Tuesday, 21 June 2011

short story- a most remarkable young woman






artwork by Ruby Tuesday

In a small white cottage in Launceston Tasmania, a woman called Mary Henry conducted a nursing home for birthing mothers. Business was a little slack as the Second World War has taken most of the available sperm bank away to fight on the beaches and to be human fodder for the superior young blue bloods of the British army.
A small woman in her forties was expecting her-third child. She had some difficulty in facing reality - let alone the reality of childbirth pain. A new wonder drug called 'twilight zone' gave her several dreamy days of non-reality in which the pain was separate from her body. Mary Henry was particularly kind during this time. On the Thursday the small woman gave birth to a surprisingly healthy female child who was remarkably alert and vigorous. She was named after the kind woman 'who had brought her into the world'.
Within six months the child could fetch toys and other interesting objects from hidden places and defy order. It has been said that by this age she could flirt with any male within cooee and win their hearts. Her elderly parents employed a woman to take care of her and to manage the child's ferocious questioning and demands.
This child has some very early memories that are not supported by photographs or family memorabilia. The very first memories are of nightmares that crashed around the small head during sleep. She would stand, hanging onto her father's legs as he listened via short wave radio to the war reports. These reports were broadcast from England and would be very late at night. No one seemed to be aware of the lateness or impact on a small head filled with abstract thought.
The only visual stimulus to guide these thoughts were the Red Cross posters requesting support for war victims, one larger than life poster with two children clutching each other, one with crutches and a missing leg. The Government also pasted posters in public places inviting all able-bodied men to fight for the king and country.
Brave and blond is how she remembers them. Tall and tanned and proud in their new khaki uniforms. Proud to be Australian. They would lean out of the railway carriage as they left the local railway station, waving to mothers,wives and sweethearts who were crying. And the rest of the town would be singing wish me luck as you wave me goodbye without realising that the words needed meaning.
All through the nights the child would thrash against the dreams of German soldiers firing at her bed from a net hammock that stretched right across the bedroom ceiling.The bedroom was large, with high ceilings and a large box bay window with smaller lead-light windows at the top that stayed open all night. As the shotgun pellets hit the thin grey blankets small holes began to smoulder, threatening the child with fire. The night screaming continued for years. And fear of the dark, of sleep, of men, of the war, of being alone, stayed with the child for a long, long time.
From the high white bed, with horsehair mattresses to improve posture and prevent asthma attacks, she slipped her feet to the floor. Tiptoe, tiptoe, heart pounding, she would finally reach the bedroom door that led to the hallways in the large spreading house. The cold brass door knob sometimes defeated her and she would race back to bed, to shiver until the first stirrings of the house meant her father was awake.
Sometimes the fear was black inside her. She would wrench the door open and race across the miles of polished tiles, through the large wooden arch of the entrance hall to crash against the large warm comfortable bed of her parents. The voice had to be found as it often got lost in the fear inside her body and come out in short and silent gasps. She would ask in a whisper for a glass of water. On rare occasions her father would get out of his comfort and pour a glass of water from the squat yellow jug beside his bed, then take her back to her bed. When her voice could not be found she struggled back across the tiles to shiver in the cold white bed until the first grey light.
When the house began to stir she climbed down and followed her father as he set the fire in the range and then prepared the traditional pot of Scottish porridge for breakfast. She can remember the loud farts that hit the cold stillness and wondered at grown ups capacity to defy good manners. The mother had a habit of hiding behind good manners. Proper names for things were hidden in words like 'poofters' and 'what nots' and ‘pottygens’. These got the child into many difficulties. When she went to kindergarten she discovered that ‘whatnots’ were actually called 'your privates' and 'breaking wind' was something rude. Flying down the lane, flailing her arms against a stiff easterly sea breeze. Was that breaking wind? The child asked the woman who looked after her.
