Echoes of The Past

Unknown

“Go confidently in the direction of your dreams. Live the life you have imagined.”

Henry David Thoreau

When I think about my father I appreciate he always supported my dream to be a writer. He encouraged and praised me. He was the first person to show me how powerful, amazing and entertaining the English language can be. He introduced me to many brilliant and effective authors and poets, but most of all he believed in my desire and need to write.

Although a flawed man with many personal demons he truly loved his family. When I discovered a notebook of his after he died my tears were for his lost dreams as I read poems, snippets of stories and even a short play.

As my older sister Cate said at Dad’s funeral, ‘who knows what dad could have achieved if he’d had  educational opportunities and economic freedom to make choices…’  Like many of his generation who lived through the Great Depression and WW2, he never went to high school and always chased money to survive, and support his family.

 However, he did go to night school, he did constantly improve himself no matter what job he had and he was a prime example of someone with a thirst for knowledge, who educated himself. Education was the key to success as far as Dad was concerned. We must study hard at school and not waste ‘the talents God gave you’. No doubt the regrets he felt at his own failure to stay engaged with the school system coloured his attitude.

Today, the tenth anniversary of his death, I reflect on how glad I am that he was my Dad and be grateful for the gifts he gave me and the memories I choose to honour.

dads ashes 1

“Why am I compelled to write? . . . Because the world I create in the writing compensates for what the real world does not give me. By writing I put order in the world, give it a handle so I can grasp it…”

Gloria E. Anzaldúa

August 25, 2005

The air carries the smell of spring, but it will be some hours before the sun provides daylight and any warmth. I make an effort to peer into the night with weary and moist eyes. The raucous laughter of kookaburras breaks the stillness – an echo triggering memories of childhood days spent at Croydon in the 1960s. Kookaburras swooped down and stole our cat’s dinner, the raw kangaroo meat an irresistible and easy meal. The birds returned to the trees their laughter like petals blown in the wind.

Tonight the birds swoop from tree to tree, searching for breakfast or perhaps a late supper, their demeanour similar to a hawk. It is 4.00am. Are they congratulating each other on a successful hunt, or have they spotted prey? The hospital grounds and car parks studded with trees may provide what the birds seek. If not, the mini forest stretching north towards Belgrave like a thick, mottled green tablecloth undoubtedly holds enough scurrying mammals to keep the kookaburras laughing for some time.

I can’t recall the last time I heard a kookaburra in Mordialloc where I have lived for twenty-one years. Close to the sea, the gulls are prevalent, but because of the prolonged drought, it is more likely the squealing of rosellas and harsh caws of wattlebirds and ravens demanding or complaining at the lack of food.

I look from the window of Room 2 East Ward on the second floor of William Angliss Hospital, in the aptly named Melbourne suburb, of Ferntree Gully. The shadows of the night change shape to become recognisable objects. There is solace in the ordinariness of the scene – a maintenance worker parks his car and toolbox in hand disappears into the bowels of a building I assume houses the hospital generator. Nurses travel between the adjacent nurses’ home and the main hospital; navy cardigans clasped around shoulders, the only indication there is an early morning chill to the air.

I press my legs against the wall radiator, but the artificial warmth of hot water pipes will not relieve the coldness I feel. I want to open the window wide and scream, ‘Don’t you know my father is dying?’ Nothing has prepared me for this night, even although it is barely three years since I farewelled my husband, John. You can never prepare or become used to losing someone you love. Death is indeed the last frontier. I grip the windowsill realising the harsh reality of day may deliver a cruel blow.

The nurse turned down the wall radiator earlier in the evening with no noticeable cooling of the room apart from the removal of body heat when others in the family left just before midnight. The dodgy heater a bit like Dad’s health the last few years: sometimes okay, other times difficult to know if operating well. The intermittent work of his pancreas made his diabetes almost impossible to regulate. So many years he struggled with diabetes – a terrible sentence for someone with a sweet tooth and robust appetite.

The softness of Dad’s hands as I held them a few minutes ago lingers on my skin. Hands, once dry, calloused worker’s hands transformed soft and smooth despite the accumulated wrinkles of 83 years. Stretched over arthritic bones, his fragile skin, like precious parchment. The paleness almost transparent, belying his olive complexion inherited from the survivors of the wrecked sixteenth century Spanish Armada intermarrying with the inhabitants of Scotland’s west coast islands. Well, that’s the mythology still hotly debated by historians. I can hear Dad’s voice disparagingly saying, ‘but what do academics know.’ He was a great storyteller and as Robert McKee teaches, it’s all about the power of story!

The memory of our trip to Australia in 1962, on the migrant ship SS Orion, makes me smile. The ship picked up 500 Greek migrants at Piraeus and after a few days in the Mediterranean sun, the Greek passengers approached my sun-tanned Dad thinking he was Greek. How could this olive-skinned man, sporting coal black hair and moustache be Scottish!  For the rest of the voyage, they tried to strike up conversations. ‘Sorry Jimmy,’ said Dad like a typical Glaswegian, ‘don’t know yir lingo.’

The subdued lighting of the hospital room dulls the age and sun spots, mottling the backs of his hands. The marks fade into insignificance on his thin muscle-wasted arms. When younger and stronger, and employed as a ‘boy wakener,’ he knocked the doors of sleeping drivers with those hands at a time when working class people didn’t own watches or clocks and there were no telephones for early morning wake up calls.

As a fireman, he shovelled 5 tonnes of coal a day into the ferocious flames of a steam train’s furnace. As a locomotive driver, he manipulated train controls and signals and became a diesel instructor and acting depot foreman during a twenty-five-year career with British Rail. In Australia, Dad worked at many semi-skilled jobs as he chased money for his family during a further twenty-seven years driving. His arms steering everything from petrol tankers, delivery vans, trucks, tractors, forklifts, buses, utilities, and station wagons.

IMG_0026

He never went to high school, but when it came to a car engine he could revive and fix motors others would abandon to the wrecker’s yard. I picture him wiping oily hands on a cloth or his dungarees.  I’ve never driven a car but surprise myself with the mechanical knowledge absorbed from endless conversations between Dad and my brothers.

