David Malouf, author of the novella 'Fly Away Peter', and director of the 1930 film 'All Quiet On the Western Front', Lewis Milestone, both demonstrate their ability to communicate the presence of hope and courage in their texts via technique. One being written, the other visual, their protagonists both portray the generation of young men who were lost to World War I, never realizing their potential. They present the theme of courage as instances of self-sacrifice and upholding of personal beliefs, even though they are ultimately damaging and pushed unto these characters. Providing a reason to survive, the theme of hope exists as the ability to be inspired by physical symbols or experiences of contentment to believe that peace may exist in war's demise. The texts similarly use characterization and naturalistic metaphorical devices but differ in their use of writer and directorial style. Even so, the authors consistently convey the notion that even in the most horrid scenes of war, something better may be waiting on the other side, and so its destruction must be seen through.
Both authors use characterization, in particular the transformation of character, to demonstrate that courage exists as a product of hope for new order, and ultimately, a better world. Each being a promising representative of a lost generation of young men, the respective protagonists of 'All Quiet On the Western Front' and 'Fly Away Peter', Paul and Jim, are both swept up in the celebratory attitudes of the people around them as they prepare for war. Wholly unprepared for the horrors and sheer loss that is incurred around them, the protagonists do not shy away from adversity but rather sacrifice aspects of their own lives in order to confront it. Described by religious imagery ("The Monuments" ch.2 pg12, "Sacred Kingfisher" ch.4 pg29) Jim's home is an Eden. He leaves an idyllic life and a purposeful job that he adores in his wake.
