Maestro

            
             Within the first thirty pages of Maestro Peter Goldsworthy uses various forms of imagery and language to convey and give insight into the characters of Paul and Keller. Throughout this section of the book the relationship between these two reveals much about their personality and we notice a subtle developing companionship between them. Kellers existence in the novel is greatly due to Pauls parents who nag him on to take the lessons and who in turn have their input towards Keller.
             Keller is introduced to this novel with a somewhat enigmatic, reserved quality about him. We are given the impression that he is rundown living in the midst of a bar, skin like "cheap ruined leather" with a "Boozers incandescent glow". He wears a white linen suit freshly pressed contrasting with the drunk wolf whistling, strangely ironic living in Darwin shut in an oppressive room with the windows closed and ceiling fan stilled. The nature of which stifling, almost like a form of self-punishment. The alienation that Keller confines to is expressed primarily through his decrepit surroundings that parallel with his soul, the "single arm chair", " sticky air" without a "whisper of movement" his emotional state like an "internal explosion", Goldsworthy definitely presents Ker in a depressing and curious light. However there does lie a sophisticated quality about him, an eccentricity, very pedantic and precise, his teaching methods totally unorthodox personifying the fingers as "delinquents" and "teachers pets" there is certainly an underlying sense of humour that Paul doesn't appreciate due to his immaturity. .
             Paul doesn't seem to appreciate much at this stage in the book having a very pessimistic outlook that is also tainted through his nauseating naivety and young teenage arrogance, "unlike you she understands what she does not". He has been brought up in a middle class family as a highly praised only son which may have contributed to his spoilt attitude.