I remember as a little girl in Scotland waiting for my dad’s train to pass by the house. Whenever he drove the steam engine he nicknamed “Ivanhoe” he would blow the whistle loudly just as he rounded the bend. In the distance, we could see his once snowy white handkerchief appear as a tiny speck amongst the belching smoke and steam as he gathered speed for the hill before him. We knew he could see the bed sheet we frantically waved with Mum’s help from the upstairs bedroom window because another long-drawn blast which sounded like “Ivanhoe, oh, oh,o …” echoed throughout the valley.

dad on engine

Younger, stronger arms cuddled a wife and six children, ten grandchildren and embraced four step-grandchildren when they joined the clan. How I ache for those arms to hold me close once more, to make me feel safe. Dad always fearless, his strength, a refuge. He took on bullies in the workplace, bullies in the street. His slightly misshapen nose testimony to defending a stranger from would-be muggers, teaching a scab a lesson on worker solidarity and corralling a bull that escaped in the rail-yards. A trophy of fights he could have done without, but Dad often as game as a dozen commandos.

I rub my thumb along his; trace the outline of his nail. His fingernails, longer than I recall, strong and manicured – testimony to the attentive personal care received in the nursing home where he has lived as a dementia patient for the last seven years.

Strangers cut his nails, bathe him, trim his hair and moustache, and even wipe his bottom. I remember, his fingernails never long but always clean. Scrubbed to remove the embedded coal dust when he was a railwayman in Scotland. Scrubbed even harder to be rid of engine oil with his first job in Australia of petrol tanker driver and then a serviceman for Exide Batteries. Over the years, scrubbing removed a variety of debris from his many blue-collar occupations, including pottery dust and garden soil.

Yet, Dad’s hands were much gentler than Mum’s – not the skin, but his touch. He was the one who washed wounds gently, dabbed calamine lotion on even the tiniest mosquito bite or chickenpox blister. Perhaps, if he had not been the youngest of thirteen children and denied the opportunity for further education, he may have been a doctor. His dedication to self-education at night school and constant thirst for knowledge proved he had the intellectual capacity.

A moan reminds me that Dad is still in this world. His laboured breathing eases to an almost gentle rhythmic snore. I sit in the uncomfortable visitor’s chair, grateful my sister, Rita left a large curved pillow squashed to support a back beginning to ache with tension and lack of comfortable sleep.

Dad’s slack-jaw repose, unsettling. Awed at his vulnerability, I remember a man with an explosive temper, yet the patience to teach and to learn. Now he lies helpless at the mercy of a hospital system that sees him as a nuisance. A dying old man, taking a bed and resources more useful to younger, fitter others. I relive the argument between my brother George and the Charge Nurse earlier in the day when they tried to convince us Dad should be discharged and sent back to the nursing home. Our system has a lot to learn about dying and grief.

An unwanted patient here, Dad showed much patience in his life. He spent hours to find an intermittent fault on electrical equipment or the origin of an unusual noise in a car or motorbike engine. More hours in makeshift darkrooms developing black and white photographs until the best possible copy was printed. He often shared a useful or attractive object produced from leftover scrap wood from off-cuts in the bargain bin outside the local hardware shop. His photographic and developing skills, his expertise with cars and motorbikes and his DIY talents all passed on to his children with varying success.

To be a good provider for his wife and children and to be a good parent his driving force. He never appeared hesitant making the tough decisions once we were capable of understanding and contributing. He laid down rules about our social life, the friends we chummed with, insisted we apply ourselves at school and take responsibility for chores in and out of the home. Robust arguments about the length of my brother’s hair in the 60s, when my sisters and I could start ‘dating’, our behaviour at school and at home all memories that fade into insignificance in comparison to the years he sacrificed to keep us healthy and safe.

The Protestant work ethic and the Church of Scotland shaped much of Dad’s thinking, but also socialist writers like Robert Tressell who wrote, The Ragged Trousered Philanthropists and he identified not only with the poetry of Robert Burns but the imperfect man. We grew up with Burns’ quotations ringing in our ears and all of us can recite verses, especially the ones with moral and ethical points! Dad admired politicians like Keir Hardie and the Bevan brothers. Papa had bought Tressell’s book for Dad to read, and Dad encouraged his children to read it.  I bought copies for my daughters.

dad on bed reading

I change the cassette tape that is playing softly in the background. Rabbie Burns poetry set to music or songs he has written. Scottish singers as diverse as Duncan Macrae, Andy Stewart, Kenneth McKellar, the Alexander Brothers and The Corries singing their hearts out

I flick through the box of tapes brought from the nursing home. Each song or artist stirs memories of family celebrations or other occasions. I picture Dad working in his shed happily ‘making sawdust’ as he referred to his woodworking hobby. Or he’s reclining in his armchair, a glass of brandy (or a good malt whisky when he felt flush), not far from his hand. He loved his music and the advancements in technology from old 78s to vinyl LPs; reel to reel to cassette tapes – all marvellous inventions in his eyes. Unfortunately, with the onset of dementia, he missed the proliferation of CDs – and I can’t conjure an image of him with an iPod or MP3 player either – his hearing aids would get in the way and I think he’d be a vocal critic of social media! ‘If someone wants to talk to me let them say it to my face, or pick up the phone!’

When diagnosed with Tinnitus in the 70s his love of playing music intensified as he tried to block the constant noises and ringing in his ears. He used alcohol too and became someone else, his personality forever damaged by attempts to cure this cruel byproduct of industrial deafness and medication after the Hong Kong Flu. I recall the pain in his eyes when he read a poem of mine about Bermagui where I referred to ‘the silence of nature’.

‘Oh, what I’d give for silence,’ he murmured through tears.

A gurgling erupts from Dad’s throat and his brow furrows. He screws his eyes even more tightly shut and pulls his knees up towards his chest and moans. I remember the stabbing pains of early labour and assume his frail body is experiencing waves of uneven pain. I shiver. Is that the scent of death on his breath? I know medication and his lack of sustenance are probably causing the unusual sweet/sour smell, but fear freezes my heart.

I stand up to seek out a nurse when the door creaks open and two nurses on night duty tiptoe into the room. I chatted with these friendly women at the beginning of their shift. They have no problem with my family’s determination to ensure one or more of Dad’s kinfolk will be with him until the end and are not surprised to see me.

The small dark-skinned nurse came from a family of eight and trained in England, ‘We just want to turn your Dad and check how he is going.’

The grey-haired nurse with a Queensland drawl worked as a relief sister in Dad’s first nursing home. She speaks with familiarity, ‘We’ll just give George a bit of a sponge and change.’

