Category Archives: Uncategorized

‘Lost Relations: Fortunes of my family in Australia’s Golden Age” by Graeme Davison

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2015, 288 p.

How to produce a good family history?” asks fellow-historian John Hirst in his blurb for this book. His answer: “Get a master historian to write about his own.”  Hirst is right.  Davison is a master historian and this book is far more than a family history.

Graeme Davison, who is most familiar to me with his Rise and Fall of Marvellous Melbourne and The Use and Abuse of Australian History, has not been (and still is?) not completely comfortable with family history as a pursuit.

For most of my life I have avoided family history.  The crowds of chattering genealogists in public libraries and archives are one of the daily hazards of the academic researcher. I have written critically about the perils of ‘speed-relating’, the craze for online genealogy, and the business activities of Ancestry.com and other commercial genealogical websites… Only as I grew older and my parents passed on did I begin to recognize how much of my life had been shaped by family tradition and expectation, not to mention genetics; although even now, when temptations to reminiscence and nostalgia grow stronger, I resist them, conscious of their distortions.  In the end, however, encouraged by my family, I succumbed to the appeal of family history, not only because I wanted to better understand who I am, but also in order to think more concretely about the relationship between the familial and the communal pasts. And ‘doing’ my own family’s history, or a part of it at any rate, seemed the best way to tackle it  (p. xiii)

He doesn’t leave behind his identity as professional historian in doing so, though.  He starts his book in Hampshire, with the railway carving its way past the Hewett family’s village, and finds himself wondering what the Hewetts thought about it- and the historian in him makes its presence felt:

As an academic historian I would not even attempt to answer the question: it is too conjectural.  I would be better off examining the opinions of people who actually wrote them down. But the people who wrote things down are not the people whose feelings I want to know. Ancestry inspires the assumption that our forebears, being our own flesh and blood, are somehow more accessible, as well as more important, to us than other dead people… However, our distant forebears were not people just like us in period costumes…The idea that we can actually put ourselves in the shoes of our forebears is a harmless enough delusion, but a delusion nonetheless. [However] By reconstructing the situations they faced, taking account of the beliefs and attitudes of the time, comparing their situation with that of others, we can begin to understand their actions, even if we cannot enter their minds or hearts. This is what historians call the discipline of historical context.  It begins by treating our own forebears not as special but as ordinary people of their time, and it ends- I would argue- not by enhancing family pride but by expanding our common humanity. (p. 18-19)

Unlike Nick Brodie’s Kin, (my review here) which makes the rather large claim of being “The Real People’s History of Australia”, Davison’s book works on a more modest canvas. He focusses on “Australia’s Golden Age” and those members of his family who emigrated to Australia in the years surrounding the gold rush. He stops his account at his father, who did not emigrate until 1911.  Like a spider weaving a web, he tethers the thread in England- in Hampshire, in London and the journey of the Culloden to Port Phillip-  and stretches it to the gold fields of Castlemaine, strings it across the seaside town of Williamstown on Hobson’s Bay,to  the small cottages of Richmond and eventually to the middle-class prosperity of suburban Essendon.

He notes that

Family historians rely largely on sources created by the state, or earlier by the church. Our narratives are hung on the skeleton created by legally defined events-  births, marriages, deaths, bequests, leases, taxes, property transactions, crimes, censuses and the like. But little of what matters most in our lives is captured by such documents. If we are lucky, a few old letters… or bits of oral testimony…are left to reconstruct the most intimate, precious, fragile, irreducibly personal part of our lives from the outside in, relying on materials that are cold, standardised and impersonal.  Like the prophet, the family historian sometimes seems to inhabit a valley of dry bones, inert and meaningless until they are clothed with flesh and the spirit is somehow breathed into them (p.100)

Davison does breathe life into them, not from filling them from imagination (as a novelist might) or by speculation (which a less disciplined historian might do) but by bringing to the endeavour what historian Keith Hancock called ‘span’- that big picture perception that makes sense of the small.  I learned a great deal from this book, particularly in terms of push-factors, both in the United Kingdom and within Australia itself, that prompted the geographical shifts revealed by those dusty dry documents.  As it happened, his family history provided a rich case study for the effect of religion on individuals and families, not just as an entry in a document but as lived experience.

