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Tuesday, 13 January 2015

May Kidson

~Believed to be May Kidson with one of her sons~
 

by Eva Bright
ed by D.P.G. Sheridan

Mrs. May Kidson (30 September 1858 - 9 August 1942), was born in the Eastern District of the Island of New Providence, Bahamas. She was known for many years throughout Australia for her charming verse, died at Cottesloe on August 9, 1942, at the age of 84 years. She was the widow of C.B. Kidson, Sergeant-at-Arms of the Legislative Assembly, and a daughter of the late Sir William Doyle (Chief Justice of Gibraltar).
            May Kidson occupied a unique position among Westaustralian writers, for there was hardly a civic event chronicled for some years that did not win its meed of poetic tribute from her fluent pen. Although she has been an invalid for some years, she kept abreast of the times, was bright and vivavious, and ever ready for a long chat with her friends. Evergreen to her was the memory of her son, Edric, who was killed in action during the Great War. She is survived by her son, Noel (late 10th Light Horse).
            She wrote verse and song, and her best known war poetry can be found in her small book of verse, ‘Memory’s Voices’. She had come to Australia as a small child, growing up in Western Australia. She had two sons, Noel and Edric, and it is clear that she loved them strongly. Her love and grief over Edric’s death can be felt in many of her poems, such as ‘Spirit Children’, ‘When the kit comes home alone’, ‘The Famous Charge of Our 10th Light Horse at Gallipoli’ (which Noel took part in) and ‘My Hero’. Of course, there are many others which identify her longing to see Edric again. In one very short poem, ‘One Hour’, she shows how she will not succumb to grief, though she has known it, but will instead, remember her son before he went off to war. The ‘one hour’ she speaks of is metaphoric, in that it refers to any moment she shared with Edric before he was killed. (The picture at the top of this page may be that one hour with Edric when he was quite young.) It even evokes the religious symbolism in that Christ had asked His disciples to keep watch for only one hour. The mother’s watch is much like the disciples’’, because it was a call to duty. For May Kidson, that duty would linger on until she died in 1942.

                                    One Perfect Hour shall live thro’ wastes of years
                                    Like dew sweet flowers e’en fresher for the tears –
                                    We cannot stand apart unknown – un-blest –
                                    When life has found one perfect Hour the best.

~The Kidson brother, Edirc and Noel~


            She dedicated her book of war verse to her son, Platoon-Sergeant Edric Doyle Kidson, of the 12th Battalion of the 3rd Brigade, who fell at the head of his men, in a post of danger, leading a screening party by order of the late Captan Lalor, on the heights at noon, after the famous landing at dawn on the 25th of April, 1915. Her poetry is mainly addressed to the women of Australia who have given up sons to the war; ‘to those wives and mothers whose lot is perhaps the hardest to bear, in that they are doomed to the torment of inaction, to grit their teeth and sit and wait in silent endurance, for the sunny-eyed lads, who may never return to the longing arms of wife, or the mother who bore them’. May Kidson doesn’t dwell on the horrific realism of war, but rather sounds a message of faith and comfort for yearning hearts. She bids the bereaved look forward to that assuaging moment of meeting in the Hereafter, when Time is not and there shall be no more tears. May is described as the poet with brave brown eyes, whose fires no tears can quench, looks forward into the world for other mothers to comfort, and has drawn on those splendid reserves one glimpses under her cheery exterior, and gone on with her appointed task in this work-a-day world.
            While there is not much information about May Kidson available, there are still some things of interest which help to build her picture. In the front of her book, ‘Memory’s Voices’, we are given another interesting glimpse into the world of May Kidson.
            A most singular coincidence is attached to the poem, ‘The Mothers’ Battalion’, by May Kidson. It originally appeared in the Perth ‘Sunday Times’ on June 30, 1915, subsequently appearing in the ‘Sydney Mail’, and widely reprinted East. Lance-Corporal Sid Johnstone (son of a late Surveyor-General in the West), of the gallant 10th Light Horse, tells this curious tale of coincidence, showing in war days fact may be stranger than fiction. He and Troop-Sergeant Noel Doyal Kidson (the elder son of May Kidson), of the same regiment, were wounded and at Malta at the same time. On returning to the firing line together they occupied, the first day, a small dug-out, and the Johnstone noticed a familiar scrap of the ‘Sunday Times’, evidently a bit torn off, floating round and blown into the dug-out by a high-explosive shell. He picked it up, and saw there a copy of Mrs Kidman’s verses, ‘The Mothers’ Battalion’, written by the mother of his mate, to whom he handed it. While Sergeant Kidson was reading his mother’s verses for the first time, a high-explosive shell went off quite near them. The coincidence is strange, inasmuch as the Sergeant never received by ordinary channels one copy of the ‘Sunday Times’ or ‘Sydney Mail’, or other paper containing it that were posted to him. (Exchange)