Thank you,’ I whisper. ‘He appears to be in a bit of pain… writhing around.’

The other nurse flicks through Dad’s chart, ‘No problem, we’ll give him something for the pain.’

‘Yes,’ agrees the Queenslander leaning over to take his pulse,  ‘we’ll look after your dad, don’t worry.’

Kenneth MacKellar is singing ‘Keep right on to the end of the road’ and my heart begins to race.

Ev’ry road thro’ life is a long, long road,
Fill’d with joys and sorrows too,
As you journey on how your heart will yearn
For the things most dear to you.
With wealth and love ’tis so,
But onward we must go.

Keep right on to the end of the road,
Keep right on to the end,
Tho’ the way be long, let your heart be strong,
Keep right on round the bend.

I desperately need fresh air. ‘I’ll just go outside for a few minutes,’ I stutter. The nurses nod their approval.

Outside I stare at the sky and try to identify Orion – the shapeshifter that to me is a saucepan – and the Southern Cross. If I can see them, the world will be okay because for as long as I can remember since moving to Australia, I have always searched the night sky for those constellations. I breathe in the eucalyptus air. A dark shape swoops. Kookaburras laugh.

Who am I trying to fool? My world will never be the same again. I realise I’ve been crying and dab away the tears before returning to resume my vigil. It will be daylight soon and my sister Cate will come to relieve me, but I know I will not leave Dad – not just yet.

Dad 2004
Dad 2004

The Writerly Self – A Reflective Essay on a Personal Journey of Professional Development

‘Writing about writing is one way to grasp, hold, and give added meaning to a process that remains one of life’s great mysteries… the moment of exquisite joy when necessary phrases come together and the work is complete, finished, ready to be read.’

writers by the bay - anthology 1, 1997
writers by the bay – anthology 1, 1997

For as long as I can remember, I’ve been engaged with reading and writing. In school, ‘to be a writer’ the first and latterly the only desire expressed whenever asked ‘what career do you want?’ At high school during the end of the sixties the education system, and indeed society, acknowledged females could dream of a career and not a job, however, the proviso ‘until they married to produce the next generation’ was implied.  Germaine Greer’s The Female Eunuch opened up an amazing new world of questions and ideas.

My working-class migrant home and public high school considered creative writing something done in your spare time; innate talent may lead to ‘discovery’, but rarely a financial success. No courses teaching the craft existed as far as I knew and the feminist rewriting of the male-dominated canon of Australian fiction did not begin until the late 1970s. Parents and teachers assumed ‘journalist’ and ‘writer’ interchangeable.

So, I studied history (another love) at university, travelled, worked at various skilled and semi-skilled jobs, married, had children, started a writing group, became involved in schools and the community, cared for my dying husband, devised courses and began teaching, and always kept writing: academic assignments, articles for magazines, newsletters, stories for family, poetry for myself and others, letters, postcards, haphazard journal entries, lesson plans, even some imaginative creative pieces. Enthralled by the power and beauty of words, I tried to harness the thoughts and stories swirling in my head.

No passion has been as constant, as true as this love‘.

I enrolled in the Master of Arts (Writing) after encouragement from Glenice Whitting, a member of Mordialloc Writers’ Group. A trusted ‘critical’ friend, Glenice finished a novel, won a literary prize and launched her book at the Writers’ Festival after studying a similar course at Melbourne University. This inspiring journey of achievement culminated in a PhD (well done Dr Glenice Whitting) and the completion of another major writing project.

Each fortnight, workshopping at our local neighbourhood house the group gained valuable tips to improve our writing when Glenice shared philosophical and theoretical ideas from her readings. This generosity, found in the Mordialloc Writers’ Group contributes to the quality of each other’s work. The listening, the absorbing, the constructive feedback, the valuing of learning and always striving to be better writers.

ID-10086797-11-225x300

In 2010, with Glenice’s insistent ‘do it,’ I took the plunge and enrolled at Swinburne University: to focus on my writing dreams, to transform entrenched habits and improve my craft, stretch reading horizons, and move out of my comfort zone by seeking help from more accomplished writers within and without, academia. I hoped the experience would make me a better teacher too!

images-1

The online course suited family, financial, and work commitments. However, returning to tertiary study after almost forty years’ absence, a challenge with difficulties I didn’t foresee! The volume and academic style of most set readings confronting and at times overwhelming. Academic texts needed examination, deconstruction and clarification. What did they mean, if anything, to my writing life and style? This deep reflection of my work a new concept, as well as being time-consuming and requiring discipline, but two years in a life of over half a century didn’t seem much of a sacrifice – or so I thought.

I embraced new technology with limited expertise, trusted disembodied relationships with tutors and students, many living Interstate and in different countries. Despite being ‘screen’ tired with a mind ticking over like a Geiger counter, the joy in writing I sought returned, albeit slowly. I began to reflect on the process itself when the initial shock of ‘settling in’ was compounded by a diagnosis of breast cancer. Life is full of surprises, but perhaps the biggest surprise is the strength we find within when needed.

images

A new world beckoned. With help and support from family and friends, I adapted my lifestyle, extended boundaries and learnt the true meaning of flexible hours: working into the night, forgetting what television looked like and leaving more of the day-to-day running of the house to my daughters. Although always open to change, this unplanned border crossing was never foreseen for my late 50s. On reflection, the journey not only proved worthwhile but gave me a fantastic focus and distraction through a health crisis I wouldn’t wish on my worst enemy! In modern parlance, working towards and achieving my master’s degree a definite ‘game-changer’.

The richness of other student contributions gave new perspectives as well as exposure to a variety of genres. Could I write a suspense novel? A gritty screenplay? A monologue? Poetry? Be a short story writer? What about creative non-fiction? Historical romance?

I had been writing every day but not necessarily the writing I wanted to do. My goal of self-discipline to create time to write every day on a project I desired, and not because a deadline loomed, seemed elusive. The intensity of study, the volume and regularity of the submissions required, left little time for stream-of-consciousness writing or spontaneous creativity, but there was excitement and developing friendships amongst all the learning.

The concepts of dramaturgy and frame theory were new to me, although perhaps I’d been applying frame theory and considering dramaturgy for years without knowing the theoretical name. I visualise each scene before I write and edit – almost as if watching it on television or acting in front of a mirror – the preferred method of Charles Dickens who created characters and acted them out to perfect expressions and voices.

From the beginning there was a very strong connection between the oral and the literary in Dickens’ art.”

