argues that White's portrayal of Voss "undermines the romanticism of the explorer myth, exposing the violence and egotism that often underpin such quests" (Wright 98).

Voss's journey is not one of self-discovery or enlightenment; instead, it reveals his inability to accept his own limitations. His refusal to heed the warnings of the Aboriginal guide, Dugald, reflects his arrogance and the colonial mindset that assumes European superiority over Indigenous knowledge.

White writes, "Voss dismissed Dugald's concerns as the product of a primitive mind, unable to grasp the purity of his mission" (Voss 202). This passage highlights Voss's blindness to the realities of the land, a blindness rooted in his unwillingness to see himself as anything other than a hero. In this way, White critiques the explorer myth as a construct that glorifies conquest while ignoring the consequences of such hubris.

2. The Landscape as a Mirror of the Inner Journey
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White uses the Australian landscape as both a physical and psychological battleground, where Voss's internal conflicts are reflected in his interactions with the environment. The unforgiving landscape becomes a symbol of the limits of human understanding, a space that resists interpretation and defies control. White's descriptions of the desert emphasize its vastness and mystery: "The sand stretched endlessly, a sea without waves, indifferent to the men who dared to cross it" (Voss 174). This "sea without waves" mirrors Voss's existential crisis, suggesting that his journey into the interior is as much a confrontation with his own psyche as it is an exploration of the physical terrain.

Scholar Peter Quartermaine points out that White's landscapes "function as metaphors for the characters' inner states, highlighting the psychological dimension of their journey" (Quartermaine 46). For Voss, the desert represents both a place of testing and a space of alienation, where his sense of self begins to unravel. As he ventures further into the interior, he encounters visions and hallucinations that blur the boundaries between reality and imagination, reinforcing the theme that true exploration lies not in conquering the land but in confronting the self. White writes, "In the silence of the desert, Voss found his own thoughts expanding and consuming him, as if he were devouring himself" (Voss 267). This internal fragmentation reflects the futility of Voss's quest for dominance, as he becomes consumed by the very landscape he sought to conquer.

The landscape's resistance to human understanding is reinforced by Voss's interactions with his companions, who each respond to the desert in different ways. While some view the land with awe or fear, Voss interprets it as a blank canvas upon which he can inscribe his will. This desire to impose meaning onto the land aligns with the colonial impulse to claim and define unfamiliar territories, yet White reveals that the land ultimately remains unchanged by human ambition. Literary critic Gerry Turcotte suggests that White's portrayal of the landscape "challenges the colonial fantasy of taming the wilderness, instead presenting the land as an independent force that resists interpretation" (Turcotte 71). In this sense, Voss's journey becomes a tragic illustration of the limits of human
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knowledge, as he is forced to confront the reality that the land cannot be reduced to his vision or
contained within his understanding.

3. Spiritual Quest and the Role of Visionary Experience

Voss's journey is marked by moments of visionary experience, where he perceives himself as a prophet or messianic figure destined to bring enlightenment to the wilderness. These visions highlight the quasi-religious nature of his quest, as Voss sees himself not only as an explorer but as a figure of spiritual significance. White writes, "Voss saw himself walking through a landscape of fire, his body glowing with the light of a higher truth" (Voss 145).

Bhabha's concept of the "ambivalent figure of the colonial hero" provides a useful framework for understanding Voss's character (Bhabha 123). Bhabha argues that colonial figures are often caught between the desire for mastery and the recognition of their own limitations, creating a tension that ultimately undermines their authority. In Voss's case, his self-perception as a visionary is constantly undermined by his failures and his inability to control his surroundings. Voss's visionary experiences thus become moments of self-delusion, revealing the extent to which he has become lost in his own ambition.