One childhood dream was calm and beautiful. Living under the sea with fluid movement and fluid colour. A dream that went on forever. The vision is quite clear to her more than fifty years later.
When she was just two she had an ongoing argument with the woman who cared for her about using the potty. In the days of lavatories down the garden, or at least down at the end of the back verandah, potties were not used just to toilet train children. Everyone but everyone had a chamber pot under the bed for nighttime relief. Ladies and gentlemen had beautiful china ones with delicate blooms painted across the curves. Children had white china ones and poor people used enamel ones or buckets. In the days before plastics. Squatting on these required the expertise of the acrobat, which is why some people had commodes. Chairs with a chamber pot under the seat. When Granny made the sign you slid her knickers round her knees, lifted the lid and sat her back down. The child had a cold white china pot under the cold white bed. The father sat the sleepy child on the pot and went sssssssss each night until he was satisfied. Dry beds by two was arbitrary. This was the way they did things in 1943.
After breakfast in 1943 children across Australia were sat on their potties while they listened to kindergarten of the air. This is what the argument was about. The lavatory at the large spreading house was down the garden path behind a rambling fuchsia and honeysuckle vine. It had a warm wooden seat and the timber walls were always freshly limed. The cat called Ginger rubbed his scents around the door hinges. Toilet paper during the war came in two varieties – huge loose rolls of white crinkled paper or small tight rolls of shiny brown paper.
In the kitchen the woman who cared for the child would turn on the wireless to kindergarten of the air, place the small china pot on the kitchen floor and the child would go rigid and scream. Finally the father intervened after a number of days and a small blue stool was made for the lavatory down the garden and the child could go when she pleased, even in the dark with her brother holding the candle. Less pleased was the woman in charge of the child.
A similar scene in another place. The child was three and very early one winter morning the family trailed up the empty dark streets of the town to the deserted railway station with suitcases balanced on the pram holding the latest baby. The train left the station at 6 30 am and reached the city where the aunt lived in the late afternoon. The large sunroom of the aunt's house filled with family and relatives and suitcases and crying children.
The aunt who loved children produced the bright enamel pot. The weary child was scruffed by the aunt and unceremoniously placed on the potty. Rigid with indignation and screaming in front of the family, relatives and the ancient grandmother.. And a brother who sniggered.
Other holidays followed with the aunt. And her dotty sister who lived down the yard in the converted garage. Dancing with the dotty aunt in the millions of pink petals falling from the huge flowering cherry tree. Playing my latest tune on the piano. A blue ceramic Vegemite jar that she scraped the Vegemite into for years because no one else I knew had a blue vegie jar. The smell of toast in an electric toaster at breakfast time. The small ancient grandmother in the side bedroom who smelt of cups of tea and talcum powder and the rattle of her cup in its saucer when she brought it out to the kitchen after breakfast.
On sunny days the father took the child for long walks down the' zigzag', a sandy track along the river. In the summer they hunted for ripe cranberries and blackberries which they ate and did not take home. When they extended the aerodrome during the war she lay on her back in the soft warm grass and copied her first letters onto paper, the letters that were printed large and black on the underwings of the landing planes. Letters that did not make words or sentences.
Measles spread all over her body the spring she was nearly four and after days of barley water and darkened rooms she was placed in a chair on the verandah in the weak sunshine for fresh air. Shock ran through her body when her legs failed to support her and she staggered and collapsed into darkness. And the woman who cared for her growling and putting her back in the darkened room to 'learn your lesson'.