I work out the order of the detail in my short stories to help with sentence structure and avoid dangling modifiers. I’m an ‘outliner’, not a ‘pantser’. The dictionary defines dramaturgy as ‘a theory, which interprets individual behaviour as the dramatic projection of a chosen self’. I create characters, put them into situations, and imagine how they walk, talk, and act. I draw on my observations, but also personal experience. Some see dramaturgy as ‘a way of understanding and analysing theatrical performances… to help us understand the complexity of human interactions in a given situation’.

images-2

As a people watcher, I observe and scribble in a notebook, taken everywhere. An event, a smell, sound or person triggers the muse. Later, these pages filled with character profiles, plus ideas for prose and poems become details in stories. Sometimes I’m inspired and start writing the story on the train or in the cafe if I can write undisturbed.

The bones of a story grow. Writers must be curious and record observations because this advice is repeated in almost all articles and books on the craft of writing.

On the city-bound train , two deaf people are having an animated conversation. Six metal bangles on the overweight woman’s right arm so tight they don’t jangle as she waves her hands. The man unkempt, yet an expensive camera hangs across his chest. Are they tourists tired or stressed from travelling? What is it like coping with such a profound disability on public transport where commuters rely on announcements over the tannoy? What if the train breaks down?

images-3

” ‘Playing our parts.’ Yes we all have to do that and from childhood on, I have found that my own character has been much harder to play worthily and far harder at times to comprehend than any of the roles I have portrayed.”

Bette Davis 1908-89

I prefer this quote from Bette Davis to the Shakespearean ‘All the world’s a stage‘. I’ve struggled over the years being dutiful daughter, loving and supportive wife, responsible, nurturing mother, loyal friend and sister, diligent employee, interested teacher… ‘playing’ roles yet aching to be a writer and wondering how well I ‘perform’ when my heart and brain are focussed elsewhere. Everybody is an actor on a stage Shakespeare called ‘the world,’ however, for most people, the stage is a much smaller ‘my life’.

Shakespeare’s gift of using the stage as a metaphor for living clever because everyone is born (makes an entrance); dies (exits) and plays different roles from birth. Researching to find the context for the now clichéd quote I’m sidetracked as usual ( a major failing). So many Internet sites and tomes from bookshelves cite, deconstruct, dissect, and revere Shakespeare.

My ego wonders if in the future anyone will read my writing. Can/will I ever write anything as profound or memorable as the speech by the melancholic Jaques in As You Like It? The ‘seven ages’ of man condensed in cynical terms in a limerick by British poet Robert Conquest:

Seven stages, first puking and mewling,
Then very pissed off with your schooling;
Then fucks and then fights
Then judges chaps’ rights
Then sitting in slippers, then drooling!

When I think of writing Dad’s story and his love of pithy poetry and the verses he made up, I wonder if I should frame each chapter around poetry. Introduce the stages of his life using either a poem or song by Robert Burns, his favourite bard. I reject the last line of Conquest’s limerick. Dad’s dementia and the long period of emotional stress the family experienced will not be reduced to such an image. My Father’s life should not be defined by the changes wrought by illness and ageing.

I want my world to end with a ‘bang’ not a ‘whimper’ to borrow from T.S Eliot. A couple of my short stories work as ‘faction’ so I will keep experimenting. Sometimes it’s easier to fictionalise traumatic events or deep feelings, be the cold observer rather than a participator!

cartoon10

An article on Dramaturgical Analysis gave me a new perspective and some good ideas on a play about the environment I was asked to write for Grades 5 and 6. An idea to teach the children about environmental sustainability and along a similar theme to Sense and Sustainability: A Fable for our Times. If developing the play, I’ll consider the ideological frame as well as the structural frame. I want the children to identify with the issues and realise they can make a difference. I hadn’t considered using a myth or folktale to provide the organisation for ideas, but appreciate how the reference to well-known stories may add depth to the script and enrich an audience’s understanding. In Australia, because of our multi-cultural population, there are myriads of folk tales to draw on.

It’s a steep learning curve to look through a playwright’s eyes and use dramaturgical analysis as a critical tool, but I enjoyed finding out about the proscenium arch and other terminology associated with theatre; how a play will be presented and the difference images and symbols make. The proscenium arch is the performance area between the background and the orchestra or between the curtain or drop-scene and the auditorium. Many innovative ways to use this space present themselves.

prosceniumarch

In a piece of happenstance, I won free tickets to the Victorian Opera’s interpretation of Chekhov’s The Bear. There was a split stage, which gave wonderful visual framing ideas. Aleatory, another new word learned: ‘technology is used to suppress aleatory results‘. Aleatory is defined as ‘depending on the throw of a die or on chance, depending on uncertain contingencies or involving random choice by the composer, performer, or artist.’ Learning to use the Internet for research, it seemed the exact opposite sometimes.

I typed ‘workhouse’ into Google for family history information and came up with 3,460,000 links in 21 seconds. No doubt the number and speed increased since 2010. By only using the word, many irrelevant results and often random associations appear. To save time and get the most benefit out of the Internet I learned to be smarter.

The exposure to other writers in the course led to discussions about books by ‘colonial’ writers revealing heritage and raising issues of identity. I determined to reread many loved favourites as a writer as well as a reader, especially after a tutor asked, ‘to what extent do white writers have to consider their colour as writers?

A difficult question to answer as a white woman, who has always lived in a free society. I agree with bell hooks, there is a ‘link between my writing and spiritual belief and practice… how our class background influences both what we write, how we write, and how the work is received.’

Most white writers don’t give their colour a second thought if they live where they are the dominant culture. However, an Australian writer Harry Nicolaides while living in Thailand was incarcerated for insulting the Thai royal family in his novel. I would think many writers living in some Islamic countries need to be careful. In Saudi Arabia, Afghanistan, Egypt, Iran and even Turkey imprisoned journalists and writers make the news. We tend to think of Europeans being the main colonial powers in recent history and the colonised non-white, but in the 1930s and 40s Japan expanded its empire. Even in recent times, the Indian sub-continent and African continent have more than their fair share of colonial trauma.

To write my family history with an Irish mother and a Highland father the experiences of the Irish and Scottish populations must be considered and the effects of England’s colonial behaviour. Dr Johnson’s view in his journal, Journey to the Western Isles of Scotland,reveals a narrow, disdainful individual, whose sojourns into that which is unknown to him may be compared to the impressions of those first Europeans who penetrated the African interior, socially placing its inhabitants as inferior.’

