Australian History

In a long and interesting life, Peter Ryan has been especially fortunate in getting to know quite a few influential Australians and some little-known but unforgettable characters. Brief Lives offers pen portraits of fifteen of them, all but one of them male. The solitary female, Ida Leeson, had the distinction of being the ‘presiding genius of the world-famous Mitchell Library’, held the rank of army major in World War II, and was perhaps regarded as an honorary male in the Directorate of Research and Civil Affairs (DORCA), a rather peculiar army unit where Ryan met her in 1944.

If the world is divided between those who celebrate their birthday in a flamboyant manner and those who don’t, then John Marsden unquestionably belongs in the first camp. At least, he did before his much-publicised fall from public grace. Marsden begins his autobiography with a detailed account of his fiftieth birthday. A full year earlier, he began mailing monthly teaser invitations to his guests. The first read, in capitals: ‘An important invitation. You have been invited to one of the most important events of 1992.’ Each month, more information dribbled out, until the day itself, when a ‘rich smattering of state cabinet ministers; Liberal, Labor and Democrat politicians; lawyers, judges, civic leaders and business heavyweights all made the sunset pilgrimage to a hillside on the edge of town along a darkened stretch of the road.’ The reader gets the message: this birthday boy was one hell of a mover and shaker, a player, a friend of the rich and powerful, and, as the Grange Hermitage flowed freely, one damn fine host; a man at the height of his powers.

An unfamiliar character from a strange land is barred from setting foot on mainland Australia. Desperate to land, he leaps from ship to shore, breaking his right leg in the process. A conservative attorney-general desperate to protect our borders, pursues this man, now on crutches, through the courts. The charismatic stranger wins his court case and holds the government up to ridicule. Shadowed unrelentingly by Canberra’s spooks, he urges Australians to look past their government’s pronouncements and discover for themselves the real dangers to world peace. Whilst history, even in Marx’s cycles of tragedy and farce, never neatly repeats itself, these duels between Egon Kisch, Czech communist, and Robert Menzies, Anglophile attorney-general, do have contemporary import. No doubt this explains why Kisch’s adventures in 1930s Australia have been told several times through film, theatre and books. In this new and enjoyable recasting of the drama, Heidi Zogbaum reminds us of the bare bones of Kisch’s Australian sojourn, focusing for the most part on his successful courtroom battles and European background. These are interspersed with detailed summaries from spies such as ‘Snuffbox’, charged with dredging up the evidence on Kisch’s European activities that led to his eventual deportation.

Those attending art history conferences over the last few years have been beguiled by the papers given to Catherin Speck, based on her research into aspects of Australian women artists and war. Each paper has detailed newly uncovered artists, works and information, and whetted the appetite for Painting Ghosts: Australian Women Artists in Wartime: not a reproduction of Speck’s previous work but fresh information, artists and images (such as Adelaide painter Marjorie Gwynne) placed into better-known depictions of war by artists such as Hilda Rix Nicholas and Nora Heysen.

Liz Conor’s accomplished history of the ‘modern appearing woman’ in 1920s Australia has much to recommend it. The archival work that it represents is fascinating and suggestive of a trove of female energy, sadness and invention. Hilarious and ambivalent stories emerge of Sydney ‘gals’ and Business Girls, of a New York flapper with traffic lights painted on her silk stockings, and of Amelia, an indigenous maidservant, who invented grunge without her mistress recognising style when it stepped up to her table in a red skirt, man’s striped shirt and big boots. These and other stories trace the vigour of young women’s determination to respond to the consumer possibilities of a spectacular new world of media images, electric light and postwar male uncertainties.

Near a little beach at Northbridge, in the heart of Sydney’s northern suburbs, the vertical rock face carries the image of a whale, about life-size, created by the original inhabitants at some indeterminate date. ‘[B]ecause of its precipitous location,’ says Gavin Souter, ‘one cannot stand far enough away to take it in all at once. Head, fins, flukes and flippers have to be viewed separately, then put together.’

One photograph in this beautifully produced book is indelible. It is Paris, 1885, and against a painted show backdrop, Billy, young Toby and his mother pose with their boomerangs and a miniature dog. The disoriented, troubled eyes of these north Queenslanders look you right in the face. The sharp-focus dog, a taxidermist’s crea­tion, paradoxically strikes a more animated stance than the living humans. This macabre depiction of people as ‘types’ led Roslyn Poignant to investigate an historical epic of dynamic performers.

Childhood is a fertile territory for writers. Almost all first-time authors hoe it, and some continue to do so for the rest of their careers. Given the chance, most people cannot resist the impulse to reminisce about the horrors and delights of being a child.

Of all the campaigns that took place in the western half of Australian New Guinea during World War II, Shaggy Ridge is among the most neglected. It does not deserve this status. There used to be a graphic, brooding diorama depicting the massiveness of the ridge in the Australian War Memorial in Canberra; unfortunately, it has been removed and replaced by other exhibits.