The child was three. Was this was the first lesson?
The day the small Japanese plane flew across the sky fear threatened to burst the small bony chest of the child. When the child was four and a half the war ended. The war to end all wars. The end of the black out curtains. Underground shelters became favourite play houses or wine cellars.
The day the war ended all the bells rang and rang and rang. The bells in the Catholic Church at the top of the town competed with the bells in the Church of England tower at the bottom of the town. People lined the main street as the councillors handed out small silk English flags and brown paper bags of hard brown sweets. A bonfire was built up near the railway station and the hugeness and heat of the flames and the colours and noise of the fireworks burnt pictures in the child's small complicated head.
Peace meant a lot of things. It meant more sunshine and mothers who embroidered and arranged flowers and fathers who dashed off each evening to important peace meetings.It meant that the young men who returned alive from the war were barbaric. It meant their cat ran away because they were cruel to it. It was also afternoon teas with ladies, cucumber sandwiches, ration books and a new voile dress with a wide butterfly bow. A general easing of the worry.
The other children in the lane built a raft with stolen wood from the fish factory. The grown ups turned a blind eye. It was lashed together and drums were attached to make it float. The launching was quite exciting as they pushed it out into the broad bend of the creek by the hospital. The child was four and determined to be included. The overcrowded raft sank midstream midst laughter and the child panicked against the quick current. Struggling with fear to the muddy banks, finding her feet. Struggling back to the house to seek comfort.
The summer of 1946 the local newspaper conducted swimming lessons for children on the river. The children went down to the wharves and an old fisherman rowed them across to the bank where there was shallow water. The child had just recovered from chicken pox, scars still healing, but armed with a signed piece of paper turned up with the other children. The grown ups heaved and sighed but let her swim in the shallows. Come testing day the child tugged and teased the legs of the grown ups who were standing in the river with tapes between them to measure how far children could swim.
Finally one grown up let the child try and swim between the tapes. Twenty-five yards. The child dog paddled every inch and the distracted adults were disbelieving when the child panting and weak demanded recognition. On the day they handed out certificates the child got hers last, the youngest child in the campaign, the biggest pest.
The printed article about the child and the swimming campaign in the local newspaper became more important than the time before Christmas when she had her poem printed in the paper, a poem about the baby Jesus.The mother had sent it to the Editor. She was sent a book prize for the poem signed by an important lady. The prize was, called "Little Words from God', small moral verses" with a beautiful red cord through the binder.
This was the summer she started school, a bit early some of the father's friends thought. On the very first day she was excited and took her notebook that she wrote in, her sharpened pencils and a ruler and rubber that she got for Christmas. All in a little brown leather case.
The teacher had written all the letters of the alphabet on the blackboard, in perfect copperplate. 
When the children were told to write down the letters the child printed her story that went on and on and on until the teacher came to see what was happening. Seeing the rubber the teacher snatched up the ruler and said no rubbers allowed in class and to teach a lesson she hit the child on the hands with the ruler - smack, smack. 
The child's father had to be summoned from his work in the Council Chambers. The teacher picked her up and tried to comfort her but all the child could do was to sob more loudly and watch her green snot drip down the back of the teacher's black cardigan.
The father told the teacher that the child was remarkable. And he told the child that she was a most remarkable young woman. So the child went to work with the father on most days to keep her out of her mother’s hair, and later on that year and for many years afterwards went to the school when she felt like it.

