Showing posts with label Australia. Show all posts
Showing posts with label Australia. Show all posts

Judicial Murder in Melbourne by Katherine Webb

I recently travelled to Australia for the first time to visit my sister, who emigrated out to Melbourne earlier this year. It might have been winter over there, but it was still a wonderful trip - I'm not much of a city person, generally, but Melbourne is a lovely one. By the sea, not too big, full of character, and with far more visible history than I'd expected - from the old wooden trams in the centre to the cobbled laneways; the grand Victorian villas with their fancy ironwork balconies and the tiny miners' cottages in their compact rows.

Victorian architecture in Melbourne

I had particular, albeit sombre, fun visiting Melbourne Old Gaol. This grim place, now brilliantly set up as a tourist attraction, gives a clear reminder of how far we have come, as a society, in the last hundred years or so! It must have been a terrible place to be incarcerated. Inmates were kept in tiny cells only just long enough for them to lie down in, for twenty-three hours a day in some cases - allowed out for a single hour of exercise during which time they weren't allowed to talk to the other prisoners. Disobedience was punishable by lashing. If you'd been of sound mind when you went in, it's doubtful whether you would have been when you came out! If you came out, of course. The prisoners lived their lives in full sight of the prison gallows, where a good many met their end.

Inside the gaol, on the ground floor. There are cells to either side, and rising two floors above as well.

The gaol was built in the early nineteenth century, and the first executions there were of two native Tasmanian men in 1842. They were found guilty of the murder of two white whalers, but were essentially hanged as a deterrent to other troublesome natives. A proper cell block was built on the site by 1845, but this was soon dangerously overcrowded, since the population of Melbourne exploded from 23,000 to 90,000 after the discovery of gold in the area in 1851. A second cell block was built in 1859, and a separate women's wing in 1864.

The gaol in 1859

The gaol's most famous inmate was without doubt Ned Kelly, the bushranger folk hero who was also, indisputably, a thief and a murderer. He was the 101st person to be hanged at Melbourne gaol in November 1880, and the gaol has replicas of the iron armour he wore for his final showdown with the police - which did stop several bullets before it failed to stop the bullets that halted him. However, I also 'met' another notorious criminal there. A friend of my sister's had asked me to look in a register or log book, if one were available at the gaol, for any record of a relative of hers, recently uncovered by her mother's family history research - a man named Fred Deeming, who was apparently an inmate at one time. I agreed, not holding out much hope, so imagine my surprise when a whole story board was dedicated to the man!



I should explain that in each cell of the gaol, a story board and plaster cast death mask of a particular inmate are on display. In many cases, these provide a damning commentary on the harshness of justice and Victorian society, since many people - including women - were hanged for what boiled down to the crime of poverty and desperation. Fred Deeming's case, however, is a little different. To summarise the story board above, he came to Melbourne from the UK with his second wife, Emily, in 1891. He rented a cottage, but soon moved on. Early in 1892, the landlord noticed an awful smell, and an excavation of the hearth stone turned up Emily's decomposing body. The Melbourne authorities communicated with those in Liverpool, UK, where Deeming had lived before, and a similar excavation at his previous address turned up the bodies of his first wife and their four children, also murdered by Deeming. He was arrested in March 1892 in Western Australia, on the verge of marrying his third wife - who clearly had a lucky escape! Deeming was hanged in May 1892, in spite of a plea of insanity. Possibly not the kind of relative my sister's friend was hoping to hear about!

I mentioned above that there are original plaster cast death masks of many of the hanged inmates on display at Melbourne gaol. The Victorians did love to document death, and to look at it square on. I found these extremely poignant, and a little disturbing; not least because, having been hanged, the masks all show a terrible weal across the throat that the rope has caused. There is also, in some hard to define way, absolutely no chance of mistaking these for masks taken in life. I didn't want to put many up on here as it seemed somehow disrespectful - but in Fred Deeming's case I'll make an exception:

Fred Deeming's death mask

For anyone interested, a quick google will reveal images of Ned Kelly's death mask too. Perhaps the most fascinating case I learned about, however, was that of Colin Ross, executed in 1922 for the rape and murder of twelve year old Alma Tirtschke. For the first time in Australian history, forensic evidence was used to obtain a conviction - namely, some hairs found on a blanket of Ross's which were found by an 'expert' to match those belonging to the dead child.

Colin Ross, shortly before his execution


Alma Tirtschke
















The little girl's body was left dumped in a cobbled back street called Gun Alley, near a covered arcade of dubious repute where Ross and his brother kept a bar. Under intense public pressure to make an arrest, the police soon lit upon Ross as a suspect, and, in the commanding officer's own words, then looked for ways to prove his guilt, rather than his innocence. Crucially, the press went into a frenzy over the case, and printed all kinds of uncorroborated stories and 'evidence'. Enough people with an axe to grind against Ross were willing to testify having seen him talking to Alma, and even to her having been drinking in his bar all afternoon - which her family strenuously denied.