Davison is a much older and more experienced historian than Brodie, and he does not feel the same urge to slash at the historians who surround him.  In this regard, this is a much gentler and more mature history than Brodie’s, told with humility and grace.

Does the world need a deluge of  autobiographical, family-based histories, written by historians? I’m not sure that it does, and perhaps this will be a passing phase. Nonetheless, I suspect that Davison’s book will survive when the genealogical juggernaut moves on.

‘The Strays’ by Emily Bitto

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2014, 336 p.

I had heard that this book was inspired by John and Sunday Reed and the Heide artists, and for the opening pages I kept wondering who each character was representing.

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Heide I, Bulleen

I soon let go of that rather fruitless quest, and I’m glad that I did. This book is much more than a fictionalized history: it’s a reflection on the loss of childhood innocence, families, sisters, art and secrets.

The book starts in the 1980s as Lily, an established art historian receives a letter from her childhood friend Eva Trentham, from whom she has been long estranged, asking her to attend a retrospective exhibition of Eva’s father’s artwork. Lily is thrust back fifty years into reminiscence about her childhood infatuation with the Trentham family- loud, artistic, transgressive – and the artists who circulated around them. Lily is an only child, and her description of her own parents is flat, muffled and dull, just as she perceived them to be in comparison with the Trentham house where she was treated as yet another of the ‘strays’ who attached themselves to the family.

In many ways this book reminded me of L. P Hartley’s The Go-Between, Ian McEwan’s Atonement or Evelyn Waugh’s Brideshead Revisited. In all these books we have a regretful, adult narrator, reflecting on a situation in which they were the immersed observer, infatuated by difference but ultimately confirmed in their outsider status by actions which they did not really understand at the time. All these books are suffused by a summer goldenness, and so is this book too, but it’s the distinctive heat and smell of an Australian summer. I’ve visited Heide many times, and clearly Emily Bitto has too, and she captures beautifully the river flats, a rampant but much-loved garden and a rambling farm house.

These are large characters, manipulators and exhibitionists by turn, fuelled by alcohol, drugs and sexuality. The entangled relationships between different adults in the household are observed with an innocent, but increasingly knowing eye, but the sense of impending doom builds, and the betrayal when it comes, is not unexpected- although perhaps not in the way I anticipated.

This is a remarkedly assured debut novel. Her descriptions are evocative, her shifts in chronology are confident and the narrator draws you into her hurt, wistful excitement over such a different way of living that she still mourns losing.

This book spoke to me on so many levels- as a riff on a well-known story about the Heide painters and artistic Melbourne in the pre-WWII years, as a reflection on childhood and the intimacy of pre-pubescent best friends, and as an exploration of the heady combination of sex, alcohol and freedom, and the lure of a transgressive lifestyle.

[Actually, I read The Strays and wrote this review almost six months ago. It was only when I read Sue’s insightful review at Whispering Gums that I looked for my own review on my blog.  Where on earth was it?   It is with much relief that I have found it bobbing around on my tablet, and assured myself that yes, I did really read it, and yes, I did write a review. Phew.]

I’ve added this to the Australian Women Writers Challengeaww-badge-2015-200x300

‘The Fine Colour of Rust’ by P. A. O’Reilly

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2012, 247 p.

She’s certainly versatile, is P. A (or Paddy). O’Reilly. I’ve read her book The Factory and was kindly (thank you Lisa) given a copy of The Wonders, but am rather embarrassed to say that have not yet read it yet  (a TBR#20 contender perhaps?)  Both of these books have little in common with The Fine Colour of Rust  which is a light, humourous read, ideal for a book group (which is how I came to read it) or just for a lay-back-and-enjoy read.

