Of research and vaudeville

The item on top of the work pile at the moment is a now very battered advance proof copy of a novel called The Little Shadows by the Canadian writer Marina Endicott, published in Canada last year and due for release in Australia in February. It's about a family in vaudeville, working the circuits along the border of the US and Canada; set from 1912-1917, it shows how their lives are affected by the forces of history.

With my curiosity piqued about vaudeville and its history in Australia -- obviously such an 'American' thing was going to make its way to Canada, but did it have a substantial history here? -- I went looking in the astounding new(ish) resource provided by the National Library, Trove, which -- well, go over there and have a look.

I spent many happy hours on this site last year and the year before when I was researching Adelaide and found, among other things, a great deal of family history buried among Family Notices and roundups from 'The Country', where the ferocious rivalry between my Scottish grandma and her bossy sister-in-law regarding the organisation of fund-raisers for the War Effort in Curramulka can be seen between the lines of often profoundly corrupted text.

Apropos of which, I decided early on that since this magical resource had been provided to me then the very least I could do was take an active part in the way it works: crowdsourcing to correct the scanned text, since obviously the resources don't exist for it to be done professionally. I decided that I would correct every article I used. There's no measuring this, but my guess is that, as with Wikipedia, the longer it goes on the more accurate it will be, as more and more people use it and contribute.

Anyway, vaudeville. Oh yes indeed. There's a thesis in this topic alone: 'Racism in the content and language of journalistic reportage of vaudeville in Adelaide, 1920-1940.' Here, for example, is a paragraph from The Advertiser of September 30, 1926:

CELEBRITY VAUDEVILLE. 

Special interest is attached to the Southern Revue Company, which will be appearing for the first time in Adelaide at the Theatre Royal next Saturday, under the J. C. Williamson management. Many of the members of Joe Sheftell's revue are even blacker than negroes are usually painted, but this is not true about the chorus girls, who are much fairer than their men folk. One of the members of the company remarked while in Sydney "how mighty good every one has been to us." This is the first impression gained of Australia by one of the darkest of the members. He also explained that in the Land of Liberty "culled" folk have to travel in their own special "Jim Crow" railway carriages, and are segregated in special hotels and restaurants. This company includes many talented performers, who have been a great success in both Melbourne and Sydney — Minta Cato, the colored soprano; Joe Sheftell, the producer; Bob Williams, the comedian; McConn, Saunders, and Williams, the nifty steppers, and the chorus girls.

Did you blanch over that word 'culled'? Language is a wonderful thing when it come to the return of the repressed. It took me a few seconds to work out that it was merely an attempt at phonetic approximation of the accent of the unnamed  'dark member' (oh dear, it just gets worse and worse) and his pronunciation of the word 'colored' (interesting that the Advertiser was using American spelling in 1926).  I also enjoyed the snide reference to the Land of Liberty, implying that we in Australia have no such unenlightened attitudes, oh my wordy lordy no.

And as for the forces of history, I couldn't help noticing the tour dates on this one, from The Advertiser of September 21, 1929:

VAUDEVILLE PERFORMANCE 

Trixie Wilson, the well-known ballet teacher, announces that the annual concert to be given by her students will be held in the Thebarton Town Hall on October 22. The programme will contain several spectacular ballets, solo dances, and vaudeville acts.

(And for anyone looking for ideas for fiction, there's a whole novel for you right there in the phrase 'Trixie Wilson, the well-known ballet teacher.') Unbeknownst to either the journalist or Miss Trixie, the 1929 Wall Street Crash was imminent: Black Thursday was October 24th, two days after the concert.

Vaudeville was a notoriously unstable and insecure profession even at the best of times, as Endicott's book makes clear, with acts being sacked and theatres closing down and impresarios going broke left and right. I wonder what happened to everyone in the wake of Black Thursday: to Miss Trixie, whose pupils' parents must have hurriedly reassessed whether the budget could stand ballet lessons? To those 'culled' troupers from three years before? To all vaudeville everywhere: the performers, the backers, the managers, the theatre owners, and the audiences, many of whom may have abruptly decided that going to the vaudeville was a luxury they could definitely do without? What happened to the nifty steppers, the Men of Mirth, the chorus girls, the acrobatic violinists and the 'Gypsy' dancers, in the wake of October 24th, 1929? Whatever did they do? Wherever did they go?

Anxieties. We has them.

What shall I worry about today? There are a number of choices. [NB: the state of the world is an ongoing given, no surprises there.]

Will the New Year's Eve dessert -- cherry and roasted almond ice cream for 17 -- get safely shopped for, made, frozen, transported and served intact, in the 37 degrees being forecast for Saturday?

Will I get my column done this morning in time to get to the market before all the cherries are gone? [Not if you sit here writing blog posts about fretting about it -- Ed.]