Select bibliography

Memory’s Voices, 1918
Western Women, May 1918

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Harry Harbord ‘Breaker’ Morant




by D.P.G. Sheridan

Harry Harbord ‘Breaker’ Morant (9 December 1864 – 27 February 1902), horseman, balladist and soldier, was born on 9 December 1864 at Bridgwater, Somerset, England. He arrived at Townsville, Queensland, on 1 April 1883. He later claimed to be the son of Admiral Sir George Digby Morant of Bideford, Devon, and to have entered the Royal Naval College.
On 13 March 1884, at Charters Towers, Edwin Henry Murrant, son of Edwin Murrant, and his wife Catherine, née O'Reilly, married Daisy May O'Dwyer. It is almost certain that he was Morant, then a groom at Fanning Downs station, and that she was Daisy Bates. After being acquitted of a charge of stealing pigs and a saddle, he separated from her and went to Winton, later overlanding cattle south.
Acquiring a reputation as horse-breaker, drover, steeplechaser, polo player, drinker and womanizer, from 1891 he contributed bush ballads to the Sydney Bulletin as 'the Breaker'. When the South African War broke out in 1899 he enlisted in Adelaide in the 2nd Contingent, South Australian Mounted Rifles, as Harry Harbord Morant.
In South Africa Morant's skill as a horseman was soon well known, and having qualities of education and manners he was engaged as a dispatch rider by General French, and later worked with Bennett Burleigh, a British war correspondent. At the end of his one-year enlistment he received good reports and accepted, but did not take up, a commission in Baden Powell's South African Constabulary. He went to England, and is supposed to have been welcomed into society and to have become engaged. Becoming close friends with Captain Percy Hunt, who had also served in the war, he followed him back to South Africa in March 1901. In changed conditions, irregular units were formed to counter Boer guerrillas. One such, the Bush Veldt Carbineers, formed at Pietersburg, north of Pretoria, was composed largely of time-served colonials, but was not an Australian formation. Its commander, Major R. W. Lenehan, commissioned Morant and sent him into the Strydpoort area south-east of Pietersburg where he served with distinction.
To the north, known as the Spelonken, the British commander, Captain Robertson, was weak, and Captain Taylor, an intelligence officer from Rhodesia. When six Boers came into Fort Edward wishing to surrender, they were shot by the B.V.C. Not long afterwards a B.V.C. patrol led by Lieutenant P. J. Handcock returned with one of its number, Van Buuren, a turncoat Boer, mysteriously shot. There was also insubordination and looting by some troopers and Robertson was recalled. Hunt was posted to Fort Edward, to be joined by Morant and Lieutenants Picton and Witton. On patrol on 4 August 1901 Hunt was mortally wounded. Some mutilation was done to the body by the Boers, and clothing taken. Morant, now in command, became morose and incensed, and encouraged by Taylor, became bent on vengeance. He led a patrol after the Boers, and caught up with them late in the evening.
Because of his premature order to attack, all but one, Visser, wounded in the ankle, got away. Morant wanted to shoot Visser immediately, but was dissuaded. The patrol, next morning, returned some distance towards Fort Edward, and on 11 August Visser was shot. Morant had alleged that Visser was wearing some of Hunt's clothing. Then, eight Boers approaching Fort Edward to surrender were met by a patrol led by Morant and including Handcock. The Boers were spoken to by a passing missionary, Rev. C. A. D. Heese, a British subject of German extraction who attempted to reassure them, but on 23 August Morant had them shot. Heese left, rejecting Morant's advice not to go on to Pietersburg alone. Morant then spoke to Taylor, and Handcock rode out.
Later, Heese was rumoured killed, and Handcock reported finding his body. On 7 September Morant, Handcock and two others shot three Boers coming in to surrender. Morant then led a successful patrol to capture alive an Irish-Boer leader, Kelly. After leave in Pretoria he returned to the Spelonken, but on 22 October was, with Lenehan, Taylor, Picton, Witton and others, arrested. The actions of Morant were operating predominantly under standing orders from Kitchener – ‘any Boers, captured or surrendering wearing British clothing (uniforms) shall be shot.’ Also, there had been an order to take no prisoners given by the ‘higher-ups of which Morant and Captain Hunt had obeyed previously – unquestioned. Further, because of the nature of the operational activities of the Bush Veldt Carbineers, a guerrilla unit, attacking Boer units as Boers attacked British units, it should be understood that irregular actions will occur when using irregular troops.
A court of inquiry dragged on until on 15 January 1902 when charges were laid. Morant was charged with inciting various persons to kill Visser, the eight Boers, the three Boers, and Heese. Major J. F. Thomas, a solicitor from Tenterfield, New South Wales, was ordered at short notice to represent the accused and on 17 January the trial in relation to Visser began. On 23 January Boers attacked the blockhouses at Pietersburg where the court martial was taking place. Morant, Handcock and others were recalled to service and helped to beat off the attack – an action which, under standing orders should induce a pardon. The hearing then continued. The existence of orders to take no prisoners, and the difficulties of guerrilla warfare, were pleaded.
On 1 February the case of the eight Boers commenced. As in the first case, no finding was pronounced, nor was it after the next hearing, in relation to the three Boers. At the trial in relation to the missionary, Handcock, who was charged with the murder, gave an alibi. He claimed to have visited two Boer ladies at their farms on the day in question, and they corroborated his story. But other ‘evidence’ leaves an inference that Heese was killed at Morant's instigation. In 1929 Witton informed Thomas that Handcock had confessed the murder of Heese to Witton, and had implicated Morant as the instigator of the affair. The alibi was, however, accepted and acquittals pronounced on this charge.
Morant was convicted on each other charge, and sentenced to death, although the court recommended mercy on the grounds of provocation, good service and want of military experience. On 26 February Morant and Handcock were informed that they would be shot in the morning. Thomas in desperation sought to see Lord Kitchener, but he had gone out on trek. The sentences were duly carried out, and bravely endured, Handcock and Morant being shot by firing squad on 27 February in Pretoria. After Morant's execution Admiral Morant denied he was his father. The Defence Act (1903), limiting the offences for which sentence of death could be imposed by court-martial, and requiring such sentence to be confirmed by the governor-general, perhaps reflected public concern over the executions.
There are some who follow the line that Morant and Handcock were rightly executed, but there are so many problems with the case against them, that one is compelled to understand that a travesty of justice had occurred in Pretoria. No Australian should be have been tried without proper redress to Australian authorities. Granted, they were British subjects, as Australians were until 1949, but Australia was still a self-governing colony. The British had wanted to see an earlier end to the Boer War, and the killing of Heese, a German missionary (and spy), gave rise to the possibility that Germany would enter the war. Having said that, Kitchener should still have been present, as it was the legal right of ‘any’ condemned prisoner to call ‘any’ witness. The trial was in effect, nothing more than a kangaroo court, and it blackened Australian/British relationships which were to be revisited in the Great War. While the ‘Breaker’ was not actually a poet of the Great War, he should be considered as relevant, because his style and poetic voice were to become synonymous with the Australian character of the Great War. His loyal and rebellious heart was to be seen in almost all Australians of the 1st (and 2nd) A.I.F. Most Australians consider his execution to be unjust, if not murder, and that he is rightly an Australian folk hero.