Hounded to trial by the police, and then faced with a jury of his 'peers' who had, for weeks, been fed a stream of damning, sensationalist stories about the case, Ross stood little chance. The forensic evidence of the hairs found on a blanket from his bar was the final nail in his coffin. He was hanged, still protesting his innocence, in the spring of 1922. As a final cruelty the hanging was bungled, and Ross's death was by no means painless or instantaneous.

The gallows in Melbourne Old Gaol, a simple affair with a trapdoor dropping through the middle floor of the prison, where Colin Ross, Ned Kelly, and many others, met their end.

How utterly tragic that the first use of forensic evidence, now so indispensable to judicial process, should have formed part of such a terrible miscarriage of justice. Following extensive research begun in 1995 by journalist Kevin Morgan, Colin Ross has become the first man in Australian history to be pardoned after judicial execution. Ross may have been a bit of a ne'er do well, a bit of a chancer, but he was certainly no child murderer. The hairs on his blanket were not Alma's. The testimony of the witnesses who spoke against him is inconsistent and riddled with flaws; one witness was almost certainly induced by the police to recite a 'confession' Ross supposedly made to him whilst on remand. Colin Ross was tried by public opinion, an over-heated press and a police force so convinced they had their man that it blinded them. And whoever did rape and kill Alma Tirtschke was never brought to justice for the crime.




I wholeheartedly recommend Kevin Morgan's book, which I bought having read about the case during my visit to Melbourne Old Gaol, whether you're interested in true crime or not. It's a meticulous, unputdownable reconstruction of the case which points, ultimately, chillingly, to the identity of the real killer. Far too late for the purposes of justice, of course, and far too late for poor Colin Ross and his family. I've always supposed this to be the crux of the argument about capital punishment: Which is the worst injustice: to let a guilty man live, and perhaps walk free, or to take the life of an innocent one? Because sooner or later, one or the other is bound to happen - however sound we believe the evidence to be. Personally, I think hanging an innocent man is by far the worse of those two options.

The Historical Novel Society of Australasia: its first convention - Gillian Polack



I attended the first Australasian Historical Fiction conference in March. I know some of you would be very interested in a detailed report, full of life and colour. I meant to write that report, but when I looked at my notes I realised that it was such a very good conference that if I were to write up a proper detailed summary, even from my notes (which are scatty, for I was very much engaged with conference happenings) I would be writing 5,000 words. I don’t want to work through the programme and give you elegant highlights, either. What do I do, then? I give you a quirky report, with pictures.

Let me start with Kate Forsyth, the patron of the HNSA. My notes were riddled with quotable quotes by her. My notes would be more riddled if she had not given us a bedtime story about the history of the king and the oak tree, during the conference dinner. We were so busy participating that I quite forgot to record any of it. There's just one that's so important, I have to share it: thanks to historical fiction, she said, she’s never been without a book she wants to read, there’s always something to look forward to. She can always find the stories she wants. I’ve seen the piles of books that attendees bought at the stall (my Langue[dot]doc 1305 was there, among the timeslips and the historical romances) so Kate’s words have become, for me, the theme of the conference. There was so much advanced learning for writers going on, and so much sharing of stories and experience: it was an amazing event. 



Kate Forsyth welcoming conventioneers to the conference (Balmain Town Hall).





This focus was thanks to the committee. They did such a wonderful job that  when Colin Falconer gave his keynote address, he looked at us and explained how important HNSA was going to be to our region, to the world of fiction. He said we would say “I was there, at the first one.” 

This would have been immensely more reassuring if he hadn’t soon after said “I have nothing against ripping bodies: I think it’s a fine pursuit.” He was discussing the cultural importance of historical fiction as a genre, but a few of us took it out of context, on purpose. We didn’t take his deeper statements out of context, however. The focus of his speech was on how historical fiction can help us understand, rethink and question our myths. It made me think that in Australia so many of those questions come from newer migrants and from Indigenous Australian writers. Patrick White and Alexis Wright offer question and reinterpretations that change our realities. Colin didn’t talk about this aspect, but for me it’s very important. Current Australian politics are partly what they are to reduce dissident voices and diminish the questioning of myth.


Colin Falconer giving his keynote address at the HNSA conference




I was part of the great debate, which was itself part of the opening events (alongside an address by Sophie Masson and the launch of Felicity Pulman’s new novel).

Sophie Masson giving the opening keynote address at the State Library of NSW, Sydney.


We were supposed to tear out each throats and create blood on the floor. Historians and fiction writers, after all, are dangerous beings and see the world so differently. 

Except we didn’t. We came to amicable agreements and told jokes about pus. I am not guilty of the pus jokes, let it be known, though I did point to a certain scene in a Gabaldon novel (a long scene, with breast milk) as my contribution towards the use of the mundane in historical fiction.

