Читать книгу My Career Goes Bung - Miles Franklin - Страница 7

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A ream of paper is a large quantity to one who has never written a book nor met anyone who has done so—480 sheets all to myself.

"That'll hold you for a bit," said Pa.

"What a waste!" said Ma.

The pleasure of good penmanship on all that lovely white paper edged me on to begin upon my spontaneous career of slinging ink, of which this volume is to be the petite finale.

Ma admired classical features. Pa had them. Perhaps that is what misled her into a poor match, and why, no matter how often my looks are praised as lovely, she will not rank me as a beauty. She says such talk is to make a fool of me. So to be done with the uncertainty, I accept Ma's dictum that beauty lies in actions, and as my actions are all wrong, where could be my beauty? Nevertheless, bang went another convention. Men cared only for prettiness in girls, yet our house was a rendezvous for young men from all over the electorate and beyond it, who did not honestly come to talk politics with Pa, though they pretended that they did. I wasn't in danger of being embittered by a lack of admirers, nor of platonic men friends, as I was simple enough to think they were at the start. They teased me about dropping the Premiership and taking to writing.

Ma said there was no sight more nauseating than lovesick men all cackling and he-hawing and pretending they were angels who wouldn't let her pick up her thimble; while by-and-bye if I should marry one of them, most likely he would leave me to chop the wood and would turn her out of his house.

Pa said there was no use in quarrelling with NATURE or taking a jaundiced view.

Ma rejoined that EXPERIENCE had shown her that common sense was very rare.

It was a spring without a spring. The breezes had a strong dash of summer, but the cloudless skies looked down with an excess of that pitilessness which the Persian poet has advised us not to call upon. Not a speck the size of a man's hand came up for weeks to give even false hope, and the half-opened leaves withered on the rose bushes and orchard trees. The starving stock lacked strength to bring their young to birth, and the moan of dying creatures throughout that country side was a reproach to whatever power had placed them there. The earth was as dry as ashes. Isolated shrubs and plants, that had been the pride of settlers' drudging wives and daughters, died in spite of efforts to keep them alive with the slop water collected after household use. The wattle trees, however, because they were natives, were putting forth an unstinted meed of bloom with an optimism rivalling "God's in His Heaven, all's right with the world". Masses of lovely yellow fluff swayed to waves in the breeze and wafted perfume too chaste for the seventh heaven of oriental belief. This loveliness lacked competition in the grim landscape. I culled sprays to press between the leaves of some old book, and wondered would there ever come a day when I should be as homesick for a bower of wattle bloom set in a frame of gum trees as I was now wild to escape to other lands of castles and chateaux and Gothic cathedrals.

The drought made work in the garden superfluous. I had leisure to utilise that ream of paper. The burlesque autobiography grew apace. My idea of ridicule speedily enlarged as a reticule into which anything could be packed. I could express my longing to escape to other lands and far great cities across the sheening ocean to strange ports above and below the Line, where big ships and little go for their cargoes. It was an opportunity to crystallise rebellion and to use up some of the words which pressed upon me like a flock of birds fluttering to be let out of their cages. There is artistic satisfaction in liberating words: and they entered into me and flew from me like fairies.

It was absorbing to allot parts to characters. Uncertainty when to interpolate "Odds fish, ma'am," or "Gad Zooks," put me off a historical track, though I had started in an ancient castle on an English moor. I was also in a quandary about style, but at that time dear old Mr. Harris came to spend a few days with us prior to leaving the district. I let him into the secret. He was sympathetic in one way and discouraging in another. He said that the pursuit of literature was a precarious staff of life, but an engrossing hobby, if one had the leisure and the means. He asked me where the scene was set, a question I did not understand. He said if I would trust him to see the first chapter he could probably tell me.

We walked among the wattle blossom in the gully beyond the vegetable garden till we reached the top, where there were some rocks. We sat down, and he said, "My dear Sybylla, I have read your beginning. Though immature it has promise."

I nearly stifled in agonised expectation of his condemnation. My whole feeling had come to the surface as sensitive as the nerve of a tooth. I knew he would never be mean enough to tell Ma the full depth of my foolishness.