 
Select Bibliography

         F. Renar [Fox], Bushman and Buccaneer (Syd, 1902)
         G. Witton, Scapegoats of the Empire (Melb, 1907, 1982)
         R. Kruger, Goodbye Dolly Gray (Lond, 1959)
         G. Jenkin, Songs of the Breaker (Adel, 1960)
         F. M. Cutlack, Breaker Morant (Syd, 1962)
         R. L. Wallace, The Australians at the Boer War (Canb, 1976)
         M. Carnegie and F. Shields, In Search of Breaker Morant (Melb, 1979)
         K. Denton, Closed File (Syd, 1983)
         Northern Miner, 14 Apr 1902
         personal records, 83/120 (Australian War Memorial).

 
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Patrick Joseph Hartigan




by G. P. Walsh

Patrick Joseph Hartigan (1878-1952), priest and poet, was born on 13 October 1878 at O'Connell Town, Yass, New South Wales, eldest surviving son of Patrick Joseph Hartigan, produce merchant, and his wife Mary, née Townsell, both from Lisseycasey, Clare, Ireland. After attending the convent school at Yass, he entered St Patrick's College, Manly, in February 1892 but, uncertain of his vocation for the priesthood, left for St Patrick's College, Goulburn, where he studied under the noted classicist Dr John Gallagher, later bishop of Goulburn. He returned to Manly in 1898 and was ordained priest on 18 January 1903. After a curacy of seven years at Albury, he became inspector of schools for the vast diocese of Goulburn in 1910 and was based at Thurgoona near Albury. He was one of the first curates in the State with a motor car; in 1911 he took the last sacraments to Jack Riley of Bringenbrong, said to have been A. B. Paterson's 'The Man from Snowy River'. In 1916 he was appointed priest-in-charge of Berrigan and next year parish priest of Narrandera.
All this time Hartigan was a keen student of Australian literature. In 1906 he began publishing verse in such journals as the Albury Daily News, Catholic Press and the Bulletin under the pen-name 'Mary Ann'. Encouraged by George Robertson, C. J. Dennis and others, he published Around the Boree Log and Other verses, under the pseudonym 'John O'Brien', in November 1921. Recording with humour and pathos the lively faith, solid piety and everyday lives of the people around him, Hartigan successfully combined the old faith of Ireland with the mateship and ethos of the bush, towards the end of an age when the small selectors and squatters went by sulky or 'shandrydan' to 'The Church Upon the Hill'.

'We'll all be rooned', said Hanrahan,
In accents most forlorn,
Outside the church, ere Mass began,
One frosty Sunday morn.

'Said Hanrahan' and the other poems were an instant success. Dennis hailed them in the Bulletin as in 'the direct Lawson-Paterson line mainly—unaffected talk about Australians, much as they would naturally talk about themselves'. Around the Boree Log ran to five editions and 18,000 copies by 1926, was widely popularized throughout eastern Australia by the recitations of John Byrne ('The Joker'), acclaimed in Ireland and the United States of America, and made into a film in 1925. Twenty poems were set to music by Dom S. Moreno of New Norcia, Western Australia, in 1933.
Hartigan was a popular figure in the town and community. His years at Narrandera were happy if arduous, disturbed only perhaps by the sectarianism engendered by the Sister Liguori case. His poems and short stories regularly appeared, many in the religious journal, Manly. Advancing age, ill health and a desire to carry out more historical research led Hartigan to retire as pastor of Narrandera in 1944; he became chaplain of the Convent of the Sacred Heart, Rose Bay. In Sydney he was a familiar figure in the Mitchell Library and wrote a series of articles, 'In Diebus Illis', recording the struggles of the pioneer clergy, published in the Australasian Catholic Record in 1943-45 and posthumously in book form as The men of '38 … (Kilmore, 1975). Still much in demand as occasional speaker and preacher, in 1947 he was appointed domestic prelate with the title of right reverend monsignor in October 1947. His main comforts in his semi-retirement were the love of his near relations, receiving visitors (especially from Narrandera) and watching the shipping on the harbour. Ill with cancer from 1951 he completed On Darlinghurst Hill (Sydney, 1952), written for the centenary of the Sacred Heart Parish.
Hartigan died in Lewisham Hospital on 27 December 1952 and, after a requiem Mass in St Mary's Cathedral, was buried beside his parents in North Rocks cemetery.
Tall, handsome in his young days, and impressive always, Hartigan for all his broad humanity and kindliness was shy and somewhat detached. Possessed of a dry humour underlain by a touch of wistfulness, he was a good conversationalist and raconteur: literature, art, cricket, horses, the land and cars were ready subjects. He was an excellent, yet undemonstrative preacher—his addresses, including panegyrics on his friends, with their pervading poetic imagery, sense of history and heartfelt sincerity are beautiful examples of Irish-Australian oratory.
Much of 'John O'Brien's' unpublished verse appeared in The Parish of St. Mel's (Sydney, 1954). A selection of his poems, illustrated by the paintings of Patrick Carroll, was published as Around the Boree Log (Sydney, 1978). A portrait by E. M. Smith is at St Patrick's College, Manly.