The Highland Clearances and the aftermath sent many people, including some of my relatives to Australia. They lost their land and came out here to displace the indigenous population. I’d like to explore this sad irony and grave injustice in my writing. You can’t rewrite history, but you can examine the story from different angles and make an effort for a balanced account.

613046-a1bbfbdc-a80a-11e3-94c1-d923b8b77352

How does my hybridity affect my writing? I feel like an uprooted tree with memories and attachments to many places. I travelled a lot when younger and hope to do so again. I struggle to keep a journal yet when travelling, writing became second nature, especially letters home. Boxes of paraphernalia sit in the garden shed to be turned into stories ‘one day’.

I found a handful of old postcards after an aunt died and a fascination with a first cousin of my Father’s began. He bears Dad’s name and is buried in Egypt – another nineteen-year-old casualty of Gallipoli. I empathised with Hélène Cixous when she stood and cried at her grandfather’s grave, a person dead long before she was born – a photograph in an album, a family legend.

All biographies like all autobiographies like all narratives tell one story in place of another story.

I wrote a short piece of prose about discovering our family’s ANZAC, but further research makes the story change. I learnt his parents still spoke Gaelic and try to imagine what he thought in the trenches of Gallipoli fighting beside Scots as well as other nationalities. Did he identify as an Aussie? Did he think himself noticeably different?

One tutor asked, ‘What do you think of the idea that writing itself is a process of self-knowing… we come to know ourselves through the things we write? Post examples of your ‘voice’ to illustrate how you use language.’

Are the paths our writing takes us down, paths to self-knowledge? Often I surprise myself when I read a poem or story I’ve written. I ponder: did I write that? Even when I think I’m in control of the pen and words, my writerly self takes its own path!

I’m an ‘inheritor as well as an originator’ and like Bell Hooks, I believe my ability and desire to write are blessings. I am the keeper of the stories of parents’ and family, in particular my mother’s. Mum spoke into a tape recorder for several hours telling ‘herstory’, and I am immensely grateful we spent time together to record the events she thought important. It’s still a painful task to listen and type. Mum’s voice triggers strong emotions; fingers freeze on the keyboard and tears flow. Complicated grief can last a long time, her death still feels raw.

Mairi-Neil-2-mum-and-mairi-300x237

A sense of ‘voice’ crucial in writing therefore I want to make sure it is Mum’s voice and not mine when I write her story. Yet, as I record extracts for a women’s memoir site in America, and life story classes here, my story is being written too. I know my voice changes depending on what I’m writing, sometimes from a conscious effort because I don’t want fictional characters to sound like me, or all the factual characters either!

Years ago, my brother George rang me after reading a story of mine in Mordialloc Writers’ third anthology, Up the Creek With a Pen. ‘Mairi, I had to read it twice it was so good. It’s very different from your other stories, I didn’t even pick you as the writer.

Up The Creek With A Pen, anthology 3, 2003
Up The Creek With A Pen, anthology 3, 2003

This ‘backhanded compliment’ made me go back and read the story again! What made it so different? The topic? The male protagonist? The language? The pacing? Another step along the road of maturity in the craft; learning to pay more attention to how the words sit on the page?

The craft of writing is what I enjoy the most; it’s my comfort zone and I know this is why I love teaching creative writing because for a few hours a week I share my passion for the English language, its nuances, its flexibility, the chance to experiment, and the fire of imagination.

I recall a student comment about family history, ‘It’s funny though, that the stories we tell the most are often the hardest to put to paper. Sometimes the best stories are the ones we are so comfortable with that they live and grow with us and so writing them is counter-productive.

As I interviewed Mum over four years, I noticed repetition in her stories, yet the telling was different. Dad, an entertaining raconteur repeated the same tales with or without embellishments. I don’t see writing them down as counter-productive, rather I consider the stories are part of our family lore, they’ve made an impression to be retained for a lifetime (in my parents’ case, 80 plus years). I want to record the memorable ones, work out why they remain important. Retain them for future generations because idiosyncratic tales make each family unique. I regret not recording Dad before Dementia robbed his memory.

Another student, an accomplished writer commented on poems I’d written, ‘I suppose I’m looking for you to take it one step further – is this the only side of Mum? What brings you to remember? and similarly, for Journey home – are you there? What’s it feel like? I want some personal insight or big picture analysis.’

For Mum
Mairi Neil
I think of you baking scones,
your floral apron streaked with flour.
Ingredients never measured,
just swirled together
by experienced hands,
used to work. And gifting love.
The soft splat of dough
against Formica,
the thump of rolling pin,
scrape of metal cutter,
and then,
the leftover scraps
patted to shape a tiny scone…
‘For you – this special one,’ you said.

The Journey Home
Mairi Neil

He squeezes past me
on the escalators
at Melbourne Central
overweight and red-faced
wheezing in time
with the clunk
of her strapless high heels
clattering like hooves
on cobblestones of old

He flings a challenge
over his shoulder
‘The train leaves in one minute!’

wheeze kerplunk clunk clunk
wheeze kerplunk clunk clunk

She puffs and pants
heels galloping
breath exploding
the momentary hesitation
as the ticket machine swallows
and reluctantly spits tickets
into waiting fingers
frantic eyes balloon
at more escalators
to be negotiated

wheeze kerplunk clunk clunk!

Mum was not just the cook, nor indeed ‘just a mum’. I’ve spent a long time (perhaps too long!) researching to ensure her time in the army, as a nurse and many other experiences BC (before children), as well as her achievements and contribution to community and church in Scotland and Australia, are recorded. The jigsaw of her life completed so people understand the big picture. We are all complicated human beings.

I wrote the poem about the scones as a special memory to read at mum’s funeral and it struck a chord with others to be published elsewhere.

‘Although I have not written in this journal for a month, storytelling has been an active and dominant part of my life during this time.’

Skywalker Payne

My writerly self understands imagination works overtime, characters and plots in abundance go unrecorded or not shared with writing buddies. Family history/tales come alive when we recount parents’ or our own lives to children and there’s an urge to record them for posterity. That’s what writers do.

Anais Nin, Katherine Mansfield and Henry Thoreau achieved much in their journals. The beneficial aspect of keeping a diary well-documented. It can be the start of poems, prose, and novels. One of my students kept a journal for 35 years before substituting it with a ‘blog’.

