Showing posts with label Juvenalia. Show all posts
Showing posts with label Juvenalia. Show all posts

29 July 2011

Chocolate and moral philosophy in Stone Lane

A general guiding rule, for me, is "never go back". If the place (or person, on context) holds bad memories, why revisit them; if good memories, why risk spoiling them? It's a good rule, on the whole ...when I forget to follow it, I usually wish I hadn't. However ... I'm human and I do, sometimes, forget. So, finding myself not far from a seaside town on the south coast of England, where I spent many happy fragments of my childhood, I have allowed myself to be tempted into a wander down memory lane ... or, more accurately, Stone Lane: a long rural road running out from the town's margins into open countryside.

The seven or eight kilometres of Stone Lane held only six houses, then, all in one cluster. There are eight now; still in one cluster, several carrying the same names as half a century ago though most of them are modern rebuilds on the sites of those I remember.

This one, for instance. It bears the same name, "Stonevale Cottage", as did the house where my maternal grandfather lived ... but it's a completely different building, perhaps twenty years old at most. And that builder's merchant (part of a large national chain) behind it: that occupies the quarter hectare of what was his garden and my adventure playground.

Next door to my grandfather, on his right, lived the Goldman family. Mrs Goldman was round faced and jolly; so was her husband, though he was crippled by some degenerative illness and moved slowly, painfully on crutches. Their daughter Julie, six or seven years older than I, good naturedly took me under her wing whenever we visited. Julie didn't even disown me when Simon, her first boyfriend, with motorcycle, leathers and Teddyboy haircut, hinted strongly that three was a crowd. Mr Goldman welcomed me into his shed; I watched as, leaning on his crutches, he worked a miniature lathe to produce tiny, working steam locomotives or aeroplanes. Mrs Goldman fed me scones, home made lemonade and raspberry jam, clotted cream.

Beyond the Goldmans were Mr and Mrs Villiers. I saw Mr Villiers rarely; he worked in London, leaving early and returning late. On rare occasions when I did meet him, he was tall, balding, and seemed ill at ease with me. He would frown, hop from foot to foot, say “well... hello ... old chap ... well...”, hop some more, say “well...” a few more times, then disappear. Mrs Villiers was a different matter; though quite severely arthritic, she moved continually if slowly about her house and her half hectare of garden, chatting with me the whole time about what she was doing. The Villiers, like the Goldmans, had a daughter; unlike Julie Goldman, though, Angela Villiers was probably twenty years older than I, lived elsewhere and visited only occasionally. I probably met Angela only three or four times in my life. On one of those occasions, though, she took me into her bedroom and showed me her complete childhood collection of Biggles books - the aviation adventure stories of W E Johns. So long as I took only one at a time, took great care of it, and returned it as soon as I finished it, I could borrow them whenever I liked. Over subsequent visits, through the years, I worked my way through them all.

Beyond the Villiers were the Kitsons. I sometimes played or went swimming with their son, Simon, if he wasn't at school. Mr Kitson drove a taxi, and was rarely seen unless he offered us a lift to the swimming pool. Mrs Kitson was simply a person who smiled and waved at Simon as we disappeared to play.

There was nobody beyond the Kitsons.

Opposite the front of my grandfather's house, on the other side of the lane, was the Birds' House. The birds were not a family; this was my grandfather's name for a strip of woodland, about fifty metres wide, which stretched the length of Stone Lane. To the right, southward past the Kitsons', it extended a couple of kilometres to the Top Road which I was not allowed to cross. Northward on the left it ran about five kilometres or so until stopped by the village of Five Elms, pausing only briefly after a few hundred metres to enfold a derelict brick works which could, according to an imaginative child's need, be anything from the Alamo through the lost city of the Incas to a Mars colony.

On the other side of my grandfather's house, to the left, were the Cotters. Mr Cotter was the archetypical caricature of a countryman: weatherbeaten, all brown leathery skin and sinew, grey hair, eyes that squinted into the sun, wind and rain even when he was indoors. He was retired (from what, I don't know) but still managed to work a full seven day week as part time game warden for several local farmers, jobbing gardener, repairer of bridges, stiles, culverts, fences and dry stone walls. He too, like Julie Goldman, good naturedly allowed me to trail around after him; from him I acquired portions of a lifetime's landcraft, learned how to track wildlife, discovered how to tickle a trout, saw fox cubs in their lair. Mrs Cotter was bed ridden (again, with what I do not know); the house was home to at least twenty cats, of which a dozen or so were always to be found on or around her bed. As a child I was afraid of her illness but enjoyed her company in the small snug bedroom. Mr Cotter would bring up a tray with a pot of tea or mugs of cocoa, a barrel of biscuits or a plate piled high with thick sliced dense grained home baked bread, toasted on the open fire and topped with fresh churned butter; Mrs Cotter called him Tom, and he called her Alice, and the three of us ate and talked surrounded by cats.