Will my pathological untidiness and I get the house cleaned up by Sunday when a dear friend is coming to lunch? She has a get-out clause about staying home in the cool, as Sunday will be even hotter than Saturday -- if the definition of a heatwave is five consecutive days over 35 degrees, as I believe it is, then Adelaide is cruising into one as we speak, according to the BOM -- so this one is flexible, but I must clean up anyway as a New Year thing. Just woke up out of a horrid dream about past crimes against tidiness. I see domestic detritus, in my case 95% paper products, as a sort of rabid, feral, malignant, hyperactive octopus that lives in the house and hates me.

Will I get next week's column done on time?

Will my father's 85th birthday be an easy, happy day, and what of my sister's hand surgery two days later?

Will the full afternoon of running writing and editing workshops for cluey postgrads be a success, or have I forgotten how to teach?

Will I be able to get access to everything I want at the library to write my conference paper? Never gave a keynote speech before. Anxiety coming in waves. Is this a good argument? Do I have enough examples and are they interesting enough? Do I even have an argument, and if so, what is it? (All Hons and postgrad students to whom I have ever sternly said 'But what is your actual thesis?' have my permission to snicker at this point.)

Will I be able to find my way to the Aldinga Library to give a talk about the Adelaide book, will I melt on the way if it's filthy hot, and if it's filthy hot will anybody turn up, and will I then be able to find my way home in the dark? (NB not worried about talk qua talk, but give me time.)

Have I got time to read all the books I haven't read yet by all the people whose sessions I'm chairing at Adelaide Writers' Week, and will those sessions all work out well?

Will I get my column done promptly every week in between all this stuff?

Will the ice cream go well? Will the lunch go well? Will the birthday go well? Will the surgery go well? Will the teaching go well? Will the conference paper go well? Will the Aldinga excursion go well? Will Writers' Week go well?

Look at that. Fretting fully booked till well into March.

Bits

are all I'm good for at the moment.

* Am up sharp pointy end of Adelaide book, lurching from one paragraph to the next as deadline looms. One's student days come back to one at times like this: have vivid memory of sitting on my bedroom floor in 1971 crying over Philosophy 1 essay requiring all-nighter (FAIL) and of the four other long-essay all-nighters -- on Trotsky's Literature and Revolution, American Southern Gothic, medieval church music and psycholinguistics (not together, though it's an intriguing interdisciplinary proposition), and all the all-nighters writing lectures over the years, and wondering why the bod won't do that any more, just because it's in its late 50s and I don't feed it properly or give it enough sleep and exercise. Text yesterday from younger sister: 'Don't make yourself sick. Better the wrath of your publisher than the wrath of Mother Nature.'

* Wonderful piece by John Birmingham on what the Brisbane floods are telling us about human nature here.

Delicate, porcelain-skinned little vegan girls in bonnets with flowers muscled their way into the thickest, filthiest torrents of river mud next to bogan footballers, Army engineers, and tough-looking tattooed lesbians. This being West End there were travellers, too. Three French backpackers somehow managing to make their accumulated filth look stylish. A couple of Americans who'd come to Australia to surf and instead found themselves running wheelbarrows of grey, stinking ooze down to the water's edge from where it had come.

Gorgeous.

* New post at Read, Think, Write on second-guessing the publication process if you're interested.

* Garden spider that spins its gorgeous orb directly across path from front gate to verandah every non-wet and non-windy night is twice the size it was on Christmas Day when my friend R came to dinner and as she was leaving I had to take the torch out to show her why she needed to avoid the path and jump off the edge of the verandah in order to get to her car. Goddess knows I too have put on a kilo or so since Christmas but doubling in size in less than a month is awesome. I know for a fact that the insect pickings in that part of the garden are pretty good; the other night the web snared an entire moth. (No doubt the spider equivalent of a tub of Sara Lee Irish Cream and no I can't believe I bought it either. I'm as shocked as you are.) It's all a bit red in tooth and claw out there.

* Speaking of claws, the tortoiseshells are well, as is Papa Cat, who will be 84 on Feb 1. I'm told that for the birthday dinner we're having Chinese, which my adventurous ma taught him to like at the Silver Dragon Restaurant in Rundle St, Adelaide, circa 1955. Sadly she is now long gone, but his pleasure in Chinese food lives on.

In the words of the First Dog on the Moon ...

Australia, what have you done?

The gendered search rules

If you have to write short reviews of the four novels you've read in the last week and you find you've mislaid one of the novels and the deadline is today, it's kind of a big deal. For ten or fifteen minutes, you flap about like a panic-stricken chook, ineffectually turning over piles of paper and clean laundry.

Then you regroup and write a list:

1) Take deep breath.

2) Have a girl's look.

3) Find book almost straight away.

4) Wonder what on earth it was doing half-hidden in a bagful of yesterday's shopping.