Select Bibliography

         F. A. Mecham, John O'Brien and the Boree Log (Syd, 1981) and for bibliography
         Catholic Weekly (Sydney), 8, 15, 22 May 1952, 1 Jan 1953, 9 Sept 1971
         Sydney Morning Herald, 6 Mar 1976.

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Henry Lawson




by Brian Matthews

Henry Lawson (1867-1922), short story writer and balladist, was born on 17 June 1867 at Grenfell, New South Wales, eldest of four surviving children of Niels Hertzberg (Peter) Larsen, Norwegian-born miner, and his wife Louisa, née Albury. Larsen went to sea at 21 and, after many voyages, arrived in Melbourne in 1855 where he jumped ship and joined the gold rush. He and Louisa were married in 1866 and Henry (the surname changed when the parents registered the birth) was born about a year later, by which time the marriage was already showing some signs of stress. The family moved often as Peter followed the gold but, in August 1873 with the birth of their third child imminent, they finally settled back at Pipeclay where they had started from. Peter took up a selection which Louisa managed; she also ran a post office in his name while he worked as a building contractor around Mudgee.
Existence for the Lawsons, however, remained precarious. The selection even at its best was only marginally productive. With Peter often absent, Louisa was lonely and vulnerable: responsibility began to fall on Henry's young and rather frail shoulders and intensified in him a tendency to reclusiveness and introversion and a personal conviction that he was somehow different from others in a way that cut him off from them. There were happy times: Louisa was imaginative and a brilliant raconteuse and Peter was an accomplished musician. But failing communication between husband and wife, Peter's increasingly frequent absences and the exacerbating effect of continual hardship seemed to outweigh such lighter moments. The young Lawson was often alone, often worried about the problems of the selection, and much disturbed by the apparent estrangement of his parents, a situation about which he was more knowledgeable than the younger children and which caused him keener suffering. Outside the family, he was one of those children who seem inevitably to become the butt for juvenile ridicule and cruelty. He had little opportunity for boyhood friendship and little talent for it when rare opportunities arose. He several times expressed to his father a reluctance to grow older even as worry, fears and oppression were denying him most of the joys of childhood.
Lawson was 8 before Louisa's vigorous agitation led to a school being established in the district, and he was 9 before he actually entered the slab-and-bark Eurunderee Public School as a pupil in the care of the new teacher John Tierney. In the same year, 1876, after a night of sickness and earache, he awoke one morning slightly deaf. For the next five years he suffered hearing deficiency. When he was 14 the condition deteriorated radically and he was left with a major and incurable hearing loss. For Lawson, already psychologically isolated, the deeper silence of partial deafness was a crushing blow.
When his much-interrupted schooling (three years all told) ended in 1880, Lawson worked with his father on local contract building jobs and then further afield in the Blue Mountains. In 1883, however, he joined his mother in Sydney at her request. Louisa had abandoned the selection and was living at Phillip Street with Henry's sister Gertrude and his brother Peter. He became apprenticed to Hudson Bros Ltd as a coachpainter and undertook night-class study towards matriculation. Yet, as the story ('Arvie Aspinall's Alarm Clock') which he based on that time of his life suggests, he was no happier in Sydney than he had been on the selection. His daily routine exhausted him, his workmates persecuted him and he failed the examinations. Over the next few years he tried or applied for various jobs with little success. Oppressed anew by his deafness, he went to Melbourne in 1887 in order to be treated at the Victorian Eye and Ear Hospital. The visit, happy in other ways, produced no cure for his affliction and thereafter Lawson seems to have resigned himself to living in the muffled and frustrating world of the deaf.
Meanwhile he had begun to write. Contact with his mother's radical friends imbued in him a fiery and ardent republicanism out of which grew his first published poem, 'A Song of the Republic' (Bulletin, 1 October 1887). He followed this with 'The Wreck of the Derry Castle' and 'Golden Gully', the latter growing partly out of memories of the diggings of his boyhood. At the same time he had his introduction to journalism, writing pieces for the Republican, a truculent little paper run by Louisa and William Keep (its precarious and eccentric existence is celebrated in the poem 'The Cambaroora Star'). By 1890 Lawson had achieved some reputation as a writer of verse, poems such as 'Faces in the Street', 'Andy's Gone With Cattle' and 'The Watch on the Kerb' being some of the more notable of that period.
Early in 1891 Lawson was offered, as he put it, 'the first, the last and the only chance I got in journalism'. The offer came from Gresley Lukin of the Brisbane Boomerang and was eagerly accepted. Lawson became a prolific contributor of prose and rhymes to the Boomerang and also to William Lane's Worker. But his luck had not changed: by September the Boomerang was in trouble and Lawson's services were dispensed with. Once again he found himself in Sydney dividing his time between odd jobs, writing and occasional carousing with friends, chief among whom at this time was E. J. Brady.