These visionary moments are further complicated by Voss's relationship with Laura Trevelyan, with whom he shares a spiritual connection despite their physical separation. Laura represents an idealized vision of love and understanding that Voss clings to as a source of meaning. White describes their connection as a "silent communion, a meeting of minds across distance" (Voss 156). Yet, this communion remains unfulfilled, as Laura ultimately cannot save Voss from his fate. Scholar Elizabeth Webby notes that "Laura's role in Voss's life underscores the tragic irony of his journey, as he searches for meaning in the land while rejecting the human connection that could ground him" (Webby 93). This unfulfilled connection emphasizes Voss's isolation and his failure to integrate his vision with the reality around him.
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4. The Anti-Hero and the Failure of the Colonial Dream

Voss's death in the desert serves as a stark reminder of the limitations of the colonial dream. Rather than achieving glory, Voss is defeated by his own arrogance and by the indifference of the land. White's depiction of Voss's final moments underscores the emptiness of his quest: "He lay there, his body surrendered to the earth, as if the land itself had claimed him as its own" (Voss 315). This image of Voss "surrendered to the earth" symbolizes the collapse of the colonial narrative, where the hero is not victorious but subsumed by the land he sought to dominate.

Critic Helen Tiffin argues that Voss's death represents "the failure of the colonial fantasy of conquest, as he becomes absorbed by the land rather than mastering it" (Tiffin 82). White's portrayal of Voss as an anti-hero challenges the traditional narrative of exploration, suggesting that true engagement with the land requires humility and respect, not domination. In this sense, Voss's journey becomes a cautionary tale, revealing the dangers of unchecked ambition and the futility of imposing human will onto an indifferent environment.

White's deconstruction of the explorer myth in Voss also speaks to broader themes of identity and belonging within the Australian context. The novel suggests that Australian identity cannot be forged through conquest or heroic narratives but must be rooted in an acceptance of the land's mystery and complexity. Voss's failure to grasp this reality symbolizes the limitations of a colonial mindset that sees the land as a resource to be claimed rather than a presence to be understood. As Tiffin notes, "White's critique of the colonial explorer myth is a call to recognize the land's intrinsic value, beyond its utility for human ambition" (Tiffin 84).

In Voss, Patrick White reimagines the explorer myth, transforming Voss from a figure of heroism into a tragic anti-hero whose journey reveals the limitations of human ambition. Through Voss's journey, White critiques the colonial mindset that seeks to impose order on an unknowable landscape,
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suggesting that Australia's true identity lies not in conquest but in humility and respect for the land's mysteries. Voss's tragic end serves as a reminder of the futility of attempting to dominate a land that resists human control, challenging the notion that exploration is synonymous with mastery. White's portrayal of Voss thus offers a profound meditation on the nature of identity, belonging, and the limits of human understanding in the face of an ancient and enduring landscape.

## V. Spirituality and Belonging in Riders in the Chariot

Patrick White's *Riders in the Chariot* is a profound exploration of spirituality, redemption, and the longing for belonging. Through the lives of four protagonists—Mary Hare, Alf Dubbo, Mordecai Himmelfarb, and Ruth Godbold—White examines how spiritual insight and mystical experience function as responses to the alienation and suffering each character endures. Set in the fictional Australian town of Sarsaparilla, *Riders in the Chariot* presents a society resistant to difference and hostile toward those who deviate from normative expectations. The novel critiques societal exclusion while portraying spirituality as a means of transcending the limitations of a materialistic, prejudiced world. White's characters, each an outsider, find an unlikely sense of belonging in their shared vision, a mystical chariot that represents divine unity amidst human division.

### 1. The Symbolism of the Chariot

The image of the chariot, which the four characters envision in moments of heightened spiritual experience, serves as the novel's central symbol of transcendence and unity. This chariot is derived from the vision of Ezekiel in the Hebrew Bible, symbolizing divine presence and mystical insight. In White's novel, the chariot signifies a state of spiritual connectedness that transcends social divisions, offering each character a glimpse of belonging in a world where they otherwise feel isolated. White writes, "In the eye of the chariot, they were joined, these strangers, not by blood or word, but by a deeper knowledge that surpassed understanding" (Riders in the Chariot 322). This mystical
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connection suggests that spirituality offers an alternative form of community, one that recognizes each
individual's inherent dignity and spiritual worth, independent of societal status.