We talked about how changes in historiography make it easier for us to engage in polite discourse. In other words, if we all realise what modern historiography is about, then historians and historical fiction writers find we’re on the same page, just telling different stories and telling stories in different ways. The trick is, of course, understanding each others’ work, seeing that words like ‘research’ have a range of meanings, and understanding that a narrative can have an index and footnotes and careful definitions of a subject and still narrate. I’m afraid I made the obvious joke that even my first novel had footnotes (for I was there as the historian more than the writer) and yes, the audience laughed. It was a nice audience.



Books on sale at the HNSA conference



Jane Caro on a panel devoted to the Tudors  said what I’ve heard quite a few Tudor writers say “I think that when I was a young girl I was looking for a Tudor hero.” Wendy Dunn underlined this a little while later when she explained “I can’t write something that I can’t believe of my characters.” Elizabeth I became Jane’s hero because she never married and never had to share her power, while Anne Boleyn became Wendy’s. Jane is always political and so it wasn’t at all surprising when she said, very soon after, “Tony Abbott can’t be misogynist because he has three daughters; well, Henry VIII had six wives.”

On another panel Linda Funnel, Sulari Gentill and Peter Corris talked about magic time. Gentill remembered lying on her back in a lawn. It was a hot Australian summer and she lay there, looking at the stars while her father told her stories. This encouraged her to take up astrophysics at university, but she left it behind because the lectures were “turning my beautiful constellations into balls of gas.” For her, as for most writers, story is at the centre of things and history is “the scaffolding on which my story is built.” The panel talked about this and agreed that one of the joys of historical fiction writing for some writers was to finding the gaps in history and filling them with story.

It’s all about the story, isn’t it?

Women, history and historical fiction, for today I am News Central - Gillian Polack



My post this month is about events, for I am surrounded by them right now. I want to talk about just two of them here: the first is Women’s History Month for 2015, which started today, and the second is the first ever Historical Novel Society Conference Downunder in three weeks.

I’ve been involved in Australia’s Women’s History Month celebrations since before Australia had any. I was one of the very small number of women targeted by Helen Leonard in 1999. She said “We need a Women’s History Month. Let’s make it March so that we can get the benefit of America’s Women’s History Month.” And so we decided it would be so, over coffee. When people ask, I can still show them the location of the rather small coffee table, at a café in Canberra.

Last year I handed all my papers to Lulu Respall-Turner (another of the founders) and the year before gave the electronic files to the Women’s History Month committee. So that’s it from me. Except it isn’t, because every year I throw a small shindig on my blog.

This year I will have a group of women writers who are talking about things that are quite personal.
It struck me that we (women) have fewer hero narratives than men. We not often the centre of narratives. So this year, throughout March, a group of living women are at the centre of narratives, often their own. If March weren’t so short, there would be more of these stories by women writers about themselves or people close to them: I ran out of days and had to stop asking writers I wanted to hear from. I strongly suspect I need a full year with this subject, and that even then I’d only scratch the surface.

I didn’t tell any of the writers “I want your hero stories” – but women being women, that is what I’m getting. There's an astonishing amount of hero-story in everyday problems (Campbell described heroes from the wrong direction, I suspect). The first post has already gone up, and is Wendy Orr talking about breaking her neck. One of Australia’s most successful fiction writers emerged into public awareness about the same time as she was crippled, she was told, for life. 

The posts will be at both my writerly blog and on LiveJournal throughout March. You can find Wendy’s story here and here.

One of the Women's History Month launches, from the early days. Carmen Lawrence launching in the Speaker's garden at Parliament House, Canberra. Photograph: Gillian Polack (of course).


And now, for the Historical Novel Society. I first encountered it more years ago than I can think of. It was members of the HNS who brought me into the historical fiction fold by saying “Yes, we know you don’t write historical fiction, it, but you can advise those of us who do.” 

This is the first time the HNS has run a conference in Australasia. It's in Sydney in just a few weeks. The first evening is at the State Library, which is a building I always have time for. I’m hoping this conference will be the first of many and that its Australian chapter will be as vigorous as those elsewhere.

The conference brings together those of us from all corners of history-in-fiction, including fantasy and, of course, the Middle Ages. Felicity Pulman is launching three books there (or rather, I am launching them for her, a fact that intimidates me), there will be super-sessions for writers, and the program is just amazing. So many of Australia’s best writers, and they all love history! You can find more about it from the HNS website.


Note: This post is shorter than usual because I’m full of books. One coming out now (my new novel) and one in June (history!) and it’s peak teaching period and even finding time to breath feels difficult. Next month I’ll write something extra-juicy to make up. In the meantime, have a nice picture of a medieval mikvah in Montpellier (I took this in 2011). And no, I have no idea why I have an alliterative tendency today. No doubt I'll recover from it eventually.