Whether it was a matter of luck or temperament, Lawson seemed unable to attain equilibrium or direction in his writing or his lifestyle. His promising early poems had been followed by a rush of versifying on a wide range of topics, contemporary and reminiscent; and his first published story, 'His Father's Mate' (Bulletin, December 1888), though uneven and sentimental, had given glimpses of his extraordinary ability as a writer of short stories. By 1892 a number of sketches together with the magnificent 'The Drover's Wife' had fully borne out the initial promise. Yet Lawson seemed in a rut: failing to concentrate his energies and gifts much beyond what was required for subsistence, spending more and more time in favourite bars around Sydney. Recognizing something of Lawson's inner faltering, J. F. Archibald suggested he take a trip inland at the Bulletin's expense. With £5 and a rail ticket to Bourke, he set out in September 1892 on what was to be one of the most important journeys of his life.
Much of what Lawson saw in the drought-blasted west of New South Wales during succeeding months appalled him. 'You can have no idea of the horrors of the country out here', he wrote to his aunt, 'men tramp and beg and live like dogs'. Nevertheless, the experience at Bourke itself and in surrounding districts through which he carried his swag absolutely overwhelmed him. By the time he returned to civilization, he was armed with memories and experiences—some of them comic but many shattering—that would furnish his writing for years. 'The Bush Undertaker', 'The Union Buries its Dead' and some of the finest of the Mitchell sketches were among the work he produced soon after his return. Short Stories in Prose and Verse, the selection of his work produced by Louisa on the Dawn press in 1894, brought together some of these stories albeit in unprepossessing form and flawed by misprints. But While the Billy Boils (1896) was Lawson's first major short-story collection. It remains one of the great classics of Australian literature.
Though the creative pressure of his outback experience showed almost immediately in his writing, Lawson's life in other respects settled back into the depressingly familiar hole-and-corner existence. After six months he went to New Zealand where he worked eventually as a telegraph linesman, turning his back on journalism and alcohol. He returned to Sydney on 29 July 1894 to take a position on the newly formed Daily Worker only to see it wound up three days later. He consoled himself with drink and Bohemian exploits with a circle of friends that now included J. Le Gay Brereton. The release in December of Short Stories in Prose and Verse, did little to lift his spirits or his income.
Within a year, however, Lawson seemed poised to achieve both the recognition and the stability he had been seeking. In 1895 he contracted to publish two books with Angus & Robertson; and he met Bertha Marie Louise Bredt (1876-1957), daughter of Bertha McNamara. After a brief and, on Lawson's part, characteristically intense and impulsive courtship, they were married on 15 April 1896. That year Angus and Robertson brought out the two books, In the Days when the World was Wide and other Verses and While the Billy Boils, as arranged; both were well received.
Following an abortive trip to Western Australia in search of gold, the Lawsons returned to Sydney where Henry, now a writer and public figure of some note, embarked on a colourful round of escapades in which large amounts of alcohol and the company of his Dawn and Dusk Club friends, including Fred Broomfield, Victor Daley and Bertram Stevens, were central ingredients. The Lawsons' move to Mangamaunu in the South Island of New Zealand was arranged by Bertha with the express intention of removing him from this kind of life. They left on 31 March 1897, but the venture was not a success, creatively or otherwise. Lawson's initial enthusiasm for the Maoris whom he taught at the lonely, primitive settlement soon waned. As well, there is evidence in some of his verse of that time ('Written Afterwards', 'The Jolly Dead March') that he was realizing, for perhaps the first time since their romantically rushed courtship and marriage and subsequent boisterous, crowded life in Western Australia and Sydney, both the responsibilities and the ties of his situation. Lawson's growing restiveness was deepened by promising letters from English publishers. Bertha's pregnancy strengthened his resolve and they left Mangamaunu in November 1897, returning to Sydney in March after Bertha's confinement. Lawson spent the enforced wait in Wellington writing a play ('Pinter's Son Jim') commissioned by Bland Holt; it turned out to be too unwieldy to stage.
Lawson went back to old friends and old ways in Sydney. He had returned with one overriding aim: to get to London, where he felt certain there would be more opportunity for him to live by his pen. He expressed a mounting sense of frustration and bitterness by drinking heavily—he entered a home for inebriates in November 1898—and by writing a personal statement to the Bulletin. This appeared in the January 1899 issue under the title 'Pursuing Literature in Australia'. Abstemious and industrious throughout the ensuing year, Lawson worked on books contracted earlier with Angus & Robertson—On the Track and Over the Sliprails (stories) and Verses Popular and Humorous. But he would probably not have realized his goal of 'seeking London' had it not been for the generous help of David Scott Mitchell, the governor Earl Beauchamp and George Robertson. He set off on 20 April 1900 for England. With him went his wife, his son Joseph and his daughter of just over two months, Bertha.
