Today I thought I’d discovered a lost poem of Katharine Susannah Prichard’s, a sensual, slightly shocking poem which could be one of the great scoops of my biography. It’s called “Lips of My Love,” and it was mentioned in a 1914 Australian newspaper as having being published in English Review. This is the year before she won the Hodder and Stoughton Novel Competition and met her future husband, Hugo. It’s a sensual and frank poem about sexual enthrallment from a time Katharine was, by the vague account in her autobiography, still involved with the “Preux Chevalier,” a much-older journalist with three daughters who’d romanced her in Paris in 1908 and became increasingly possessive, threatening to kill himself if she ever married. Continue reading
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The metal bust of Mary Durack used to greet me each day at the entry to the Battye Collection during my year working at the State Library of WA in 2007. I saw it again yesterday, a couple of days after finishing Brenda Niall’s True North: The Story of Elizabeth and Mary Durack (Text, 2012). Busts make the people of the past seem so distant, but one of the achievements of this biography to make the Duracks feel quite alive again for a time. Continue reading
Katharine Susannah Prichard’s third published novel, Black Opal (1921), is set in the opal mining settlement of Fallen Star Ridge. It has two significant plot strands: the Ridge’s pure, beautiful Sophie coming into womanhood and torn between three men; and the attempt of an American to buy out the individual miners and commercialise operations.
Perhaps the truer title would be Fallen Star Ridge, as the novel is focused on the opal mining community itself as an ideal. Between the publication of her first novel, The Pioneers, and this one, KSP had committed to communism, and the influence is evident. In chapter VIII of part I, the narrative stops and KSP paints a picture of the workers’ utopia the settlement represents.
Ridge miners find happiness in the sense of being free men. They are satisfied in their own minds that it is not good for a man to work all day at any mechanical toil; to use himself, or allow anyone else to use him, like a working bullock. A man must have to time to think, leisure to enjoy being alive, they say. (64-5)
To a man, Ridge miners have decided against allowing any wealthy man, or body of wealthy men forming themselves into a company, to buy up the mines, put the men on a weekly wage, and work them, as the opal blocks at Chalk Cliffs had been worked. (65)
The utopia is threatened first by missing opals (who stole from their brother?) and then an attempt by the American, John Armitage, to buy up the mines. As a kind of utopia, it is rendered convincingly, a plausible depiction of how people might have led a co-operative existence a century ago in rural Australia.
Central to the utopia is Michael, a saintly autodidact who looks after the needy in the community and quietly dispenses wisdom. I can’t help wondering if KSP imagined a similar role for herself, if she was to ever find herself living within a workers’ community; she must have often wondered how to reconcile her bookishness with her commitment to the working class. The workers of the Ridge are not the anti-intellectuals one might assume:
Ridge folk were proud of Michael’s books, and strangers who saw his miscellaneous collection – mostly of cheap editions, old school books, and shilling, sixpenny, and penny publications of literary masterpieces, poetry, and works on industrial and religious subjects – did not wonder that it impressed Ridge folk; or that Michael’s knowledge of the world and affairs was so extensive. He had tracts, leaflets, and small books on almost every subject under the sun. (9)
At the beginning of the novel, Michael makes a promise to Sophie’s dying mother that he will make sure she does not leave the safety of the Ridge for the evils of the world beyond it. Trying to keep this promise is nearly his undoing; it is to no avail – Sophie leaves, which is nearly her undoing.
Spoilers Ahead Continue reading