conversations.from: human
conversations.value: What is the first four paragraphs for a book with the title 'Wake in Fright'?
conversations.from: assistant
conversations.value: Wake in Fright
  And what of the 'novel of growing up' that Anthony Boucher identified? In some way, the five days in the Yabba do amount to John Grant's passage into adulthood. He is profoundly changed by the privation, temptation and degradation he experiences. What is more interesting, however, is Grant's regression. Cook, like many Australian writers before him, has no confidence in the durability of civilisation's armour. Grant may be clothed in all the trappings of a more civilised culture but beneath them he is just another brutal and lustful upright animal. Cook recognises that some black flower sleeps in the human heart, waits for the right moment to open its blood petals. In war, many men have found this awful bud bloom in themselves, succumbed to it and been haunted by it even to old age as they limp in medal-chinking columns to honour their own dead.
  He sat at his desk, wearily watching the children file out of the room, reflecting that, this term at least, it was reasonable to assume that none of the girls was pregnant.
  The teacher looked around the empty room, which comprised the whole of the school, apart from some crude toilet facilities in the grounds. Twenty-two desks for twenty-eight pupils, boys and girls aged from five to seventeen. Twenty-eight pupils, twenty-seven at school only because the law insisted on their being educated until they were at least fifteen, or because some desperate farmer, clawing a living from the clods of the great inland plains, thought that in education there might be for his child a little of the hope that he had abandoned.
  And the twenty-eighth, young Mason—eleven years old, hungry to learn, eager, intelligent and inexplicably sensitive, but doomed to join the railway gangs as soon as he was legally old enough, because his father was a ganger.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: Wake in Fright
  And what of the 'novel of growing up' that Anthony Boucher identified? In some way, the five days in the Yabba do amount to John Grant's passage into adulthood. He is profoundly changed by the privation, temptation and degradation he experiences. What is more interesting, however, is Grant's regression. Cook, like many Australian writers before him, has no confidence in the durability of civilisation's armour. Grant may be clothed in all the trappings of a more civilised culture but beneath them he is just another brutal and lustful upright animal. Cook recognises that some black flower sleeps in the human heart, waits for the right moment to open its blood petals. In war, many men have found this awful bud bloom in themselves, succumbed to it and been haunted by it even to old age as they limp in medal-chinking columns to honour their own dead.
  He sat at his desk, wearily watching the children file out of the room, reflecting that, this term at least, it was reasonable to assume that none of the girls was pregnant.
  The teacher looked around the empty room, which comprised the whole of the school, apart from some crude toilet facilities in the grounds. Twenty-two desks for twenty-eight pupils, boys and girls aged from five to seventeen. Twenty-eight pupils, twenty-seven at school only because the law insisted on their being educated until they were at least fifteen, or because some desperate farmer, clawing a living from the clods of the great inland plains, thought that in education there might be for his child a little of the hope that he had abandoned.
conversations.from: human
conversations.value: What is five more paragraphs?
conversations.from: assistant
conversations.value: There was not much difference between the road and the open country, but there were boulders on the plain and Dick performed mighty deeds with the car, keeping it at fifty miles an hour, swerving hard when he reached the fence and driving straight down to the kangaroos.
  The kangaroos sighted the car and they too turned out from the fence, heading back to the patch of scrub. And now the kangaroos and the dog were travelling in two lines which would soon meet.
  Tydon had his rifle out now and was firing through the window.
  The men were shouting, the motor was roaring, the sharp smell of gunpowder drowned all the other smells in the car.
  The dog pulled down one of the kangaroos in a tangled heap about fifty yards from the fence. The other kangaroo paused for a moment when its mate fell and Grant could see it watching the slaughter, immobile, expressionless.Then it streaked back towards the fence again.
conversations.from: human
conversations.value: Add another sentence about Joe, Grant's, trying, bounced.
conversations.from: assistant
conversations.value: There was not much difference between the road and the open country, but there were boulders on the plain and Dick performed mighty deeds with the car, keeping it at fifty miles an hour, swerving hard when he reached the fence and driving straight down to the kangaroos. 
  The kangaroos sighted the car and they too turned out from the fence, heading back to the patch of scrub. And now the kangaroos and the dog were travelling in two lines which would soon meet. 
  Tydon had his rifle out now and was firing through the window. Joe was trying to aim across Grant's shoulder, and still the car bounced over the ground at fifty miles an hour. 
  The men were shouting, the motor was roaring, the sharp smell of gunpowder drowned all the other smells in the car. 
  The dog pulled down one of the kangaroos in a tangled heap about fifty yards from the fence. The other kangaroo paused for a moment when its mate fell and Grant could see it watching the slaughter, immobile, expressionless. Then it streaked back towards the fence again.
conversations.from: human
conversations.value: What is the last two paragraphs?
conversations.from: assistant
conversations.value: He picked up his suitcases and began walking towards the patch of light where he knew Charlie the publican would be waiting, his curiosity about to be excited by the scar on Grant's forehead.
  And there's no doubt that Kotcheff's film paints a grim picture of the menace lurking just beneath the surface of the Yabba. The ghastly hospitality which forces the stranger to keep drinking whether he wants to or not; the sexual frustration, as depicted by Sylvia Kay (Kotcheff's ex-wife) in one of the film's strongest scenes; the very notion that a man who would prefer to have a conversation with a woman rather than swill beer with his drunken mates (as Gary Bond's John Grant does) must be a schoolteacher or a queer. Above all, the nightmarish kangaroo hunt, brilliantly staged by Kotcheff, photographed by Brian West and edited by Buckley. This sequence puts conventional horror films to shame, and is in addition brilliantly acted by Jack Thompson and Peter Whittle as the pair of mindless thugs who initiate the carnage.
conversations.from: human
conversations.value: Swap the first and the last sentence.
conversations.from: assistant
conversations.value: This sequence puts conventional horror films to shame, and is in addition brilliantly acted by Jack Thompson and Peter Whittle as the pair of mindless thugs who initiate the carnage.
  And there's no doubt that Kotcheff's film paints a grim picture of the menace lurking just beneath the surface of the Yabba. The ghastly hospitality which forces the stranger to keep drinking whether he wants to or not; the sexual frustration, as depicted by Sylvia Kay (Kotcheff's ex-wife) in one of the film's strongest scenes; the very notion that a man who would prefer to have a conversation with a woman rather than swill beer with his drunken mates (as Gary Bond's John Grant does) must be a schoolteacher or a queer. Above all, the nightmarish kangaroo hunt, brilliantly staged by Kotcheff, photographed by Brian West and edited by Buckley.He picked up his suitcases and began walking towards the patch of light where he knew Charlie the publican would be waiting, his curiosity about to be excited by the scar on Grant's forehead.