Loretta Boskovic is one of three sisters, named by her mother in tribute to women country-music singers (her sisters are Tammy and Patsy). She lives a country life, and in many ways it reflects the staples of country-music lyrics: a small town, a no-good husband, and single motherhood.  But there’s no misery here: Loretta is funny, self-deprecating and a crusader for her small rural local community of Gunapan. Her children’s local school is threatened with closure, and so Loretta charges up the Save our School Committee, regales the local MP on his fleeting visit to the school, and has a partial success.  It is not long before she becomes aware of other nefarious doings involving local movers-and-shakers and big money.

I don’t live in a small town, but largely because of my participation in the Heidelberg Historical Society,  I am involved in local community action about heritage and development issues.  I haven’t yet earned ‘regular feature’ status at Council meetings, but I’ve been often enough to see grassroots politics in action, and Loretta’s activism and community involvement rings absolutely true to me. I’ve met several “Lorettas”  in committees, in local politics, at the school gate. They are the sinew of local life.

Her husband has breezed back into town with a new girlfriend in tow, and she watches sadly as her teenaged daughter reads significance  into his fleeting visit. Her kids drive her crazy, and she loves them like mad. She has women friends who she doesn’t always treat well, and her friend Norm, the old scrap-metal collector up the road, is a steady backstop and surrogate grandfather for her children.

When we discussed the book at bookgroup, we found ourselves calling “But what about when….” and flicking through to find yet another small snippet that had us laughing anew.  I didn’t even notice that the book was written in the present tense, and at times I had a lump in my throat just a couple of pages after laughing aloud.

The Fine Colour of Rust is an affectionate lovesong to community, to friendship, to motherhood and to small country life.  It’s not high literature, but it’s honest to the core.

aww-badge-2015-200x300I’ve added this to the Australian Women Writers Challenge website

Far away…..

Regular readers may be interested to know that I’m back in Kenya for three weeks, awaiting the birth of my very first grandchild.  I’ve dusted off the blog from 18 months ago, and you can see what’s going on at

http://landofincreasingsunshine.wordpress.com

Time Travel: Listening to the Adelaide Writers Week 2015

I’ve been thoroughly enjoying the Adelaide Writers Festival – six months after it was held.  The festival was recorded and is available on podcast. What a treat! No having to toss up which session to go to. No regretting that you’d hadn’t gone to the other one instead. No trying to think back after a full day of talk, trying to remember what the first session was about.

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So I’ve heard Rohan Wilson talking about his book To Name Those Lost, which I’d just finished at the time, and which I will review soon.  He talks about the relationship between history and fiction, although not at the depth I might have expected from his PhD thesis (which he omits to mention at all- it’s as if he’s distancing himself from his academic credentials completely).

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I very much enjoyed Clare Wright interviewing Jenny Uglow. In fact, I enjoyed that interview so much and was so taken by Uglow’s readings from her most recent book In These Times that I even purchased it (even though, as part of the TBR20 challenge I committed to – and have not really fulfilled- I promised I wouldn’t buy any more books until I read twenty of the books I already have.  Yet another resolution bites the dust).  I’m particularly attracted to the domestic scene in Britain during the Napoleonic Wars, because this was the period during which Judge Willis (my own research interest) grew up and formed his character and opinions.

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A second panel chaired by Claire Wright discussed the art of historical writing with Jenny Uglow (again) and Helen Castor, who is sometimes seen on television documentaries.  Castor’s most recent work deals with powerful medieval women and Joan of Arc. Given Wright’s own interest in the historical documentary format, it was interesting to hear the way that the narrative can be shaped to the demands of a television audience while maintaining historical integrity.  A note of verisimilitude to the podcast was introduced by the RAAF flyover that interrupted the presentation!

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After listening to the session with Don Watson,  I’ve resolved to borrow  The Bush again, as I had to return it to the library before starting it.  In his laconic style, he makes some pointed current-day political observations, as well as discussing settler and urban perceptions of ‘the bush’ over the last 200 years of white settlement. He observes that, unlike the American West, (e.g. Shenandoah) the Australian bush has never prompted a love song, and that the few ‘bush’ songs we have (Waltzing Matilda etc) are variations of songs written elsewhere.