short story - a long line of women with a flick fringe



















I'm not much good in crowds any more. Probably never was. And yet some very significant things have happened to me in the middle of a crowd. That indefinite stretch. Of bodies. Of faces. Of voices going on and on. Forever. Merging into the muted them.

The grey they. The aunts. The nuns. The nurses. The mothers outside the school gates. The women at the rally. And Aunt Maud.

Aunt Maud was turn of the century - an original k.d. An Idgy Threadgoode of Fried Green Tomato fame. Outside the crowd.

From the time she was sixteen Maud wore trousers and boots. Men's boots. Had her hair cut by the local barber with a flick fringe. Bossed us all around, even my mother. Her one slip was the child to her sister's husband when he came back from the war. Helping on the farm in the absence of young hired help. Her sister died leaving Maud with the farm and the kids to look after. And a child and a man she never wanted.

You don't often meet a k.d. She was so special she was scary to me as a kid. Sometimes she visited the city and one day had to meet me outside the school gates. Wear a red ribbon she said. I don't wear ribbons I replied. I need you to wear a ribbon so I can pick you out. With all those school uniforms you all look the same. Just a big crowd of girls.

Aunt Maud was Father's second cousin once removed. She didn't have much to do with Father's sisters. hey tended to ignore her existence. Even Nessa who looked like Maud.

I looked for another k.d. over the years but they were in short supply. Great groups of girls. Groups of young women. Groups of feminists. Post modern feminists. And aunts on mass. Daughters and sisters and the C.W.A. Peace makers and conservationists. Mothers and sisters and friends and lovers. Grand daughters and their Mas. Holding society together.

I first met Sal at a party. In a crowd. A crowd of women and a couple of men. She flicked her fringe at me. Hello pussy cat she said. Big pussy cat. I started rattling on about politics. And women. And the great divide. I made no sense. I moved behind a curtain of women and when she moved closer I left by a garden door and got lost finding my way home.

I thought about her on and off. She was a bit like Aunt Maud. And a bit like my sister Maggie. It was the flick of her fringe over short short hair. The eyes that traced me. And my body. She just reached my shoulder like Nessa. And Maud and Maggie. She would not fit into the parade. Kept jumping out like a Jill in a box. In my head I kept saying to myself. In my head.

The next time I found Sal I was on the edge of a rally. A rally of women fighting for the rights of someone or something. The rally moved and merged. Sound and sight waving around the park. A few kids and straggly men on the edge.

And there was Sal. Singing to me. Like Maud. Like Maggie. The daily songs by letter, by phone, by fax. By thought. Closer and closer now. Like Virginia and Vanessa. And k.d. and Jo-anne. Singing what's new pussy cat. But I had never heard of k.d.

Never heard of k.d. she sang at me? Looking at me through her flick of a fringe. I'll take you to her concert tonight. It's on SBS she said.

After the concert she talked of her childhood. Growing up with foster parents. Not knowing- her biological roots.

Down the river at Patches Bay. Going to the church on Sunday. Being forced out of trousers into a dress. Like Maud I said. And Maggie.

And your other aunt she said.

I looked at her again. Yes she said. I remember you staying with your Aunt Nessa when I was a little girl. And you were tall with long blonde plaits and played the piano. And I took my Granny for a walk I said. I can't remember your Granny but I can remember Nessa and Miss Turnbull she told me.

Miss Turnbull lived over the back of Nessa's place. I can remember Auntie Ruby, soft and warm and pretty, ignoring Miss Turnbull. Ruby lived in the cottage out the back of Nessa's under a magnificent flowering peach. In September the dark tiles of her cottage and the paths around it were covered in pink polka dots. Softly. Softly. In the school holidays when I went to stay.

Everyone talked about them Sal said. I looked at her. She was an original k.d. your Aunt Nessa. Yes I said. I can remember. My father and mother taking her into the city and buying her a dress. For church. And she wore it for years. But only on Sunday we both agreed.

As for Miss Turnbull. She always wore gumboots and overalls and a big floral pinny. Brought buckets of plums that she dumped over the back fence in the summer holidays. And looked after her mother. Who sighed and lay in bed. And visited Nessa after dark Sal said.

You look like Nessa I said. And Maggie. And Maud.

And k.d. Lang said Sal. I'm just a long line of women with a flick fringe.