I often think of ‘the women writers whose work and literary presence influences me, shaping the contours of my imagination, expanding the scope of my vision.This blog could help me too.

Novels may still be unfinished, stories lacklustre, poetry mere doggerel – some days I feel everything, but a writer. The longing to write what I want instead of what seems to be needed (by deadlines, briefs, other people) exists. A deep yearning drives me to counteract the reality of creative writing as something squashed between other life commitments. To feel gladness, not just relief, when the words are on paper, will probably always be a difficult goal to achieve.

steph_dowrick_books

I’ll keep scribbling and hoping it will gel one day.

Writing Family History and Life Stories as Literary Non-Fiction

quote2.001 copy_edited-3

Rain batters the window as the white fluffy cumulus clouds, gathering and growing all day, decide to join together and release their load. A thunderclap booms and rumbles and a spectacular flash of lightning paints a jagged design across the sky. Nine-year-old Mary Jane huddles closer. ‘I’m not scared Mum, but that was loud, wasn’t it?’ She relaxes into my arms as I murmur, ’you’re safe here, darling,’ and I rest my chin lightly on her auburn head and close my eyes. An image appears of Dad lying comatose in his bed at Maroondah Hospital, Croydon.

False teeth awkwardly protrude from slack-jawed mouth; frail body shrunken and vulnerable. Only with concentration can I detect the almost imperceptible movement of his chest, and as trembling hands scrabble at the cotton bed sheet, I stop holding my breath; release an audible sigh of relief. My nose twitches at the sickly sweet smell from his dry lips and open mouth — it’s the residue of medication, not the smell of death – yet.

Several tears seep from the corners of my eyes, to lie hot and wet on winter-pale cheeks. I shake off the memory of our visit today and stare at the cluster of family photographs atop the maple entertainment unit. Maroondah Hospital, an hour’s drive, but also a world away from my comfortable reality. John’s culinary efforts fill the house with aromatic herbs and spices and in-between the rhythmic chop of vegetables, I hear the breathless tinkle of Anne’s voice, embellishing Year 7 tales.

More thunder rolls, this time far into the distance, but lightning flares again and a barrage of tiny hailstones drum a tattoo on the windowpane. A large shudder reminds me of Mary Jane’s need for reassurance and as I rub her back gently, subliminal flashes of her colicky babyhood make me smile; the nights pacing the floor to ease her pain. A surge of tenderness tightens my hold and I whisper, ‘I love you.’ My eyes ache with unshed tears as outside Mother Nature wails and weeps, reminiscent of a tempestuous night in another country… another time… a world away from Mordialloc.

Unknown-1

It’s Saturday evening at 35 Davaar Road, in 1961 Scotland. The film How Green Was My Valley broadcast on television for family viewing. The youngest siblings, Alistair (5) and Rita (2) are already in bed, but at eight-years-old, along with George (9), Iain (10) and Catriona (12), I’m allowed to stay up later than the usual 7.30pm ‘lights out’ rule of the school week.

Saturday night is ‘treat’ night. Dad has been paid on Friday and the budget allows a choice of favourite chocolate from the ‘Tali’ van coasting the neighbourhood playing Greensleeves. The mobile shop called the ‘Tali’ van and the driver referred to as ‘Tony’ regardless of his real name.

Ice-cream first introduced to Scotland by waves of Italian migrants in the early twentieth century. Most of the cafes, fish and chip shops, ice cream vans and restaurants established or owned by Italian families: Drivandi, Nardini, Capaldi, Spiteri. However, pizza and pasta have still not replaced the popular ‘fish supper’ in most Scottish homes. Italian families have lived in Greenock and surrounding districts for generations and speak with broad Scottish accents, but retain much of their Italian culture, especially Roman Catholicism.

Lyons_Maid_Ice_Cream_Van    six of us

Allowed to stay up late to watch the Saturday Night Movie on television, we munch on chocolate (Cadbury’s Flake my choice of delicacy) and sprawl on the dark green and faded gold sofa; its tired cloth worn thin from thirty years of service. Wide sofa arms make great horse rides to watch The Lone Ranger and The Cisco Kid after school and the hard horsehair stuffed cushions become formidable weapons in sibling squabbles.

This lounge suite inherited from Dad’s family home takes up most of the spacious living room, just as it did in 2 George Square, the tenement where I was born. A Radio Rental television the only new item of furniture, ‘standing out like a sore thumb’ in my Irish mother’s opinion, alongside other items from George Square: a 1900 rosewood china cabinet, a 1950s radiogram and 1930s walnut bed-cabinet, the drawers of which store spare bedclothes wrapped in tissue paper, and a home for Iain’s hamster when it makes one of its many escapes from his fireside cage.

photo_0_large   6005_10006030A_6030_IMG_01_0000

We ‘flitted’ to Davaar Road when I was three years old, a successful privately negotiated house swap with a couple who wanted to move into the centre of the town. Mum and Dad were thrilled at the move to the new estate of Corporation houses at Braeside, the result of a building boom filling the twenty-years of demand for houses, to replace the hundreds of homes lost during the Greenock Blitz. The new houses provide front and back gardens to cultivate flowers and vegetables, room for pets, a washing line with poles, and grassy playing space. Luxury!

Three large bedrooms upstairs provide room for an expanding family (ours increased by two); plus separate bathroom and toilet. Downstairs, a welcoming vestibule leads to a kitchen, dinette and living room, plus an inside coal bunker in the back lobby. A profound and welcome change from the two rooms, kitchen and bathroom shared in George Square with Dad’s father and unmarried sister, Mary. Even although we were better off than the majority of Scotland’s population living in tenement flats of either one room and kitchen houses or ‘single-ends’ (a single room with a communal toilet and bathroom at the end of the hall), the cramped conditions of George Square meant Mum and Dad couldn’t wait to move out.