Lawson himself in later years provided fuel for the idea that his English interlude, so eagerly anticipated, was in fact a catastrophe: 'Days in London like a nightmare'; 'That wild run to London/That wrecked and ruined me'. But he had some successes in London, the opportunity was certainly there for him to establish himself upon the literary scene and he may have been in some ways simply unlucky. On arrival he retained the services of J. B. Pinker, one of the best literary agents in England, and was soon receiving enthusiastic encouragement from critic and publisher's reader Edward Garnett and William Blackwood, editor of Blackwood's Edinburgh Magazine. The four Joe Wilson stories—generally regarded by critics as the peak of his achievement—were written in London, and Blackwood published two new Lawson collections in two years: Joe Wilson and his Mates (1901) and Children of the Bush (1902). But the strain of family life in unfamiliar surrounds and an unkind climate, his wife's serious illness (she spent three months from May 1901 in Bethlem Royal Hospital as a mental patient) and the consequent return to the soul-destroying task of writing under pressure to pay the bills, all sapped Lawson's early resilience and affected his health, the quality of his work and the nature of his literary aspirations and plans. By April 1902 he was arranging for Bertha to return home with the children. He followed soon after and they were all back in Sydney before the end of July.
From that time Lawson's personal and creative life entered upon a ghastly decline. A reconciliation with Bertha soon after their return was short lived. In December 1902 he attempted suicide. In April next year Bertha sought and obtained a decree for judicial separation. He wrote a great deal despite his often squalid circumstances but his work alternated between desperate revivals of old themes and inspirations and equally desperate and unsuccessful attempts to break new ground. Maudlin sentimentality and melodrama, often incipient even in some earlier work, invaded both his prose and poetry. Among later books were The Skyline Riders and other Verses (1910); My Army, o my Army! and other Songs (1915); and Triangles of Life and other stories (1913). He was frequently gaoled for failure to pay maintenance for his children and, after 1907, was several times in a mental hospital. Though cared for by the loyal Mrs Byers, he became a frail, haunted and pathetic figure well known on the streets of Sydney; in his writing, images of ghostliness proliferated and increasingly a sense of insubstantiality blurred action and characters. Loyal friends arranged spells at Mallacoota, Victoria, (with Brady) in 1910 and at Leeton in 1916. But his state of mind, physical condition and alcoholism continued to worsen. The Commonwealth Literary Fund granted him £1 a week pension from May 1920. He died of cerebral haemorrhage at Abbotsford on 2 September 1922.
Lawson was something of a legendary figure in his lifetime. Not surprisingly, as dignitaries and others gathered for his state funeral on 4 September, that legend was already beginning to flourish in various exotic ways. The result was that some of his achievements were inflated—he became known, for example, as a great poet—and others obscured. Lawson's reputation must rest on his stories and on a relatively small group of them: While the Billy Boils, the Joe Wilson quartet of linked, longer stories and certain others lying outside these (among them, 'The Loaded Dog', 'Telling Mrs Baker' and 'The Geological Spieler'). In these he shows himself not only a master of short fiction but also a writer of peculiarly modern tendency. The prose is spare, cut to the bone, the plot is either slight or non-existent. Skilfully modulated reticence makes even the barest and shortest sketches seem excitingly full of possibility, alive with options and potential insights. A stunning example is 'On the Edge of a Plain' but almost any Mitchell sketch from While the Billy Boils exemplifies these qualities. Though not a symbolist writer, Lawson had the capacity to endow accurately observed documentary detail with a significance beyond its physical reality: the drover's wife burning the snake; the black goanna dying 'in violent convulsions on the ground' ('The Bush Undertaker'); the 'hard dry Darling River clods' clattering on to the coffin of the unknown drover ('The Union Buries its Dead') are seemingly artless yet powerful Lawsonian moments which, in context, transform simple surface realism into intimations about the mysteries, the desperations and the tragedies of ordinary and anonymous lives.
Lawson failed fully to assimilate one of the most vital inspirations of his writing life—his experience in the western outback. It was the source of most of his best work, but he returned to it again and again, coming close to Hemingway-like self-parody as he sought to gain creative renewal from a seam already thoroughly mined. Only the Joe Wilson series allowed him temporary freedom from this enslavement, because these four connected stories are about the rare joys, awkward intimacies and frequent sorrows of a marriage that is slowly, imperceptibly, deteriorating. As a subject it clearly owed much to those lonely months at Mangamaunu and it did not rejuvenate Lawson's art because he could not pursue the theme without coming into unacceptably close engagement with the realities of his own marriage. In any case, Lawson's withholding, austere prose was ill suited to analytic probing, which is why Joe Wilson, fine piece of work though it is, seems constantly on the point of disintegration.
The decline of his creative ability, as it were before his very eyes, in the years from about 1902 onwards (though the malaise is traceable earlier than that in, for example, On the Track and Over the Sliprails) was one of the great tragedies of Lawson's troubled life. Too much evidence exists to show with what deep and continued seriousness he aspired to be a memorable writer for his artistic decline to be regarded in any less important light. To this disaster were added personal crosses—deafness, a marital failure that deeply grieved him—which even a stronger temperament would have found hard to withstand. That he managed to dredge out of disadvantage, adversity and often appalling hardship so many magnificent stories is testimony to a toughness and determination that he is perhaps not often enough given credit for.