And beyond the Cotters to the left, the last dwelling to disturb the timeless arboreal solitude of Stone Lane, was the house of Miss Baines.

I am ashamed to say that, for no reason that I can now identify, I didn't like Miss Baines. So far as I can remember, she was never anything but kind and friendly to me; yet I maintained my dislike over the dozen years of our visits to Stone Lane. This thoroughly unjust feeling was so strong that, when I wanted to go down the lane beyond the Cotters' front gate, I crossed over and entered the Birds' House to a depth of ten metres or so, went left through the trees for a hundred metres until out of Miss Baines' line of sight, and only then emerge onto the road again.

When I was about seven years old, Miss Baines presented me with the first moral dilemma I consciously remember having to confront. She gave me a packet of chocolate buttons.

What should I do with these chocolate buttons? Of course, I wanted to eat them. Of course, I felt distrust of them. But, beyond those selfish considerations, I also felt the prickings of conscience and guilt. Was it hypocritical (not that I knew that word; was it wrong) to eat a gift knowing that I felt so much dislike for the giver? Was it ungrateful (I knew that word) not to eat them? Was it wrong to not eat, and thereby waste, food when some people had none? On a practical note: if I didn’t eat them, what was I to do with them? The best solution seemed to be to give them to someone else, who would want to eat them; but who, in the small world of Stone Lane, would accept and eat them without asking questions and (despite my feelings, I had no wish to hurt hers) without risk of Miss Baines hearing about it?

Eventually, I went down to the bottom of my grandfather's long, sloping garden, beyond the shed, beyond the tall lines of runner beans and sweet peas, below the deep bank held up by old railway sleepers, out of view of the house and its neighbours. I burrowed deep into the thick privet hedge which separated the garden from a grazing dairy herd. There I dug a deep hole. Into the hole I counted out exactly half of the chocolate buttons, put back the displaced earth, then concealed the spot with scattered leaves and twigs. The other half of the packet I ate. Back in the house, I placed the empty wrapper in the kitchen rubbish bin.

In 1959 Miss Baines was, I estimate, somewhere in her sixties. She must, by now, be long past caring about the ungenerous spirit of a child to whom she caused no harm and tried to be friendly; but I shamefacedly apologise for it, anyway, to her memory.

26 April 2011

Eletelephony

Continuing my occasional habit of inflicting childhood poetic memories on innocent readers, here is one which I remember with particular affection. It was introduced to my class by Ian Murray, grade 6 teacher at Elizabeth Grove Primary School in 1964.

Whatever else may have been good or bad about Australian primary education at that time, the teachers I encountered at Elizabeth Grove Primary had a knack for choosing poetry which would arouse my love of the form. There is a direct line (an elephone line, perhaps) of development from poems like this (and these) in my late primary years to my later embracing of Milton's Paradise lost, Dante's Divina commedia, T S Eliot's Four quartets, Muriel Rukayser's Speed of darkness, Elizabeth Browning's Aurora Leigh, Frank Jones' Everything is like fire...

Here you go ... Laura E Richards' Eletelephony

Once there was an elephant,
Who tried to use the telephant -
No! No! I mean an elephone
Who tried to use the telephone -
(Dear me! I am not certain quite
That even now I've got it right.)
Howe'er it was, he got his trunk
Entangled in the telephunk;
The more he tried to get it free,
The louder buzzed the telephee -
(I think I'd better drop the song
Of elephop and telephong!)

It's possible that the last two lines are apocryphal. The version shown at The literature network lacks them. Other on line versions include them, or something like them, though some omit other lines. Ray Girvan would get to the bottom of it and track down the definitive version; so, if I were the respectable academic I pretend to be, would I; but my affection is for the version I remember, so let it stand.

(The spell checker has had a ball with this post, let me tell you.)

01 May 2010

Another poem

I haven't posted a landmark poem for a while. As a direct result of coincident conversations both with my two brothers and with Jim Putnam over at TTMF, here is one which enthralled me when I learned it at an Australian primary school in the early 1960s and still calls back a mythical golden childhood time.

I'm not a fan of patriotism, and don't usually go for purple pastoral, but I forgive this one on both counts for its power to call up my own good ghosts.

My Country
Dorothea MacKellar, 1904

The love of field and coppice, of green and shaded lanes,
Of ordered woods and gardens is running in your veins.
Strong love of grey-blue distance, brown streams and soft, dim skies –
I know but cannot share it, my love is otherwise.

