The Second Great Emu War of 1932

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TAGLINE In the outback's dusty trenches, feathers fly and empires fall. LOGLINE In the scorched wheatfields of 1932 Western Australia, battle-scarred Major Meredith returns with machine guns and a handful of Great War veterans to crush an exploding emu plague that threatens farmers' survival and fuels secessionist fury — but as the birds evade every trap and parliament plays its own brutal game, the "war" forces them to confront buried guilt, fractured families, and whether some battles are won not by bullets, but by mercy and memory. See Original Edition on Amazon See Spellbound Edition on Amazon See Workbench Edition on Amazon GENRE Primary: Historical fiction Secondary: Military/war fiction, political fiction It's not pure comedy or satire (though the absurdity shines through), nor straight nonfiction — it's character-driven historical storytelling that uses the bizarre real-life event as a lens for deeper themes of duty, trauma, resilience, fatherhood, and Australian identity. SETTING 'The Second Great Emu War of 1932' is set in rural Western Australia — primarily the wheatfields and farmlands of the Campion district between November and December 1932 — during the Great Depression, where a small military detachment wages a futile campaign against marauding emus while political tensions over secession and federal relief bills unfold in parallel in Perth and Canberra, interwoven with flashbacks to World War I battlefields in France. BLURB TIME IS TICKING... After the collapse of the First Emu War, the bird population in the Campion district is only increasing. Time is nearly up for the Federal Government to show its strength as Western Australia draws ever closer to is secession referendum. Desperate for the soldiers to return to the battlefield, the farmers turn to the Opposition, which only escalates the political turmoil for the Minister for Defence. With all but the farmers wanting their failure - and their own families wanting them home - the soldiers must also play the political game to see the war through to its completion. WARS ARE FOUGHT AS MUCH IN PARLIAMENT AS THEY ARE ON THE BATTLEFIELD. D. M. WRIGHT MASTERFULLY CAPTURES THE FULL SPAN OF THE EMU WAR WITH DEPTH, SUSPENSE AND HEART. CONTENT WARNING This book is Not Recommended for readers under the age of 15. It contains: Violence Strong language CHAPTERS A mist of doubt and fiction There’s always a second 1. Yes, dear 2. Goodnight, Daddy 3. The Emu War is over 4. American and European oak 5. Guns and men 6. Make your choice 7. Politics is poker 8. You’ll think of something 9. ‘Moo-cow’ Mitchell 10. Where Right and Glory lead 11. The Minister for Defence 12. Three, No Trump 13. He can’t, he won’t 14. You should’ve been a politician 15. If you love it, clap your hands 16. Green Sally up 17. Punch or pull? 18. Three rounds straight 19. Mr. Brown 20. Home by the 2nd 21. Australians or Westralians? 22. We’re sorting it! 23. Indefinitely 24. A city that is to come 25. M. 64. 12. 26. Everywhere 27. This is my war 28. My debt can’t be paid 29. Let’s get you boys home 30. Horsies ride again 31. That’s it, that’s the end 32. It’s over when I say it’s over 33. I owe you a story 34. Cull the un-cullable 35. The Financial Relief Bill 36. Old Miss Lucy’s dead and gone AUTHOR'S NOTE I wrote 'The Second Great Emu War of 1932' because the real events of 1932 — those bizarre weeks when machine guns failed against a flock of fast, feathered survivors — always struck me as more than a quirky footnote in Australian history, but this is completing that story the way it should be told. They were a perfect storm: Great Depression hardship, returned soldiers scratching out new lives on soldier-settlement blocks, political brinkmanship over Western Australia's secession push, and the quiet, stubborn endurance of ordinary people facing forces beyond their control. The first Emu War ended in farce and withdrawal; the second phase (often overlooked or bundled into the myth) deserved its own story — not as slapstick comedy, but as a deeper mirror to the futility of some battles, the echoes of World War I trauma that never fully faded, and the small, human victories that come from ingenuity, mercy, and choosing family over endless campaigns. This book is for anyone who's ever felt the weight of duty pulling them away from home, for readers who appreciate Australian history told through character rather than dry facts, and especially for those who love a tale where the absurd and the poignant collide. It's for veterans (past and present) whose wars didn't end on the battlefield, for families who waited, and for anyone who's laughed at the Emu War meme only to wonder what it really cost the men sent to fight birds. Wars are fought as much in parliament as on the battlefield, and the truest ones are the ones we carry inside. I hope this story honours that truth with depth, heart, and just enough dry humour to keep the dust from settling too heavily. THEMES The lingering trauma and echoes of World War I Veterans carry physical scars, guilt and memories of trench horrors into civilian life, with the absurd "emu campaign" serving as a metaphor for futile battles and unresolved pasts. Futility and absurdity of war (and bureaucracy) The military's doomed machine-gun efforts against resilient emus highlight institutional failure, misplaced glory, and the irony of fighting nature when real enemies are politics and hardship. Political intrigue and division Battles fought in parliament (e.g., the marathon Financial Relief Bill, secession pressures in Western Australia) mirror the outback "war", showing how power games and federal-state tensions affect ordinary lives. Resilience, redemption and quiet endurance Characters find small victories through ingenuity, mercy, family reconciliation and returning home, embodying Australian stoicism amid Depression-era struggles. Fatherhood and family as anchors Central to the heart of the book, with fathers like Major Meredith (missing milestones while serving), Hally