The bed-cabinet, Aunt Mary’s bed for years in George Square and latterly shared with Catriona, now only used at New Year when the family came to stay to celebrate Hogmanay. The ‘hole-in-the-wall’ bed, a unique Scottish adaptation to alleviate overcrowding, not missed either. Papa slept in this bed set in the wall cavity in the kitchen, which may have contributed to his deteriorating health. Research shows it caused shocking health problems, particularly respiratory disease. Poor housing, poverty, and ill health — the struggle for men to make ‘a living-wage’— a common story in a capitalist society and borne out by statistics. Most Clydeside families watching How Green Was My Valley empathising with the characters’ lives and struggles.

papa and hole in wall bed

Despite the limitations of black and white technology, which realistically depicts the bleakness of the lives of Welsh coal miners in the years between the first and second world wars, the film reveals the magnificent grandeur of the Welsh valleys. The story unfolds of a little boy growing up in a large caring family. His father comes home covered in black dust after a physically demanding day down the coal mines. My father comes home covered in black dust after a physically demanding day shovelling coal and driving steam trains as a locomotive driver. he works hard to support our big family, which for a long time included his father and sister.

dad on engine canmore_image_sc-06-669228

The film on the BBC is free from the advertisements that irritate my parents, and for once, Mum is happy our eyes are ‘glued to the screen’. However, I’m devastated when the father dies in the film. Overcome with sadness, sitting on Dad’s lap, the privileged throne for the youngest in the room, I sob into his shoulder. Grateful for the large man’s handkerchief he extracts from his trouser pocket, I give ‘a big blow’ at his suggestion and snuggle into his strong arms trying to imagine what life would be like if he died. A memory stirs of our first year at Braeside. The sadness of Aunt Mary’s long illness and death; followed a few months later by my Papa’s stroke and death. I don’t want life to be like that and cling to Dad’s woollen pullover to anchor him to me forever.

The living room cosy from the embers of a glowing coal fire and the subdued light of a standard lamp, but a November gale rages outside, a fitting backdrop to the tragedy witnessed on the television and mirroring my mood. Mum leaves Dad to console me and heads to the kitchen to prepare a bedtime Bovril. Dad suggests a piggyback up the stairs to bed, in a ploy to stem the flow of tears. Attempts by the others to ‘jolly me up’ abandoned immediately to race ahead in noisy competition. Iain piggy-backs George with a giggling Catriona as helper-cum- boss.

Instead of taking me straight to bed, Dad pauses on the landing at the top of the stairs. He thinks I’m shuddering and scared of the thunder and pulls back the pink floral curtains from the window. ‘Look, love, don’t be frightened. You’re safe inside. The storm is moving back out to sea.’

My hazel eyes stare at the window watching our breath steam the glass. I can just see the dramatic dance being played out over the tiled rooftops of neighbouring houses and across the heather clad hills. Shredded black capes of clouds flap across the sky driving icy rain to sparkle like crystals while bouncing off roof tiles and tree branches stripped bare of leaves.

Suddenly, as if by magic the wind runs out of puff; the rain eases. Supported by Dad’s strong arms, I caress the soft smoothness of his neck with my cheek; let eyelashes gently scrape his ears and feel his hair tickle my nose. Safe and consumed with a powerful love I breathe in the familiar fresh soaped skin, hair faintly Brylcreamed; a shirt collar impregnated with his perspiration. He smells so alive that the fear of losing him recedes.

His soft voice explains that lightning causes thunder. He talks about extreme heat, expansion, shock and sound waves, reminds me to read again the book What is Weather that I won for being first in my class at Ravenscraig Primary School. However, this is not school and staring into the darkness, I see thick, menacing, black clouds hiding the moon and stars. The foggy window’s tear-streaked glass shares my sorrow. I shiver, unsure whether the shadow hovering by the street lamp is a bat. I cling to Dad’s strong back and whisper, ‘I love you Dad. Don’t ever go away.’

With a surprise twirl, I’m swung around to sit on the windowsill, cold glass pressed against my back; transfixed by Dad’s dark brown eyes as he explains, ‘every living thing has a life cycle… I have to die one day darling.’ My horrified face crumples. He tries a joke. ‘If nobody died the world would be very crowded – eight in the bed everywhere, every day.’

He’s trying humour by recalling our special Sundays as a family. Sunday, the only day he doesn’t go to Ladyburn Depot to work for British Railways. The Sabbath important: we must rest, just as God rested on the seventh day after creating the world. For years, Dad has refused the lucrative double time he could earn by working on a Sunday. He swaps shifts with others so that he can honour his commitment to God, St Ninian’s Church, and family.

On Sunday mornings, we dive into Mum and Dad’s double bed for a rough and tumble, a tickle, and games such as I Spy and my Aunt Jane Went On Holiday. When it’s time to get up to prepare for church Dad sings, ‘There’s eight in the bed and the little one said,’ and baby Rita chants ‘roll over’. Then we all sing, ‘and we all roll over and one fell out,’ and of course the first one out is Mum as our raucous fun continues.

Down the stairs Mum pads, to light the coal fire, set the porridge on the gas stove, fold our underwear into the linen press to warm against the hot water pipes, set the Formica table for breakfast and buff our leather shoes lined up at the back door. The weekly ritual to be in our Sunday best, a triumph of organisation with only one bathroom and toilet to share, yet we make the nine o’clock family service at St. Ninian’s — and are never late – despite the local Church of Scotland where Dad is an Elder and Superintendent of the Sunday School, being a good half hour walk away. Our attendance records an amazing feat of achievement only rivalled by Mum’s similar success shepherding us out the door, on school days.

Mum’s nurturing taken for granted. It’s years before we reflect on how she was able to function on only a few hours sleep, rising with Dad’s soul-destroying shifts to ‘see him out’ and staying up ‘to see him safely home,’ while coping with the demands of motherhood, housekeeping routines and all the unexpected trials and tribulations of caring for in-laws as well as our big family.

In the kitchen, Mum clatters dishes, stirs pots and feeds the toaster with a loaf of bread, while the singing continues, until Dad and Rita are the last downstairs. A joyful family tradition, but the remembering only emphasises what a loss Dad’s death will be. I sniff and stifle a sob. Dad realises his mistake and tries another tack.  ‘I won’t be alone, Mairi. I’ll be with Jesus in Heaven and your Papa and Mamie will be there too.’

Shattered, the tears flood as if someone turned on a tap. I don’t want to be left lonely and sad like the boy in the movie. I don’t want to be reminded that people you love disappear. My chest heaves with wracking sobs. I’m conscious of moonlight reflecting off George’s glasses as he peeps from behind the bedroom door he has pushed ajar to see what’s going on.