Monday, 20 June 2011

artworks - the mad and the different


self portraits talkback show   41x30cm



judith - portraits reflection   41x30cm



silent self portraits 2011 56x56cm



free fall thursday 51x36cm




searching for surfaces 36x36cm




swimming against the tide 36x36cm




self portrait midnight arcade  61x51cm



in the midnight garden of good and evil  61x46cm




chinese whispers  75x53cm



i must go down to the sea again and again  80x56cm




my sister's silent birds 65x53cm




red boots past midnight  80x56cm




midnight in gordon lane 76x56cm



lay me down softly when i die 80x56cm

artworks - the mad and the bad


breathing stale air 41x30cm




too tired to walk towards you 38x31




left step henry 41x30cm



the  walk shuffle  46x36cm



forbidden friend  38x32cm



sheltered afternoons for alistair 31x31cm



look i am flying he said  31x31cm


in sane arcade of mirrors  54x37cm


miss johnson never stops talking 56x36cm 


daily exercise hoho humhum 56x36cm

Sunday, 19 June 2011

artworks - the bad and the different


cocaine going round in my brain 76x56cm




in my father's house 2 90x60cm




inside the morning  46x36cm


judgement by proxy  76x56cm



afternoon surrender  31x31cm




midnight queens flinders lane  59x39cm





cynthia pell lived in a garbage bin 76x51cm



solo stairway to eden 76x61



fly away peter fly away paul 92x55



midnight alarm 76x51cm



 silent conversations 76x51cm

Friday, 17 June 2011

about the artist



                                                              outside looking in



About the artist


Mary Buchanan Bailey is one of the few serious social commentary arts workers in Tasmania. Since the 1980s she has been exhibiting highly individualised art works and short stories on women, individuals and groups marginalised by society.

Her ceramics and artworks have been shown in numerous group and joint shows, seven solo exhibitions and two touring exhibitions. Her work is represented in private collections in Australia, Japan, Canada, the United States and New Zealand.

Her visual and literary work frequently uses her contemporary social world as a metaphor for the complexities of human relationships. However some of her work is more immediate and autobiographical, reflecting self portraiture within an essay approach.

Her current work explores the impact on individuals and the community of the progressive closure during the 1990s of the public mental health institutions and their related support facilities.

Her proposed exhibition for 2012 is along this theme.  This exhibition will feature mixed media works and mono-prints mounted on canvas ranging in size from 96x61cm to 31x31cm and a limited edition short story. 

The major medium currently used by the artist is form of mono-print on a variety of papers mounted on canvas. These are overpainted mainly using water colours. Some works involve collage, gouache, acrylic and oils.

The artist lives and works in Lauderdale Tasmania.


email: marybailey4@bigpond.com


Solo exhibitions include

2011                The Mad the Bad and the Different
Proposed Exhibition

2002                NO PETS or CHILDREN
Schoolhouse Gallery

1999                A long line of women with a flick fringe
Sadlers Court Gallery

1998                Whatever happened to Beatrix Maree
                         Sadlers Court Gallery

1997                MRS P and the JELLY BEAN FACTORY
                         Schoolhouse Gallery
                         Touring exhibition with Tas Regional Arts

1995               AUNTS AT THE WEDDING
                        Schoolhouse Gallery
                        Touring exhibition with Tas Regional Arts

1988              ME an MRS P
                       Devonport Gallery and Arts Centre


Group and joint exhibitions include


2000              Five Clarence Artists

2000              NOWSA Exhibition Melbourne

1997              Clarence Art Exhibition winner also (1985 - 97)
  
1989-93         Hobart Art Prize selected

1989-93         Sullivans Cove Spring, Winter and Christmas exhibitions

1988              Devonport Gallery ans Arts Centre

1987              Gallery Two Launceston

1987             Freemans Gallery


Joint exhibitions include

1992-94          Despard Gallery

1994-1990      Freeman Gallery Backspace


Publications include

1988            Mrs P and Me - Poetry

1995           Aunts at the wedding 

1997          Mrs P and the jelly bean factory 

1998         Whatever happened to Beatrix Maree 

1999        A long line of women with a flick fringe 

2002       The story of Chicken Little 

2011       The Mad the Bad and the different 



Thursday, 16 June 2011

short story-the mad the bad the different


















the mad
the bad 
and the different






When I was seventeen years old, I sound like Leonard Cohen, I had a nervous breakdown. My father took me to the doctor who gave me a bottle of green iron tonic. He said it was female problems. That is what they said in the 1950s. It took me months to recover.