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The session with John Lanchester, author of Capital (reviewed here) gave insights into the opportunities and constraints of the fiction and non-fiction genre for authors.  Lanchester, whose work often deals with economic themes – most recently, the GFC- writes in both genres, with a leaning towards non-fiction. The fiction genre, he says, has two cardinal rules: first, that the author must not explain to the reader, and second, that unlikely events can not be introduced.  Non-fiction has no such constraints.

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The theme of fiction/non-fiction was also explored in a panel on Van Diemen’s Land featuring Nicholas Clements, the young historian who has recently released The Black War: Fear Sex and Resistance in Tasmania (definitely on my TBR) and Rohan Wilson (recent author of To Name Those Lost) whose first book The Roving Party dealt with the Black War through fiction.  Wilson’s book took the contentious path of writing from the perspective of one of his Indigenous, historical characters, while Clements faced criticism that he had not consulted with present day Aboriginal groups.  In response to this, he argued that he wanted to present voices from the time, without the interposition of contemporary perspectives. Both books, from fictional and historical approaches, aimed to complicate a goodies v baddies dichotomy.

What a lovely virtual and asychronous day I’ve had at the Adelaide Writers Week!  I may just hop in my time machine and travel a bit further back and enjoy the podcasts from earlier years too.

History Week Walk: Migration and the private lives of the Hoddle Grid Oct 18, 2015

This upcoming event for History Week in October might be of interest to those of us interested in Port Phillip and early Melbourne history.

From the History Week website:

http://historyweek.org.au/sessions/migration-and-the-private-lives-of-the-hoddle-grid/

MIGRATION AND THE PRIVATE LIVES OF THE HODDLE GRID

Join historian of colonial Melbourne, Nadia Rhook, to retrace the urban foot paths of migrants – from the British colonists who laid the Hoddle Grid over Wurundjeri land to the nascent South Asian diaspora based around ‘Little Lon’ and the politics of love, labour and opium in Little Bourke’s Chinese Quarter.

Discover how Melbourne has been made and remade by migration and its fraught restrictions.

This 2 hour walk will leave you amazed at the tapestry of cultures and languages woven across the streets, residences, shops and churches of colonial Melbourne.

Date: October 18, 2015 Time: 12:00 pm – 2:00 pm

Location: CBD

Cost: Free

Enquiry: Bookings via Nadia Rhook – N.Rhook@latrobe.edu.au

‘Friend or foe? Anthropology’s Encounter with Aborigines’ Gillian Cowlishaw

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There’s a very interesting recent article on the Inside Story website.

http://insidestory.org.au/friend-or-foe-anthropologys-encounter-with-aborigines

The article reprises many of the arguments and critiques that Cowlishaw has been making for the past thirty years (as this recent article about her shows) but its publication in Inside Story makes it accessible, not just in its language, but beyond the paywall that so many academic journals erect.  In it she argues that recent, postcolonial

wholesale condemnation of the anthropological endeavour has become shallow and moralistic, and an excuse for continued misperception of that complex, contradictory and contentious phenomenon known as “traditional Aboriginal culture.” There is a postcolonial fantasy that wants to achieve redemptive virtue by condemning the past rather than understanding the complex political and social legacy that colonialism created and bestowed on us all.

While acknowledging that foundational Australian ethnographic texts used language that we now find offensive, she argues that ethnography- albeit implicated in colonial policies and practices –  employed anti-racist, anti-colonial and even anti-state frameworks at the time.   Her article is a reflection on the intersection of anthropology and politics, both black and white (she notes particularly the rise of ‘native title anthropology’) and her own development as anthropologist.

It fits in well with the recent Message from Mungo documentary that was shown on NITV this week.  [I must confess that this was the first time that I’ve watched NITV.  It’s a pity that the Recognize campaign advertisements that ran during this program aren’t shown on ABC/SBS (or at least, I haven’t seen them) and commercial stations].  It was easy to mock the accents and demeanour of English archaeologists shown, but the documentary revealed well the range and contradictions between different specialities and world views.