Select Bibliography

         B. L. Lawson and J. Le G. Brereton (eds), Henry Lawson by His Mates (Syd, 1931)
         D. Prout, Henry Lawson, the Grey Dreamer (Adel, 1963)
         W. H. Pearson, Henry Lawson Among Maoris (Canb and Wellington, 1968)
         A. A. Phillips, Henry Lawson (New York, 1970)
         B. Matthews, The Receding Wave (Melb, 1972)
         C. Roderick (ed, and for bibliography), Henry Lawson Criticism, 1894-1971 (Syd, 1972) and The Real Henry Lawson (Adel, 1982)
         S. Murray-Smith, Henry Lawson (Melb, 1975)
         M. Clark, In Search of Henry Lawson (Melb, 1978)
         B. Kiernan, The Essential Henry Lawson (Melb, 1982)
         Quadrant, July 1979, Aug 1983.

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Walter James Turner




by C. W. F. McKenna

Walter James Redfern Turner (1884-1946), poet and critic, was born on 13 October 1884 in South Melbourne, eldest son of Walter James Turner (1857-1900), warehouseman, and his wife Alice May, née Watson. Born on 3 July 1857 at Geelong, Victoria, the father became prominent in Melbourne's musical activities. Organist at St James's Cathedral and later at St Paul's Church, he was appointed to teach music at the Working Men's College in 1888; he also composed ballads and directed the People's Promenade Concerts at the Melbourne Cricket Ground. He died at Kew on 5 April 1900 and was buried in Box Hill cemetery.
Educated at Carlton State School, Scotch College and the Working Men's College before working as a clerk, Walter junior recalled his Melbourne boyhood in his fictional autobiography, Blow for Balloons (1935). In 1907 he went to London to become a writer. Spending ten months in Germany and Austria in 1913-14, he wrote satirical sketches for the New Age and concert reviews for the Musical Standard. He returned to England before the outbreak of World War I and, although he served in the Royal Garrison Artillery in 1916-18, his literary career flourished. In 1916 he published the first of sixteen volumes of poetry. His work gained prominence when it appeared in Georgian Poetry in 1917 and 1919. On 5 April 1918, at St Luke's parish church, Chelsea, he had married Delphine Marguerite Dubuis (d.1951); they remained childless.
Following the war, Turner's activities introduced him to leading literary and intellectual figures in Bloomsbury and at Garsington, the home of Lady Ottoline Morrell. He was music critic for the New Statesman (1915-40), Truth (c.1920-37) and the Modern Mystic (1937); drama critic for the London Mercury (1919-23) and the New Statesman (1928-29); literary editor of the Owl (1919) and the Daily Herald (1920-23); and had plays produced. Although he still admired and was influenced by Georgian poets such as Walter de la Mare, in 1922 he withdrew in disillusionment from the last Georgian Poetry anthology and experimented with a more modern verse in The Seven Days of the Sun (1925). While committed to rhythm, music, sensibility and imagination, Turner's poetry also pursues his metaphysical interests and reveals a philosophic idealism that relates closely to Platonism and the thought of Kierkegaard. Yeats valued Turner's modernity and philosophic energy, and in the late 1930s they collaborated in British Broadcasting Commission poetry programmes.
As music critic, Turner distinguished himself by the independence, originality and outspokenness of his views. He published studies of Beethoven (1927), Wagner (1933), Berlioz (1934) and Mozart (1938), but also revered modern composers such as Stravinsky, and was one of London's most receptive commentators on the new music of Schönberg, Berg, Webern and Hindemith. He regarded Artur Schnabel as the greatest pianist of the age and became his close friend. In his late years Turner continued a prolific and varied literary output, writing poetry, short stories, criticism and drama. He was literary editor of the Spectator (1941-46) and general editor of the Britain in Pictures series. He died of cerebro-vascular disease at his Hammersmith home on 18 November 1946.

Select Bibliography

         A. D. Hope, Native Companions (Syd, 1974)
         C. W. F. McKenna, W. J. Turner, Poet and Music Critic (Gerrards Cross, Eng, 1989)
         Times (London), 20, 23 Nov 1946.

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Leonard Nelson




by Australian Variety Theatre Archive
ed D.P.G. Sheridan

Leonard Nelson began his professional career in the early 1900s playing weekend harbour cruises in Sydney. He made his first Tivoli appearance at a trial night and in 1902 undertook a tour of the East. After establishing himself in New Zealand as one of John Fuller's biggest stars he then spent 3-4 years with Harry Rickards. From ca. 1910 until the mid-1920s Nelson was largely associated with the Fullers, however. He is known to have still been performing in the mid-1940s.
Born in Melbourne and raised in Kew, Victoria, in c1864, Leonard Nelson was left an orphan at age eight. He started out playing suburban shows and weekend engagements on Sydney Harbour concert cruises. For the latter engagements he would perform eight songs in the afternoon and another eight at night all for the sum of 10 shillings. After deciding to try his luck at a Tivoli Theatre trial night, his performance was noticed by the management and he subsequently secured some engagements. It was his 1902 tour of the East, playing military stations in countries that included India and the Philippines that provided him the experience that he needed to make the next up the ladder of success, however. It also proved fortuitous in that he made the acquaintance of John Fuller Snr's daughter Hetty. Impressed with his style she suggested that Nelson make his way to New Zealand and apply for an engagement with her father. Nelson subsequently travelled to Christchurch following the end of the Philippines' engagement and secured a spot with Fuller's show. Within a short period of time he established himself as one the firm's biggest stars, and as Peter Downes notes, became a "household name".
Nelson returned to Australia in 1907 for Harry Rickards, where he scored a hit with "Goodbye Melbourne Town." The song came about after he gave Fred Hall (Melbourne Opera House music director) some lyrics he'd written. According to Frank Van Straten, Hall jotted down a tune while travelling to work on the train. Nelson learned the melody that afternoon and performed it in the evening. "An instant hit," writes Van Straten, "it became the most successful Australian song of the day. The Great War gave it a new lease of life and it remained popular for decades". Nelson would also change the title to fit any town he was playing at the time, which gave it additional resonance with antipodean audiences. "Goodbye Melbourne Town" wasn't Nelson's only hit during his return Tivoli engagement, however. In 1908 he wrote and performed, "Mr Booze" another of his signature tunes and perhaps the song he was best remembered for.
After some 3-4 years on the Tivoli circuit Nelson returned to the Fullers and for whom he worked almost exclusively as their biggest local stars through until the early to mid-1920s. During that time he worked either solo or various revue/revusical companies, including Frederick Shipman's Fantastics (ca. 1917). During this period Nelson also collaborated on several collections of poetry - these being The Dinky-Di Soldier and Other Jingles (1918, with Norman Campbell) and Lorblimey and Other Pious Pieces (1920, with John E. Nugent). At least two Leonard Nelson songsters were also published in the 1920s, following on from his 1907 collection, Leonard Nelson's Own original Songs.
In 1923 Nelson left the Fullers to join Harry G. Musgrove's Tivoli circuit. By then he was often being referred to as the "Dinkum Aussie comedian."  Nelson is known to have still been performing in the mid-1940s, with his last known appearance being in Sydney in 1945. His son Roy also followed him into show business, first in the motion picture industry and then as a light comedian, singer/songwriter. By 1926 he had become an agent for Chappell and Co.
While Nelson did not write all his own material (including songs) some of his own compositions and collaborations were among his biggest hits. Among his other successes were "Let Me Go to Bendigo," "Bring Back Those Wonderful Days," and "Don't Sing a Song About the war to me (The war's All Over Now)."
In Shadows on the Stage Peter Downes records that Nelson "stayed with the Fullers continuously for 15 years. While the popular singer was undoubtedly associated with the family-run organisation more than any other, he did not remain with them continuously for that period of time. As this biography notes, Nelson is recorded as having spent some three years with Harry Rickards between ca. 1907 and 1910 before returning to the Fullers.
 Downes also writes that Nelson "retired in 1924, a little before his sixtieth birthday" (154). The first statement is now known to be incorrect given that he was still appearing on the professional stage as late as 1943 in places such as Adelaide and Perth. He is also recorded as making a special appearance at a 1945 anniversary  show  celebrating Sir Benjamin Fullers 60th year in show business (DNP: 28 Sept. 1945, 8). Other old time  performers with him that night included Ted Tutty, Ward Lear, Bert Warne, and Doris Tindall.
            While Nelson's year of birth has not yet been established, he is known to have still been alive and living in  Blackheath, NSW in 1953 - evidence for this coming from a letter he wrote to the Sunday Herald  columnist  "Onlooker" (see below). If Nelson had indeed been 60 years of age in 1924, this would mean that he still touring professionally into his late 70s, which is unlikely (although not impossible).