O’Halloran (reading poetry to his newborn), and Clifford Bevan (struggling to reclaim his role as husband and father) prioritising domestic duties, redemption through presence, and passing on warmth, stories, and games — portraying "good dads" as those who ultimately choose home over endless campaigns. TONE & VIBE 'The Second Great Emu War of 1932' is wry, bittersweet, and reflective, blending dry Australian absurdity with poignant drama as it treats the infamous emu cull not as farce but as a haunting lens on WWI trauma, Depression-era hardship, political futility, and quiet resilience. Its vibe is dusty, grounded and quietly hopeful — tragically funny yet deeply human, full of mateship, folkloric warmth, and the stubborn dignity of people and landscape enduring battles both real and absurd. POV Third-person limited Past tense 'The Second Great Emu War of 1932' is third-person limited, shifting fluidly between multiple characters' perspectives — primarily Major Gwynydd "Merry" Meredith (the central military leader), Sergeant Samuel McMurray, Gunner "Hally" O’Halloran, politician Senator Sir George Pearce, assistant Clifford Bevan, and others — to provide intimate access to their thoughts, memories and emotions while maintaining an omniscient-like sweep across the military operation, political intrigue in Canberra and Perth, farmer struggles, and WWI flashbacks. This multi-POV approach keeps the narrative focused and character-driven (never fully omniscient or detached), allowing deep dives into personal trauma, duty, redemption and quiet humour without head-hopping within scenes, and it aligns with the book's reflective, ensemble-style historical fiction tone. MAIN CHARACTER SNAPSHOTS Major Gwynydd "Merry" Meredith A battle-hardened WWI artillery officer and family man (married to Gwennie, father to young John), Meredith is the reluctant yet duty-bound leader of the small military detachment sent to Campion. Cool under pressure, reflective and haunted by a lack of trench memories (by missing the War, stuck on Thursday Island), he evolves from detached supervisor to innovative tactician while grappling with personal guilt, political games, and the quiet hope of family reunion. Sergeant Samuel McMurray A scarred WWI gunner survivor, McMurray is tough and loyal. He brings silent humour, violin music, and a steady gruffness to the emu campaign, forming bonds with the squad while confronting his own trauma. Gunner "Hally" O’Halloran The young, optimistic gunner (and new father) who reads poetry to his newborn son from his notebook, Hally represents fresh hope amid the absurdity. Practical and cheerful, he participates in the creative cull tactics. It's his hyperactive warmth which grounds the book's folkloric, heartfelt moments. Clifford Bevan A ministerial assistant caught in political crossfire, Clifford is pragmatic, family-oriented and quietly ambitious. Overwhelmed by the campaign's pressures and his own domestic strains, amidst this second "war", he tries to reconcile with his wife and children, choosing fatherhood over bureaucracy. Sir George Pearce The real-life Minister for Defence and Senate leader, Pearce is a seasoned, stoic politician navigating the Financial Relief Bill marathon, secession threats, and emu fallout. Haunted by childhood memories and political constraints, he embodies institutional duty and quiet tragedy. DISCUSSION QUESTIONS How does the author use the Emu War as a metaphor for larger conflicts, such as the lingering effects of World War I trauma or the political battles in parliament? In what ways does the absurdity of fighting birds highlight the futility of some human endeavours? Several of the central figures are haunted by their pasts. Discuss how their WWI flashbacks influence their decisions during the emu campaign. The book interweaves military action in the outback with political intrigue in Canberra and Perth. How do the parliamentary scenes (like the marathon Senate sitting on the Financial Relief Bill) parallel the soldiers' struggles, and what does this suggest about where real wars are won or lost? Explore the theme of fatherhood. How do the several dads in the narrative portray fatherhood differently? Do any portray fatherhood as a source of redemption and hope amid hardship? The emus themselves are portrayed as resilient and almost unbeatable. In what ways does the book present nature (the birds, the outback landscape) as a force that humbles human attempts at control, and how does this reflect broader Australian identity or history? Discuss the tone: How does the blend of dry humour, dark irony and poignant drama affect your reading experience? Were there moments where the absurdity made you laugh, and others where it felt tragic or reflective? Several characters find personal redemption by the end (e.g., Clifford's family reunion, soldiers returning home). What role do small acts of mercy, ingenuity, teamwork and family play in achieving victory when traditional success fails? The story is inspired by real events, with some elements dramatised. How effectively does the book balance historical accuracy (e.g. Sir George Pearce's role, the secession referendum) with fictional character arcs? What might be gained or lost by fictionalising this bizarre episode? Consider the multi-POV structure, shifting between soldiers, politicians and families. How does this approach deepen our understanding of the event's impact on different people, and which perspective resonated most with you? The Great Depression, returned soldiers' land grants, and Western Australia's secession push form the backdrop. How does the Emu War illustrate the economic and social pressures of 1930s Australia, and what parallels can you draw to modern issues like environmental management, government overreach, or veterans' struggles? ISBN 9798333706355 RELEASE YEAR 2024 SERIES INFO WAR Book 2 WORD COUNT 99,000 AVAILABLE FORMATS Original edition: Paperback, Kindle Spellbound edition: Kindle Workbench edition: Kindle See Original Edition on Amazon See Spellbound Edition on Amazon See Workbench Edition on Amazon