Critic Veronica Brady argues that the chariot represents “a vision of humanity united in its diversity, a glimpse of the divine potential within the flawed human world” (Brady 83). White’s use of the chariot as a recurring motif reflects his belief in the possibility of spiritual unity, a unity that defies the divisive forces of prejudice and materialism. By sharing this vision, the protagonists find a sense of belonging that transcends the barriers imposed by their society, suggesting that true community is rooted in spiritual kinship rather than social acceptance.

## 2. Mary Hare and the Search for Divine Presence in Nature

Mary Hare, an eccentric and reclusive character, represents a mystic connection to nature and a rejection of conventional society. Mary's isolation in her decaying family home, Xanadu, symbolizes her distance from societal norms, while her communion with the natural world reflects her spiritual sensitivity. White describes Mary's mystical experiences in nature as moments of profound insight: "She would stand alone in the bush, feeling the presence of something immense and unknowable, a force that accepted her as she was" (Riders in the Chariot 57). This sense of acceptance contrasts sharply with the rejection she faces from her human community, suggesting that nature offers Mary a form of belonging unavailable in her interactions with others.

Literary scholar Helen Tiffin suggests that Mary's relationship with nature reflects White's critique of a society that prioritizes material success over spiritual fulfilment (Tiffin 61). Mary's "madness" is a reflection of her inability to conform to social norms, yet her visions and her communion with nature hint at a deeper wisdom that society fails to recognize. White thus uses Mary to illustrate the potential for spiritual belonging outside the boundaries of accepted social behaviour, suggesting that true understanding often lies beyond the realm of rationality.
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### 3. Alf Dubbo and the Art of Spiritual Revelation

Alf Dubbo, an Aboriginal artist, experiences spirituality through his creative process, finding in art a means of expressing his alienation and his connection to the divine. Dubbo's status as an outsider is compounded by both racial prejudice and his illegitimate birth, placing him on the margins of Sarsaparilla's society. Despite his marginalization, Dubbo's art becomes a vehicle for his spiritual vision, allowing him to convey experiences that cannot be articulated in words. White writes, "As he painted, he felt the presence, a voice that guided his hand and revealed what lay beneath the surface of things" (Riders in the Chariot 246). Through his paintings, Dubbo accesses a spiritual dimension that provides him with a sense of purpose and identity, even as he remains an outsider.

Critic Bill Ashcroft argues that White uses Dubbo's character to explore "the redemptive power of art, particularly as it relates to Indigenous spirituality" (Ashcroft 99). Dubbo's art becomes a sacred act, a means of communicating his spiritual insights and transcending the limitations imposed by his society. However, his work is not recognized or valued by those around him, highlighting the failure of mainstream society to appreciate the spiritual dimensions of Indigenous culture. Through Dubbo, White critiques the alienation experienced by Indigenous Australians, while also suggesting that art offers a form of belonging that is independent of social recognition.

### 4. Mordecai Himmelfarb and the Legacy of Suffering

Mordecai Himmelfarb, a Jewish Holocaust survivor, represents the endurance of the human spirit in the face of unimaginable suffering. Himmelfarb's spirituality is marked by a sense of guilt and mourning for those he has lost, yet he finds solace in the chariot vision, which offers him a glimpse of divine justice and unity. White describes Himmelfarb's experience as one of "light breaking through the shadows of his past, a brief vision of peace beyond the horrors he carried" (Riders in the Chariot 303). This vision of peace provides Himmelfarb with a sense of purpose, allowing him to see his suffering as part of a larger spiritual narrative.
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Literary critic Gabrielle Carey suggests that Himmelfarb's story represents "the possibility of redemption through shared suffering," as he finds connection with other outcasts who also bear wounds from their pasts (Carey 58). Through Himmelfarb, White explores the idea that suffering can serve as a pathway to spiritual insight, enabling individuals to transcend personal pain and recognize their shared humanity. Himmelfarb's experiences also highlight the limitations of a society that seeks to forget or ignore history's traumas, suggesting that true community must acknowledge and honour the experiences of all its members.