Sources:

Australian Variety Theatre Archive - http://ozvta.com/practitioners-n/

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Monday, 12 January 2015

Thomas John Skeyhill




by Gerald A. Moloney

Thomas John Skeyhill (1895-1932), soldier and lecturer, was born on 10 January 1895 at Terang, Victoria, son of James Percy Skeyhill, driver and later aerated waters factory manager, and his wife Annie, née Donnelly. Both parents were native born of Irish extraction. Tom was educated at the local state school and from 1902 at St Mary's Convent School, Hamilton. At 14 he became a telegraph messenger at Hamilton and later a telephonist. A clever reciter, he was successful in local elocution competitions and was a debater with the Hibernian Society.
Enlisting in the 8th Battalion, Australian Imperial Force, in August 1914, Skeyhill embarked from Melbourne in December and landed at Anzac Cove as a signaller on 25 April 1915. On 8 May, during the advance at Cape Helles, he was blinded by an exploding Turkish shell. He was invalided back to Melbourne in October and later was officially welcomed home at Hamilton Town Hall.
Skeyhill had been composing verse, some of which was published in the London, Cairo and Melbourne press. In November 1915 he appeared at the Tivoli Theatre, Melbourne, in full Gallipoli kit, reciting his compositions. His Soldier Songs from Anzac, published in December, sold 20,000 copies in four months. For two years Signaller Skeyhill, 'the blind soldier poet', toured Australia, lecturing and reciting, raising funds for the Red Cross Society and appearing on recruiting platforms. He was discharged on 28 September 1916.
In December 1917 Skeyhill left on a lecturing tour of North America. He became a sensation—at Carnegie Hall, New York, Theodore Roosevelt praised him as 'the finest soldier speaker in the world'. Under osteopathic treatment he recovered his sight in Washington in 1918. Claiming that he was then rejected as unfit by British recruiting authorities, he was appointed war lecturer with the United States forces. He visited the war zones and on return lectured throughout the U.S.A. in aid of the Liberty Loan. After the war he became associated with the Pond Lyceum and Chautauqua lecture circuits.
Commissioned by the American Affiliated Lecture Bureau in 1920 to visit Russia and Eastern Europe, he was refused entry to the Soviet Union but illegally went to Petrograd (St Petersburg). He was unimpressed by conditions he found there and subsequently lectured on 'Communism with the lid off'. In September 1921 he returned to Australia for a six-week lecture tour of Victoria and New South Wales. In 1926 Ohio University, U.S.A., awarded him an honorary degree.
In 1919 Skeyhill had published in New York ‘A Singing Soldier’ and he later wrote plays, including ‘Passing Shadows’, ‘Moon Madness’ and the successful ‘The Unknown’, and a biography of Sergeant Alvin York, which was filmed in 1941. Skeyhill was killed in an air accident at Hyannis, Massachusetts, on 22 May 1932. He was survived by his wife Marie Adele, a New York actress, and by their daughter Joyce. Though he had lived in New York, he was buried with a military funeral at West Dennis, Massachusetts, where he had had a summer home.

Select Bibliography

         P. Hay (ed), Meeting of Sighs (Warrnambool, Vic, 1981)
         Theatre Magazine, 1 Aug 1916
         New York Times Book Review, 23 Dec 1928
         Reveille (Sydney), July 1932
         Hamilton Spectator, 20 Oct 1915, 13 June 1918, 13, 15, 22, 25, 27 Oct 1921
         Sydney Morning Herald, 27, 28 July 1916, 4 Feb, 6 May, 12 Oct 1918, 13 Dec 1919, 11 Mar, 21, 22, 23 Apr, 25 June 1921, 27 Nov 1926, 25 May 1932
         San Francisco Chronicle, 18 Apr 1918
         Terang Express, 27 Sept 1921
         New York Times, 12, 14 Oct 1928, 23 May 1932
         Herald (Melbourne), 24 May 1932
         Argus (Melbourne), 25 May 1932
         Bulletin, 1 June 1932
         Age (Melbourne), 10, 20 Mar 1969.

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