The pain of my heart beating so fast it blocks my throat makes it hard to swallow. Red eyes ache as if full of grit; I rub my face into Dad’s shoulder transferring tears and snot, but he doesn’t mind. I want to bury myself beneath the blankets of the three-quarter bed I share with Catriona; forget the film, forget the storm, forget Dad’s attempts at making me feel better. Catriona doesn’t like me on her side of the bed, but perhaps tonight she’ll let me cuddle into her back…

‘Are you okay, Mum?’ Mary Jane places a tiny hand on my chest and pats it gently. Her other hand dabs at my tears with a tissue.  ‘Are you thinking of Papa?’ Her sympathy reflects an intuitive perception beyond her years.

These last few months have seen Dad deteriorate physically and mentally. At 76 years old, he’s a comparatively young man, in a society where we are being told seventy is the new sixty. However, an inexplicable, inexorable, inexpiable struggle with dementia is faced daily and I revisit the fear and pain of that long ago night each time a piece of music, a cooking smell, a photograph, a snatch of conversation conjures vivid images as if burnt into memory with a branding iron. Memories of a strong loving dad, not the shell of a man I visit in hospital or the nursing home where he resides and where I visit my future – perhaps. None of us has a crystal ball or knows how we’ll age!

The storm eases and the grandfather clock in the hall chimes seven o’clock. ‘Yes darling, I think about Papa all the time.’

The storm is over. Mary Jane eases from my grip. She kisses me again and notes my tear-stained face with concern. ‘I’m always thinking of Papa,’ I whisper.  She wraps her nine-year-old arms around my shoulders and buries her head into my neck, squeezing as tightly as she can.

‘I love you, Mum; I’m sorry about Papa. I wish he was safe with Jesus.’ My body wilts and I unashamedly sob just as I did all those decades ago.

This slideshow requires JavaScript.

Remembering a Wonderful Life, Fleeting but Fulfilling Friendships and the Passing of Time

To live in hearts we leave behind is not to die.                   Thomas Campbell

When you are sorrowful look again in your heart, and you shall see that in truth you are weeping for that which has been your delight.

Kahlil Gibran

There is an appointed time for everything. And there is a time for every event under heaven- A time to give birth and a time to die; A time to plant and a time to uproot what is planted.                          Ecclesiastes 3:2

sun setting Mordi

The second day of the new year, bittersweet for me as I welcomed friends Tanja and Andrea visiting from Europe and farewelled another ‘European’ and former member of Mordialloc Writers’ Group at the celebration of the life of Tonie Corcoran, who died peacefully on December 29th 2014, after a long struggle with vascular dementia, a disease especially cruel to a talented wordsmith and storyteller.

Tonie's Funeral

The quotes above sum up many feelings about Tonie expressed at the celebration of  ‘A Wonderful Life’. I have my own special memories of this engaging lady who attended our writing group for several years (2003-2008) and contributed to two of our anthologies. I also knew Tonie from the Union of Australian Women, and through my friendship with her step-daughter Ann Corcoran, who was a much respected and hard working local member of federal parliament.

The family has given me permission to showcase Tonie’s two delightfully evocative pieces. In our third anthology, Up The Creek, with a pen (2003), Tonie said in her bio:

‘Although at age twelve I self-published The Illustrated Chronicle of a Raindrop’s Amazing Odyssey and sold all nine copies, I never saw myself as a writer. Yet I have left a paper trail of jottings, scribblings, thoughts and sayings, and hundreds of letters, all along the road of my life. Words move me. And save me when the going gets rough. I came to this country from another culture and another language. And also from another time. With my writing I would like to give my Australian children and their children a glimpse into that other world, which is my world and inescapably also theirs.’

Cover of third anthology 2003

Page one of Bootspage two of Boots

One of Tonie’s daughters spoke about her mother’s love of words and stories, expressing gratitude that Tonie had taken the time to join the writer’s group and record some of them. And indeed when I read Tonie’s words again I can hear her voice, picture her sitting around the table in the story circle as we workshop, the memory of a small part of her well-spent life still vivid. The flesh may disappear, but the record of a life in words and pictures remains to be appreciated by current and future generations.

Cover fifth anthologyback cover 5th anthology

page one Gnotuk Avenuepage two and three Gnotuk Avenue

Tonie grew up in Switzerland between the two world wars. She studied and worked in the capital city, Berne, but loved the Alps, where she rock climbed, tramped and skied. In 1950, she came to Australia with her first husband,  and taught languages (German and French) for many years, within the public and private system, at local secondary schools. Her fascination with words went hand-in-hand with a serious interest in Australian culture and an appreciation of the Australian landscape. She believed one could not be understood without the other.

This philosophy contributed to her being an excellent language teacher, exhorting students to immerse themselves in the culture of the language – a method that a granddaughter acknowledged enabled her to be fluent in French and a successful linguist to make her grandmother proud.

As well as leaving behind a large loving blended family and written words, Tonie also leaves an array of looms and craft items from years of spinning, weaving, knitting, and sewing. Tonie so devoted and expert in these crafts that a son reminisced how as a teenager going on one of the many family skiing holidays, he had to draw the line at knitted underpants, but every other item he wore his mother insisted on making!

Toni’s cooking talents also praised, especially cooking seasonal traditional recipes from Europe. A daughter recalled how financially difficult the early days in Australia would have been for new migrants, but not as tough as the life Tonie had experienced during the war years. ‘We had a ration of a quarter of an ounce of butter to last a month,’ Tonie chastised as her daughter put that and more on her morning toast. Any anger from the observation lost as it triggered a story of Tonie’s war years working on a farm in Switzerland, and later in the Alps with refugee French children saved from the German occupation. Stories of a life her children, born in 1950s Australia, only imagined with the magic of Tonie’s words.

Ann recalled  the happiness Tonie had given her father Bob through their 39 years of marriage and the pleasure of witnessing  Tonie’s gardening knowledge  and recognition of rare flowers and herbs – a knowledge she was modest about possessing, but dated back to years studying homeopathy in Switzerland.

A lover of classical music and the opera, the musical tributes her family chose to welcome and farewell and to accompany a slide montage of Tonie’s full and fruitful life included: Suite popular Brazileira by Villa Lobos, Suite for solo Cello no 1 in G by Johann Sebastian Bach, Piano Concerto no 5 – The Emperor by Beethoven, Handel’s Water Music and the glorious Serenade #13 in G by Mozart.

The life given us by nature is short, but the memory of a life well spent is eternal.                                                                                           Cicero

The ceremony was another reminder for us all to record our stories and leave the legacy of words we want people to remember.