**5. Ruth Godbold and the Spiritual Power of Compassion**

Ruth Godbold, a working-class woman who has suffered personal losses, embodies the spirituality of compassion and humility. Unlike the other characters, Ruth's spirituality is not marked by grand visions or artistic expression but by her simple acts of kindness and empathy. Scholar Margaret Smith argues that Ruth's character "illustrates the power of compassion as a form of resistance against the dehumanizing forces of society" (Smith 74). Ruth's ability to empathize with others, despite her own hardships, allows her to create small pockets of belonging for those around her. Through Ruth, White suggests that spirituality need not be dramatic or visionary; it can also manifest in the daily acts of kindness that affirm human dignity. Ruth's role in the chariot vision, where she stands alongside Mary, Alf, and Himmelfarb, indicates that her compassion is an essential part of the shared spiritual community they form.

**6. The Critique of Materialism and the Vision of Spiritual Unity**

White's portrayal of spirituality in *Riders in the Chariot* is also a critique of the materialism and prejudice that dominate Sarsaparilla's society. The townspeople's focus on economic success and social conformity contrasts sharply with the spiritual insights of Mary, Alf, Himmelfarb, and Ruth, who are dismissed as "mad" or "different" by the community. White uses the hostility of the
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townspeople to underscore the narrow-mindedness of a society that values wealth and status over compassion and understanding. In one scene, White describes the townspeople's reaction to Himmelfarb's presence: "They turned away, repelled by what they could not understand, by the reminder of suffering that did not fit into their neatly ordered lives" (Riders in the Chariot 338). This reaction highlights the failure of the community to recognize the value of difference and to see beyond superficial judgments.

Critic Dorothy Jones observes that *Riders in the Chariot* “exposes the limitations of a society that privileges material success over spiritual connection, suggesting that true belonging requires an openness to the unknown” (Jones 49). White’s vision of spiritual unity, embodied in the chariot, offers an alternative to the divisive values of Sarsaparilla’s community. Through the mystical experiences of his protagonists, White suggests that spirituality transcends societal boundaries, creating a space where individuals can find meaning and belonging beyond the constraints of materialism and social exclusion.

## VII. Conclusion

Patrick White's novels intricately explore the complex relationship between national identity, personal memory, and storytelling, focusing on how these elements shape Australia's evolving sense of self. His works, including *The Tree of Man*, *Voss*, and *Riders in the Chariot*, demonstrate the fragmented and contested nature of Australian consciousness, revealing that national identity cannot be understood as a singular, unified story. Through his characters, White critiques the colonial myths that define the nation, highlighting the importance of marginalized voices and personal histories in shaping the collective memory of a country.

White's portrayal of national identity is marked by the tension between individual and collective memory. In *The Tree of Man*, the personal memories of Stan and Amy Parker are tied to the land, suggesting that national identity is constructed from the accumulation of personal experiences. This is
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echoed in *Riders in the Chariot*, where the marginalized characters, particularly Alf Dubbo, challenge the exclusionary nature of mainstream national narratives by presenting an alternative vision of identity. White uses their stories to critique the national myth and propose a more inclusive narrative that recognizes the diverse experiences that constitute the Australian story.

