Had an epic conversation about Katharine Prichard with Riley Buchanan on Radio Fremantle yesterday. (May never again encounter such an astute, well-prepared interviewer!) You can listen here until Friday; talking starts at 14 min: http://188.8.131.52:8001/shows_this_week/fri-11_00.mp3
I started my Katharine Susannah Prichard biography four years ago. Measuring progress by her life (1883 to 1969), this time last year, I was in 1919, just finishing part one; I’m now in 1933 – the most important one of her life – near the end of part two of the book. Continue reading
Saturday 10am #4
I’ve decided to write a conventional biography for my first one, ‘cradle to grave’ as it’s called. Because of that, I feel the need to start with an introduction that grips readers and gives them a taste of Katharine’s life, why it matters, and some of what lies ahead in the narrative. Perhaps this is misguided; I just picked up Jill Roe’s Stella Miles Franklin: A Biography off my shelf and she starts in 1879 with Franklin’s birth. Yet as acclaimed as Roe’s biography has been, it didn’t grip me. And Miles Franklin has a name recognition today which Katharine doesn’t have. Continue reading
This month I’m writing the circus chapter of my Katharine Susannah Prichard biography, chapter 24 in the current structure. It’s focused on the writing and reception of her novel Haxby’s Circus (1930). The novel was written at the end of her five year creative peak from 1924 to 1929 and is usually regarded as one of her better novels but less accomplished than the other two novels of this period, Working Bullocks (1926) and Coonardoo (1929). Whatever its flaws it’s an engaging and moving novel. I reviewed it in July 2014, writing that it ‘has the most powerful scenes I’ve yet encountered in KSP’s work, scenes of beauty, darkness and insight’. More recently, Lisa has reviewed it on ANZ Litlovers.
It’s a pity that the edition reprinted several times has always been the British one. The American edition, Fay’s Circus (Katharine’s original title) – published a year later – contains an extra section of 9700 words which scholar Carol Hetherington believes resolves the structural flaw late in the novel. Katharine was writing for a competition deadline and her sick child meant she didn’t write this section as planned in the first version. (Carol Hetherington, ‘Authors, Editors, Publishers: Katharine Susannah Prichard and W.W. Norton’, Australian Literary Studies 22, no. 4 (October 2006): 417–31.) Continue reading
Cataloguing a biography of Charles Spurgeon in my librarian job, I noticed this convolutedly-worded confession in the preface. The book is a comprehensive biography of 700 pages in two columns (such a strange layout) described by one reviewer as an ‘immense and monumental portrait’, yet the author did not manage to get to the major archives for his subject at all. I take this as a consolation for my lack of recent access to Katharine’s papers in Canberra; yet it seems an unforgivable hole in a biography.
In the first two years, I made four trips to Canberra and two to Melbourne. But still I fret over the archives, over the fact I may not make it again anytime soon and the thought of all the things I’ve missed. (I didn’t copy as much of the material beyond 1919, where the project was initially finishing.)
Not being able to get to Canberra has made me find work arounds. My university library has procured me copies of papers I have location numbers for. (I am waiting anxiously for them to tell me I’ve asked for too many!) Right here in Perth I recently stumbled across the boxes of material gathered by a previous PhD student attempting a biography of Katharine Susannah Prichard. It had some significant material I’d not copied and I’m so grateful for her foresight and generosity in leaving them to future scholars. I’ve gone back more carefully over the photographs I took from the archive and found whole folders I didn’t realise I had. And I’ve reached the Western Australian years and found many things at the State Library of WA, even an eyewitness account of Katharine’s death.
I’ve learned about an important paradox in writing a biography anyway: the hunger for archives is in tension with the readers’ patience. The biographer will usually have more material than the reader wants to read.
‘Just one thing to make clear,’ she said, ‘I’d be astonished if any agent or publisher thought it was a good idea to write a trilogy on Katharine Susannah Prichard.’
I was hoping for something more like: I would be astonished if any agent or publisher turned down this manuscript. But I hired my editor for a manuscript assessment because of her frank and fearless advice and industry insight. I was glad to hear she considered it well written, but what stood out for her was my premise that the early life of KSP was worth an entire book. Did I provide some startling justification for this later in the manuscript? Did I have a better example of a similar undertaking other than Judith Wright? No and no. Continue reading
I’d put everything on this competition, worked furiously for nine months to have a manuscript ready for its closing. This was the right publisher, the perfect opportunity. The shortlist came mercifully early – 6am, just as I woke – but I wasn’t on it. I wasn’t as devastated as last year’s big attempt. Suck it up, this is the way of the world now. Continue reading
I’ve been writing about Hugo Throssell’s infamous speech at Northam in July 1919 so I needed to visit the town. Newly married to Katharine Susannah Prichard, Hugo, a Victoria Cross winner, returned to his hometown as the guest of honour for the local celebration of the signing of the Treaty of Versailles. After the afternoon parade, he was one of five speakers in the evening and 1200 people witnessed him announce that the war had turned him into a socialist. There would keep being wars, he said, until we stopped people profiting from them.
I took my two-year-old son, Thomas. There were lots of diggers, buses, and trucks along the way to keep him interested until he suddenly fell asleep, just as I was going to call into the Greenmount Liquor Store on the way to talk about what I’d unearthed of the history of their shop. (It’s the last remnant of the Wandu Estate, where Katharine and Hugo first lived in WA.) So we kept driving without a stop, an hour and a half east of the city and into the Wheatbelt.
I’ve only visited Northam twice before but it’s familiar, reminding me of the town I grew up in, Collie. I stumbled on the Hugo Throssell statue and memorial before I even had my phone out to look for the Avon Street Mall, an unfinished space in the centre of town. It was hard to imagine 1200 people crowding in. The platform Hugo spoke from was meant to be outside the Fitzgerald Hotel, formerly Tattersall’s. The historical bin on the street gave a spiel on it, but the hotel was nowhere to be seen. Then I realised it’d been demolished a few years ago; the patch of green grass marked its spot. The statue was striking, oversized as statues need to be to have gravitas. It’s not a great likeness, but the ambiguous look of distress and determination on his face is appropriate for a veteran who was to suffer so much. He’s clutching his Victoria Cross. I’m glad the statue stands on the site he gave his speech; it means owning a difficult history.
It was an overcast day and as I walked Thomas up the hill from the statue occasional drops of rain came down in the moderate heat. I was amazed by several mansions along the way; I learned soon after that part of Northam was nicknamed ‘Nob Hill’. We came to the school built around the old Throssell mansion, Fermoy. Thomas was complaining by then and the rain seemed to be threatening heavier, and so being a less intrepid biographer than I should be, I took a photo from a distance which would not upset the security guard and turned around. I imagined Hugo taking Katharine up the hill and pointing out where he grew up; in 1919 it had been a hospital for a few years.
Near where I parked the car was a sun-faded train fort. This, for a toddler whose patience was at an end, was the highlight of Northam.
I sent my manuscript off two weeks ago. The publisher I think would be best for my biography now runs an annual competition for an unpublished manuscript, so it seemed a perfect goal. I’m catching my breath after eight intense months in which I wrote half of the book. (The first half took more than two years.) Continue reading