Time for some pronunciation (and other) whining

Writers' Week is about to start and I have to do a few things at it, so there's not been a lot of time to blog -- too busy trying to think up juicy, fruitful questions to ask Peter Temple and Michelle de Kretser on the basis of madly re-reading their novels. Been through two whole pads of Post-Its and counting. Thank God for Google. Picking the shortest books out of the pile for next week's SMH reviews copy, due in the middle of the week as per.

(One of the other things I have to do is decide whether or not to rock up to the panel session on The Macquarie PEN Anthology of Australian Literature. As the only section editor of the book who lives in Adelaide, I think that if they wanted me there at all then they would have asked me to be on the panel, which would have cost them nothing, and since they didn't, I think they'll have more fun if I stay away and they can let rip with the criticism of the contents without fear of resistance. On the whole I think this was a good call on the part of the organisers, because producing a book is like having a baby -- once you put something out into the world, you have to let go of it, allow it to take on a life of its own without interference, or what was the point of popping it out in the first place?)

Anyway, here's a discovery: I think this language usage/pronunciation irritation/allergy thing is genetic. One of my sisters rang up yesterday and at one point the conversation turned, can't remember why, to the word 'vulnerable'. 'What's this VUNNERABLE crap?' she demanded. 'They all say it. The newsreaders say it. The ABC newsreaders say it.'

'Oh, I know, I know,' I moaned. 'And what about CONGRADULATIONS? They've got little kids saying it now. New Meadow Lea ad or whatever, little squeaky childish voices the ad people from Mars think are cute, singing out of tune to their Mum. 'Yooooo ... order be ... congradulay-dud.' (As if it were not bad enough that one congradulates women on their choice of margarine.)

I remembered this conversation this morning while reading about the tribulations of postwar London: 'slithers of bacon from Argentina'.

Where do these things start? Why do they go viral? A thing like a shred or a splinter is not a slither, it is a sliver. Slither is a verb and only a verb. Snakes do it. JK Rowling called Slytherin Slytherin because snakes do it. Nothing to do with little shreds of bacon, bits of wood or toasted almonds. Especially not toasted almonds.

Brothers, sisters and anthologies : oh the irony

So when I got home this afternoon from fifteen rounds with a sibling -- the ferocious upfront one, all teeth and claws all the time, and no backing down until one of you dies -- so stratospherically stressed out that my eyeballs and teeth were aching and there was a strange metallic taste in my mouth that no amount of medicinal chocolate would shift, I found two things in the mail.

One was a copy, kindly sent by Allen & Unwin, of Charlotte Wood's new themed anthology of specially-commissioned stories by Australian writers about siblings, entitled Brothers and Sisters. The other was my copy of the current Australian Book Review, in which critic Peter Craven continues his attack on the team of scholars of Australian literature (of which he is not one) who edited the Macquarie PEN Anthology of Australian Literature, including moi, that he began in his magisterially and savagely opinionated review of the anthology in the previous issue.

I've been a fan of Charlotte Wood's since I read her novel The Children, in which she shows great interest in the sibling dynamic and great skill in representing it, an impression further borne out by the brilliant, funny, moving introduction to this new book. And after reading the ABR correspondence pages I'm considering the possibility that one way to understand the shifting, endlessly complex dynamics of the literary scene and all its tortured interrelationships is to think of it in terms of sibling relations, where the keynote is intensity for better or worse, and where endless fights for territory, dominance, independence, sentimental vases and Mummy and Daddy's approval all take place in the hothouse arena of shared interests and common experience.

At the very least, I find that thinking about these things anthropologically and psychoanalytically helps me to get some distance on them, to back away from the rage. It's that or the bottle shop, and I have too much work to do tonight for the bottle shop to be an option. Besides, I want to be fully alert when Germaine takes on Planet Janet on Q&A.


Cross-posted at Australian Literature Diary

Worry and the alleviation of worry

You just keep looking for your glasses until you find them.

You finish the novel, and then you finish the next one.

You go to the chemist and get Strepsils and Betadine throat gargle and tickly cough medicine and two kinds of analgesics, and take/use them all one after the other.

And you ring up the little man with the chainsaw and he comes and cuts down most of the overgrown bottle-brush one of whose main branches is split from the fork and rapidly splitting further and further down the trunk as the foliage is tossed about in the wild weather, with half the tree about to come crashing down any minute on the shed and the other half on the precious fancy-pants irises, the fence, and three or four of the bloke next door's chooks.

After a consultation during which we prowl around muttering, looking at the tree from various angles, the little man with the chainsaw cuts off everything but the main trunk, which supports the branch where the orb weaver lives. In August. I ask you. Surely it can't be the same spider, though it is certainly living in the same tree.




This is what these spiders look like when holed up in the daytime, their legs all swooshed forwards to protect their heads, a bit like the crash position on those aircraft safety cards, or maybe they're just pretending to look like a chunk of tree. Are they related to squid, does anybody know?