I love a sunburnt country, a land of sweeping plains,
Of ragged mountain ranges, of droughts and flooding rains.
I love her far horizons, I love her jewel-sea,
Her beauty and her terror – the wide brown land for me!

The stark white ring-barked forests, all tragic to the moon,
The sapphire-misted mountains, the hot gold hush of noon,
Green tangle of the brushes where lithe lianas coil,
And orchids deck the tree-tops, and ferns the warm dark soil.

Core of my heart, my country! Her pitiless blue sky,
When, sick at heart, around us we see the cattle die -
But then the grey clouds gather, and we can bless again
The drumming of an army, the steady soaking rain.

Core of my heart, my country! Land of the rainbow gold,
For flood and fire and famine she pays us back threefold.
Over the thirsty paddocks, watch, after many days,
The filmy veil of greenness that thickens as we gaze.

An opal-hearted country, a wilful, lavish land –
All you who have not loved her, you will not understand –
Though earth holds many splendours, wherever I may die,
I know to what brown country my homing thoughts will fly.

29 January 2010

The return of Mulga Bill

It's been a while since I posted one of my favourite poetic moments. The appearance on Unreal nature of "The world's greatest tricycle rider" has prompted me to respond with Mulga Bill's bicycle. – like many of my comic poetic memories (Tumba-bloody-rumba, for instance), it is Australian*

Mulga Bill's bicycle
(A.B. "Banjo" Paterson)

'Twas Mulga Bill, from Eaglehawk, that caught the cycling craze;
He turned away the good old horse that served him many days;
He dressed himself in cycling clothes, resplendent to be seen;
He hurried off to town and bought a shining new machine;
And as he wheeled it through the door, with air of lordly pride,
The grinning shop assistant said, "Excuse me, can you ride?"

"See here, young man," said Mulga Bill, "from Walgett to the sea,
From Conroy's Gap to Castlereagh, there's none can ride like me.
I'm good all round at everything as everybody knows,
Although I'm not the one to talk - I hate a man that blows.
But riding is my special gift, my chiefest, sole delight;
Just ask a wild duck can it swim, a wildcat can it fight.
There's nothing clothed in hair or hide, or built of flesh or steel,
There's nothing walks or jumps, or runs, on axle, hoof, or wheel,
But what I'll sit, while hide will hold and girths and straps are tight:
I'll ride this here two-wheeled concern right straight away at sight."

'Twas Mulga Bill, from Eaglehawk, that sought his own abode,
That perched above Dead Man's Creek, beside the mountain road.
He turned the cycle down the hill and mounted for the fray,
But 'ere he'd gone a dozen yards it bolted clean away.
It left the track, and through the trees, just like a silver steak,
It whistled down the awful slope towards the Dead Man's Creek.

It shaved a stump by half an inch, it dodged a big white-box:
The very wallaroos in fright went scrambling up the rocks,
The wombats hiding in their caves dug deeper underground,
As Mulga Bill, as white as chalk, sat tight to every bound.
It struck a stone and gave a spring that cleared a fallen tree,
It raced beside a precipice as close as close could be;
And then as Mulga Bill let out one last despairing shriek
It made a leap of twenty feet into the Dean Man's Creek.

'Twas Mulga Bill, from Eaglehawk, that slowly swam ashore:
He said, "I've had some narrer shaves and lively rides before;
I've rode a wild bull round a yard to win a five-pound bet,
But this was the most awful ride that I've encountered yet.
I'll give that two-wheeled outlaw best; it's shaken all my nerve
To feel it whistle through the air and plunge and buck and swerve.
It's safe at rest in Dead Man's Creek, we'll leave it lying still;
A horse's back is good enough henceforth for Mulga Bill."


* Private autobiographical note – if my Australian national youngest brother is reading this: I first read, and laughed with, Mulga Bill while you were in antenatal care at the Lyell McEwin hospital, Elizabeth Vale, South Australia ... it therefore reminds me always, and in the best possible way, of you!

27 August 2008

The Australian adjective

Recent reference to "bloody" as an adjective, and my aunt's explanation of it, has reminded me of my promise to post verse which has been important to me, regardless of what anyone else thinks of it – a promise which I have shamefully neglected since The little furry rabbits.

This one, apart from its faint relevance to the "bloody" memory thread, has two reasons for inclusion. First, at eleven years old I found it very funny. Second, it was brought to my attention by the same aunt who explained (?) the word "bloody" to me. She visited us in Australia and, in a Gawler cafeteria, I commented to her on how pervasive the word was there. She called it "the Australian adjective", and recited this poem to me. Later, in Adelaide, she bought me a book (containing it amongst much other Australian verse) which, in retrospect, was the "hinge factor" that first turned me on to poetry. Which shows that being an offended nun does not preclude a sense of humour, nor intellectual honesty...