And  Message from Mungo was echoed by last night’s documentary on the reburial service of Richard III’s remains at Leicester Cathedral  in March 2015. The formality of the ceremony was sanctioned at the highest level of state with the Countess of Wessex in attendance and all the pomp and historical clout of the Anglican Church behind it.  It struck me, listening to the choir which included girls and singers whose  lineage was drawn from an empire undreamt of in Richard’s time, that it was a service that would have been completely foreign to Richard himself.  The desire to ‘show respect’ through ceremony sprang from the same urge voiced by those in the Mungo documentary.

‘Message from Mungo’ screening 18 August NITV

The documentary ‘Message from Mungo’ which was also shown at the Australian Historical Association conference this year, is screening on NITV on Tuesday 18th August 2015 at 8.00 p.m.  Filmed over eight years, the documentary explores the 42,000 year old remains of Lake Mungo woman, revealed by the shifting dunes around Lake Mungo in 1968.  The indigenous people of the area see the repatriation of her bones as a way of  returning to her tribal lands, while  historians and archaeologists see her as an artefact that reveals information about mankind. This Guardian article gives more information.

ANZAC Centenary Peace Coalition Forum #3: Australia 1946-1976 From ANZAC to Vietnam

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I’ll be going to this on Wednesday 12 August at the Melbourne Peace Memorial Unitarian Church.

Cooking up a storm for Cooking for Copyright

Here’s my little contribution to Cooking for Copyright Day.

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They’re Ruby Borrowdale’s Rolled Oat Biscuits and the recipe made mountains of the things.  As you’ll see, Ms Borrowdale has given us a very…um….stripped-back recipe consisting merely of ingredients with nairy a mention of method or cooking instructions. (was there another page I wonder?) I melted the generous quantity of butter and added it to the other ingredients and cooked at 180C for about 12 minutes.

So who was Ruby Borrowdale and why I am posting a picture of her biscuits? (not cookies, note!)  Ruby Borrowdale was Queensland’s best known cookery expert.  From 1932 she was the Chief Instructress, and later the superintendent of the test kitchen at Simpson Brothers, well-known Queensland manufacturers of flour and baking powder. Simpson Brothers published an annual cooking book featuring their baking products.  The John Oxley library have produced a video on Ruby and their collection of the Borrowdale papers.

She also wrote a weekly cooking column under the name of Patricia Dale for the Brisbane Telegraph and wrote columns for other regional  newspapers. If you do a Google search, you’ll find much reference to her book The Golden Circle Tropical Recipe Book which I can only imagine would be the source of much merriment today for its imaginative use of pineapple rings and beetroot  (as you can see in this blog here).  She also featured on the radio and was the first Queensland cook to appear on television.

But why my sudden interest in Ruby Borrowdale and Queensland cuisine? Ruby Borrowdale’s recipes are featured as part of the FAIR (Freedom of Access to Information and Resources) campaign today regarding the status of unpublished manuscripts in Australian libraries, museums and historical societies. Unlike in other countries, in Australia,  copyright on unpublished sources lasts forever.  As a point of comparison, in Canada and New Zealand it is the life of the author plus 50 years and in the EU generally it’s the life of the author plus 70 years.  In the UK, works unpublished by 1989 whose authors died before 1969 will be in copyright until 2039, and otherwise it is life plus 70 years.  In US it is also life plus 70 years, or 120 years where the author is unknown.

FAIR are campaigning for all published and unpublished works in Australia to have the same copyright term, in line with international norms.  As part of their campaign today, they have broken copyright by posting recipes on their website and ask people to bake them and photograph their efforts  — hence the rolled oat biscuits above.  Of course, ironies abound:  the YouTube video above was produced by the John Oxley library which holds the Borrowdale collection and uses images of published works but none of their manuscript collection. And, strictly speaking, given that Ruby Borrowdale died in 1997, her works would still be in copyright anyway (although she may have granted it to the library perhaps?).

Ah, but it’s all a new world, isn’t it, and this provision is ridiculous and out of line with international practice.  So, please,  have a biscuit or two for Cooking for Copyright Day.