"Why do you write about a castle in England that you have never seen?" he asked gently.

Without waiting for my reply he continued, "I'll tell you, my dear little girl. The castle in England is a castle in Spain, and 'tho' 'twas never built,' imagination makes it more enthralling than things near at hand. Why not try reality?"

I asked breathlessly what he meant.

"Well, instead of the roses on that castle wall, why not this fragrant bower of wattle? Instead of the wind moaning across the moor, why not the pitiless sun beating down on the cracked dusty earth?"

"But that couldn't be put in a book—not in a story!"

"Why not, child?"

"Everyone knows that, and it is so tame and ugly."

"It would be most novel and informing to those who are as familiar with the castle or a slum street as you are with the wattles and the baked paddocks. Australia is crying out to be done: England is done to death."

This was an expanding idea, like opening a window and letting me look into a place I had not known before.

"You see, you know everyone in the Australian bush. You could picture them with a vigour and conviction that would be refreshing: and my dear, if you could project yourself upon the canvas it would be most successful."

"Oh, I couldn't do that!" I shrank from this. "Besides, I have never done anything like the heroines in novels. I am not sweetly good, and though Ma thinks I am possessed of a devil, I have never done anything really unrespectable. For example, I could never have been so unkind as to throw that dictionary back at the teacher like Becky Sharp did, though I wish I could do that kind of thing. It must be splendid."

"If you could draw portraits of all the characters that furnish your life it would be a good beginning."

"Oh, but I couldn't put in real people. They would not like to see themselves except as white-washed saints—like the yarns on the tombstones. I'd have to imagine people to make them interesting."

"Um!" said he, and then with a chuckle, "you go ahead. I shouldn't be surprised if they turn out to be more real that way. But there is one thing, my dear, be Australian. It is the highest form of culture and craftmanship in art to use local materials. That way you stand a chance of adding to culture. The other way you are in danger of merely imitating it, and though imitation is a form of flattery to the imitated, it is a form of weakness or snobbery in the perpetrator. You must find your own way and your own level. The material is in you: all that is required is industry in cultivation."

I could hardly wait till the end of his visit to plaster the ideas he had put into my head upon the original burlesque. Ma said that Mr. Harris was right to a certain extent, that to pretend to be what one was not was the height of vulgarity, but she couldn't see that an interesting book could be made of reality: it was dreary enough to live in the bush in drought time: no one could possibly find any pleasure in reading about such misfortune.

Ma always brings up EXPERIENCE. She has often routed Pa from the field of philosophy with the records of EXPERIENCE, and she now inquired what was the sense in wasting time and paper in this way? Why not do something practical? Pa though, is always willing to believe that the latest venture must be better than the preceding.

I set out to do the equivalent of taking two photographs on the one plate. I was to burlesque autobiography and create the girl of my admiration, and fill in with a lot of lifelike people as a protest against over-virtuous lay figures. One thing I have always envied in girls is the ability to fly into a towering rage. At school there were two bad-tempered dunces and they enjoyed my brain effort. I lived in terror of their temper and did their sums with alacrity. Poor Old Harris was careful not to stir them up, and they did pretty well what they liked. So my heroine was to be the antithesis of conventional heroines. All my people were to be created in the image of reality—none of them bad enough to be tarred and feathered, none good enough to be canonised. But people are never what they think themselves, and by the results which accrued it would seem that it is equally difficult to present a character as you intend.

Up to that date I do not remember being so fully interested in anything. I had a secret delight. I ceased to talk about it even to Pa. He and I had quite opposite tastes in stories. He liked adventure: Mayne Reed, Fenimore Cooper, Captain Marryat, Gil Blas, Rider Haggard, but I had one or two of George Gissing's books, Vanity Fair, Colonel Newcome and Esther Waters, and enjoyed that style. No, I could not write dashingly enough to interest Pa. Ma was reading an annotated edition of Shakespeare, and that took her above my sphere of effort.

