Brenda Niall

Award-winning biographer Brenda Niall welcomes the first biography of Penelope Fitzgerald by superlative British biographer Hermione Lee, and is fascinated by the great novelist’s secret river of creativity.

For a young academic in need of a job, 1964 was a lucky time. After three pioneering years with small enrolments, Monash University was bracing itself for the first big influx of postwar baby boomers. Above the flat and muddy stretches of Clayton farmland, where Wellington boots had been the footwear of choice, the first tall buildings were emerging. The Arts wing of the twelve-storey Robert Menzies School of Humanities was in pristine state when I moved into Room 727 in the department of English, on the seventh floor.

In April 1934 sisters Mary and Elizabeth Durack joined their eldest brother, Reg, at Argyle Downs Station in the Kimberley. Mary was twenty-one, her sister eighteen. Educated at Loreto Convent in Perth, they had been reared on a diet of stories about life in the north told by their father, Michael Patrick Durack (known as ‘MPD’), when he returned from the family’s pastoral holdings every wet season to spend time with his wife and six children. Both girls had spent time up north with their parents, and loved the place. This time, however, they were on their own. At Argyle, ‘they were paid union wages for helping in the kitchen, where they learned to make bread for the homestead and for the twenty or more Aborigines on the station’, and later they took up duties at another Durack company station, Ivanhoe. They stayed up north for eighteen months, saving up for a trip to Europe, for even the Durack family fortunes had been hit by the Great Depression.

Even the cover design of Sheila Fitzpatrick’s memoir gave me something to ponder. The title, which signals the father–daughter story, is linked with an engaging seaside photograph of the two of them. The father’s swimming trunks and the daughter’s bathing cap have an authentic 1940s look. Add to that a bland subtitle, Memories of an Australian Childhood, and the tough confrontations of the text may come as a surprise.

Some stories deserve to be told more than once. Retold, they cannot be the same. Even when the teller is the same person, the shift in time and experience will make the story new. In The Ghost at the Wedding, Shirley Walker returns to the material of her autobiography, Roundabout at Bangalow (2001), in order to focus more closely on the saddest and most powerful memories therein: those of the young men of her family who served in two world wars.