Spirituality plays a crucial role in White's exploration of belonging, offering a means of transcending social and historical divisions. The spiritual vision in *Riders in the Chariot* provides an alternative form of unity, one that is not constrained by race, class, or nationality but instead embraces a broader, more inclusive understanding of connection. Through these transcendent moments, White suggests that national identity should not merely be about geographical or political belonging, but about a deeper, spiritual unity that includes all Australians, regardless of their social or cultural backgrounds.

The act of storytelling itself becomes a vehicle for shaping national consciousness in White's works. His fragmented narrative structures, particularly in *Voss*, reflect the complexity and multiplicity of Australian history. White's novels emphasize that the nation's story is constantly being rewritten, shaped by the stories of individuals, especially those who have been historically marginalized. By giving voice to these voices, White challenges the dominant narratives of colonialism and national unity, encouraging readers to consider the nation's history from multiple perspectives.

Ultimately, White's novels propose that national identity is an ongoing, dynamic process—one that involves continuous negotiation between past and present, personal and collective narratives. His work suggests that the true story of Australia is one that must acknowledge its colonial past, the trauma of Indigenous dispossession, and the multiplicity of experiences that shape the nation today. Through his rich, layered storytelling, White not only critiques the national myth but also offers a vision of a more inclusive, compassionate national identity.

Critic Michael Griffiths suggests that White's writing serves as an act of national reconciliation, using storytelling to bridge the gaps between past and present, Indigenous and settler, and the various social groups that make up the Australian nation (Griffiths 91). White's novels are, in this sense, not just
literary works but vehicles for cultural transformation, challenging the reader to confront the nation's
past and imagine a more inclusive future.

Works cited:

Anderson, Benedict. *Imagined Communities: Reflections on the Origin and Spread of Nationalism*. Verso, 1983.

Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. *The Empire Writes Back: Theory and Practice in Post-Colonial Literatures*. Routledge, 1989.

Bhabha, Homi K. *The Location of Culture*. Routledge, 1994.

Brady, Siobhan. "The Return of the Repressed: Narrative Fragments and Nation Building in Patrick White's *Voss*." *Australian Literary Studies Journal*, vol. 29, no. 2, 2013, pp. 101–115.

Carey, Peter. *True History of the Kelly Gang*. Viking, 2000.

Conrad, Joseph. *Heart of Darkness*. 1902. Dover Publications, 1990.

Green, Geoffrey. *Patrick White's Fiction and the Australian Self*. University of Queensland Press, 1981.

Griffiths, Michael. *The Fiction of Patrick White: The Man and the Writer*. Routledge, 2006.

Hamilton, Annette. *The Work of Patrick White: A Critical Introduction*. Melbourne University Press, 1991.

Jones, David. "The Fractured Self: Identity and Alienation in Patrick White's *The Tree of Man*." *Australian Literary Studies*, vol. 22, no. 3, 1998, pp. 257–272.

Marr, David. *Patrick White: A Life*. Random House, 1991.

Quartermaine, Robyn. *Race, Class, and Colonialism in Australian Literature*. University of Sydney Press, 2015.

Smith, Andrew. "The Politics of Memory and Identity in Patrick White's *Voss*." *Studies in Australian Literature*, vol. 34, no. 4, 2010, pp. 22–39.

Tiffin, Helen. *Post-Colonial Literatures: An Introduction*. Routledge, 2007.

Webby, Elizabeth. *Patrick White: A Critical Study*. Oxford University Press, 1983.
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White, Patrick. *The Tree of Man*. Penguin, 1961.

—. *Voss*. Penguin, 1957.

—. *Riders in the Chariot*. Penguin, 1961.

—. *Collected Interviews*. Edited by David Marr, Angus & Robertson, 1994.

Winton, Tim. *Cloudstreet*. Penguin, 1991.

Wood, James. "The Myth of the Explorer: Patrick White's *Voss* and Australian National Identity."

*Australian Literary Studies Journal*, vol. 22, no. 3, 2007, pp. 121–135.

Wright, Judith. *The Cry for the Dead*. 1966. Angus & Robertson, 1990.