While I can still recite several poems from it, I no longer remember detail of the book. A search of the Australian National Library archives suggest that it was probably Mackaness' An anthology. Nor do I reliably remember how authorship of the poem was attributed; I find that it is now hotly disputed, with W T Goodge, John O'Brien and Will Carter the favourite candidates. Finally, it is variously titled "The great Australian adjective", "The integrated adjective" and "Tumba bloody rumba" - I originally posted this with my aunt's description as my own choice, but after the conversation with Poor Pothecary (in comments) have altered it.

It seems, in any case, pretty tame compared to current routine use of the "British adjective" (see my Quote of the Day for 02 June 2004, for instance).

Tumba-bloody-rumba

I was down the Riverina, knockin' 'round the towns a bit,
And occasionally resting with a schooner in me mitt,
And on one of these occasions, when the bar was pretty full
And the local blokes were arguin' assorted kind of bull,
I heard a conversation, most peculiar in its way.
It's only in Australia you would hear a joker say:

"Howya bloody been, ya drongo, haven't seen ya fer a week,
And yer mate was lookin' for ya when ya come in from the creek.
'E was lookin' up at Ryan's, and around at bloody Joe's,
And even at the Royal, where 'e bloody NEVER goes".

And the other bloke says "Seen 'im? Owed 'im half a bloody quid.
Forgot to give it back to him, but now I bloody did -
Could've used the thing me bloody self. Been off the bloody booze,
Up at Tumba-bloody-rumba shootin' kanga-bloody-roos."

Now the bar was pretty quiet, and everybody heard
The peculiar integration of this adjectival word,
But no-one there was laughing, and me - I wasn't game,
So I just sits back and lets them think I spoke the bloody same.

Then someone else was interested to know just what he got,
How many kanga-bloody-roos he went and bloody shot,
And the shooting bloke says "Things are crook -
the drought's too bloody tough.
I got forty-two by seven, and that's good e-bloody-nough."

And, as this polite rejoinder seemed to satisfy the mob,
Everyone stopped listening and got on with the job,
Which was drinkin' beer, and arguin', and talkin' of the heat,
Of boggin' in the bitumen in the middle of the street,
But as for me, I'm here to say the interesting piece of news
Was Tumba-bloody-rumba shootin' kanga bloody-roos.


  • [query?] George Mackaness, An anthology of Australian verse. 1952, Sydney: Angus and Robertson.
  • 17 June 2008

    In defense of verse or worse

    Surprisingly, and interestingly, my remembrance of Hilaire belloc's Tarantella this morning has produced a bumper postbag - most of it (not all) deprecatory. I'll let reader "LF" represent the rest (it seems unfair to name her/him, since s/he didn't ask to represent a class action target):

    "If you are going to quote a poem in full could it not be from someone of more stature than Hilaire Belloc, the doggerellist who gave us Matilda Who Told Such Dreadful Lies?"[1]

    Well, now ... where do I start?

    Let's begin here: I don't consider that a particular piece of work should be judged according to who wrote it. Whether or not you class Belloc as a "doggerellist" is irrelevant. Is Tarantella, itself, doggerell?

    I happen to think that Tarantella is a fine poem. But whether it is or not, it had a profound effect on me. What matters is not where I, or LF, or general consensus, place it on the scale from doggerel to high art - what matters is the effect it has on me. There have been many poems (as, also, many other creative artefacts) which shaped me and my life in one way or another - and Tarantella is one of them. It played its part in making me who I am, and to deny it would be the worst sort of cultural cowardice

    I am grateful to LF and the other correspondents who have thus prompted me to remember anew how important is this internal honesty. I shall, from now on, quote occasional poems which have been personal markers in the same way.

    While I am fired up about the subject, here is the first one - defiantly low art and doggerellish. I heard it when I was five, delivered with verve and visual effects by primary school teacher Mrs Walker, and (whatever you or I may think of it now) it opened my eyes to the conscious realisation of how words, rhythms, delivery can work magic.

    I don't, alas, know the author. I'll make a pale attempt to recapture Mrs Walker's delivery using text effects.

    The little furry rabbits
    Keep very very still,
    And peep at me across the grass
    As I walk up the hill.

    But if I venture nearer
    To join them at their play...
    A FLASH of white and they are gone;
    Not one of them will stay!

    So there you go, LF and others. It's not Milton, but it shaped me - and is, therefore, de facto, important. "Hier stehe ich; ich kann nicht anders"[2].


    • [1] Hilaire Belloc and Steven Kellogg, Matilda who told lies and was burned to death. 1977, London: F. Warne. 0723220530
    • [2] Martin Luther, Speech at the Diet of Worms. 18 April 1521.