The world seemed a long place away from where I sat in my bedroom. My friend Penny was sent to the Royal Derwent Hospital by her father when at eighteen she became promiscuous. My friend Joy was sent there at seventeen when she stopped eating. My mother's friend Faye was sent there after the birth of each child. My brother's friend Dasher went there and stayed forever after he hurt a child. Electric shock therapy, insulin treatment and knock me out medications kept control.

The 100 women resident in the Hospital had the use of two small yards of less than a quarter acre each. The adjoining three acre paddock was forbidden to them. The Male division had a walled garden of a quarter acre. Two small enclosed yards of a quarter acre each were in use for unquiet inmates, and a small area in front of the hospital was used by quiet and convalescent inmates. There was no classification of the inmates in the wards. And around it all was the ha-ha. 

Not seen and not heard.

By 1990 such hospitals and institutions were systematically closed. Along with all the refuges and safe places for people on the fringe, they disappeared. The mad, the bad, the different, were suddenly plunged into the edges of the community. The government dollars went into new institutions which were opened for the elderly - called homes for the aged. The non-elderly were given medication. 

I first met Alistair when he was 40. A beautiful man interested in art and opera. A poet with Sweeney Reed and Shelton Lea as his heroes. Great and dangerous fringe dwellers of the 70s. Alistair dressed in hand knitted jumpers of soft greens and heathers and a cravat. He had been living with Kevin for many years. Big fat bald Kevin, dressed in oversize t-shirts, tracky daks and thongs. He would snap his fingers to go home and Alistair would follow. On the days he managed to escape Kevin we would wander through galleries, listen to music and sip endless cups of coffee. He clung to my armpit like a limpet when he became nervous. I suspected that there were other days when he disappeared from Kevin's orbit.

The day I found my long pink boots in Brunswick Street Alistair was beside himself. He searched endlessly for the same boots in size 11. He found some similar boots in scarlet costing twice as much as my pink boots. Kevin was beside himself and so cross at the waste of money I thought he would hit me. Much later that day, Alistair, in red boots and his Alice outfit, went out on the town. Through the city streets and by ways that were unsafe for me. Kevin found him days later in a medical emergency ward, battered, bruised and bewildered with his red boots on. 

After Kevin died Alistair queened his way through the underground of the city for weeks on end. No longer taking his medication. No Kevin to monitor his alcohol intake. His costumes competed with Gaye Hawke's Queen of Australia creations. From time to time one of his nine sisters would rescue him and nurse him back to health. The last time I saw him he turned away. Grand he was. The Grand Duchess of Gordon Street. Somewhat tattered and bedraggled he staggered off into a side street.

When he was 50 he was placed in an all male institution. An old age home. Like the thousands of older women and sometimes men daily encouraged by their families to desert their lives he went quietly. Out of sight out of mind. He sits with the other men like an old juke box telling the same story day after day. Medicated. Alcohol free. Writing the same poem. 

The 100 residents in the Home have the use of two smaller gardens. The adjoining two acre garden is forbidden to them. Two small enclosed yards are used for recalcitrant residents, and a small area in the garden in front of the Home is used by quiet and convalescent residents. There is no classification of the residents in the Home.

My Aunt Daisy lived in her sister's garage for years, sponged herself with Dettol daily, wrote poetry and muttered to herself. One year when we were children she served my sister and I red jelly flowers – mouldy. My sister in desperation has said to me at times – you are just as bad as Aunt Daisy though I cannot remember serving mouldy jelly.

When she was fifty seven years old my mother's sister Auntie Marie, the artist, went to bed for a year and painted. She said it was because there were fleas in the house. I have never had fleas in the house.

My friend Digger ate his way through the 70s on magic mushrooms. He lives with imaginary people in a room in town. He is never lonely. Sometimes he writes music and sings at the local pub.

When I was fifty seven years old, at one of my exhibitions, I overheard my older brother comment – looks like she has finally settled down- and my sister nodded. On the outside looking in. On the outside. Outside.

Are we mad? Sometimes

Are we bad? Occasionally

Are we different? Yes



Mary Buchanan Bailey 2011