Bewitchment shadowed the paper as I progressed, I could not do what I liked with the people. I often found them as troublesome as Ma found me, and I think in the end they made rather a pie of my theme, though I did not know it at the time. The book was a companion as well as an entertainment, a confidant and a twin soul. You know how a piece of lace that you have made yourself has a charm lacking in a much better piece made by someone else? So with that book. I used to climb on the hay in the shed behind the stables on Sunday afternoons and read it over—like doing all the parts in a play myself, though at the time I had not seen a play. I must have had a lot of ingrowing egotism, and it came out in this way as the pimples or boils that are common to boys.

I was sardonically amused to depict that reality suggested by Mr. Harris.

Our home was of wood and of the usual pattern and situation in a particularly ugly portion of the bush. We were dished in a basin of low scrubby ranges which are familiar to the poorer settlers where the fertile patches are land-locked in a few big holdings by hard-headed fellows who got in early with capital and grants and convicts.

Instead of hedges we had dog-leg and brush fences, and stumps in the cultivation paddocks. There were fowl-houses covered with tin to render them safe against sharp-snouted spotted marsupial cats; the mess-mate roosting trees also had wide rings of tin around the trunks to save the turkeys by night. Cowsheds were roofed with stringy-bark. Fields of briars and rugged ranges were all around; a weedy water hole in the middle; the not-yet-bleached bones of beasts were a common decoration. No roofs but our own were within sight. It was a raw contrast to the English scenery on which I doted, with its thatched cottages, trailing roses, gabled farm houses, towered ancestral halls with Tudor chimneys amid oaks and elms and cawing rooks and moors and downs, wolds, woods, spinneys and brooks. Such reality as mine would look mighty queer in a book, something like a swaggie at a Government House party, but it was as easy to describe as falling off a log.

The people belonging to this scenery were so ordinary and respectable and decent that a yarn about them could not possibly attract the attention of a reader. The probability of readers must have popped up somewhere along the track. I had had no thought of them when I started. I'm sure nothing but genius could make the 'Possum Gully kind of reality interesting, and as I am only a jokist I had to bring out the paintpot of embellishment to heighten or lower the flat colourless effect.

There are times when our own case is so blinding that we are unable to feel or to see outside it. We are shut within ourselves. Sometimes these moods are merry and sometimes sad, but always self-sealed. If merry, so all-sufficient is our hilarity that grey skies or black nights have no power to damp our inward fire. But let us be sad, and the brilliance of the sun seems callous. We cannot reach outside ourselves. When young we demand so much that is beyond us that the first lessons in EXPERIENCE are the hoeing of the chastening row of disappointment.

I had a fever which fed upon itself like the green-eyed monster, and it was a great relief to be shedding it like a snake-skin. A desire to have someone to read the result came upon me towards the end. I don't know whether this was gregariousness or mere egotism, like my cat's when she brings home a kitten and dumps it for us to see. I was more selective than the cat. She doesn't pick her appreciators. She drops her kitten among us regardless of passing boots, and also regardless of who may be in the boots. I adore her and indulge her and so have been surprised that she did not bring me her kitten.

I was more demanding. I wanted someone who would understand. Who better than our greatest Australian author? I quite understood him since ever I was old enough to lisp a line of his ballads, what more sequential than his understanding of me? In the innocence of my heart, or it may have been the heartlessness of my innocence, I confidently sent him the manuscript. Having worshipped at his shrine with a whole-heartedness which we can enjoy but once in life, I felt sure of welcome within the gates of his interest.

In those days so entire was my unsophistication that I did not suspect that an author, even the AUSTRALIAN GREATEST, may not have earned thousands by his pen, and may be pestered by so many literary duds that he sees each fresh one draw near with weariness and terror.

To escape making a short story long, my idol welcomed my attempt with cheers for its ORIGINALITY, and asked would I trust him with the manuscript?

WOULD I!!!!!

I'd have given him any or all of my treasures, even my black-dappled-grey filly, a doll, a book of girls' stories or a little box covered with velvet and sea shells. When I come to think of it, these were my only treasures, and he could not take the filly with him to London whither he was going. I was excited by his acceptance of the manuscript. I once gave Ma a little story for her birthday. She thanked me, but did not look as if it were an enjoyable present, and never said whether she read it before burning it under the copper. I hoped the great Australian writer would read my offering before burning it, as I had taken pains to write it nicely—no blots or scratchings-out.