figments of eliza

Figments of Eliza

By Sue Davis

‘Food gatherer’ by Judith Laws

Figments of Eliza

This chapbook has been created as a program and resource to accompany the performance of Figments of Eliza

First staged at Cooroy Cultural Precinct 4 November, 2010

Figments of Eliza

Figments of Eliza

Background 4

Cast and production support 6

Accounts, fiction and mythmaking 8

Timeline of events 12

References 14

Acknowledgements 15

Figments of Eliza

Background

The land on which I live was once dairy farming land. Before that it would have

been covered in forest, and have belonged to traditional custodians from the

Gubbi Gubbi people. My journey began with questions about how non-

Indigenous people first entered this terrain and this region. Signage and

monuments in our local town recall the first industry of the region being the

timber industry. Timber-getters came in search of the Red Cedar and Kauri

Pine, felling the towering giants to feed the growing settlements in Moreton

Bay and Sydney, and then Gympie and other Queensland locations.

But why here, how did they find out about the timber in the first place? It is

generally acknowledged that Tom Petrie’s father Andrew travelled to the

region in 1842 in search of the grave of Captain James Fraser and locations for

possible settlement. Fraser had died on Fraser Island (then known as K’gari or

Gari) after the wreck of his ship the Stirling Castle. Petrie didn’t find the grave,

but he did report back on the rich timber resources of the region. This, in

part, lead to the establishment of Maryborough, an emergent timber industry

and later a Gold Rush at Gympie (1867).

So Captain Fraser, the shipwreck and the events that followed helped activate

interest and white habitation of the region… the tale of what happened to

Fraser’s wife, Eliza, was also to have long-lasting ramifications. So that brings

me to Eliza …

She would have lived a somewhat interesting but none too remarkable life, if it

hadn’t been for the events following a shipwreck one windy eve in May

1836. What followed has grown into a story of mythological proportions, and

she most certainly lived through the most tragic and cataclysmic

of experiences. A tragic heroine in so many ways… but with a fatal flaw. Her

flaw - perhaps greed, perhaps being open to manipulation by others, perhaps it

was madness. Nobody knows for certain but we are left with fragments and

figments.

Figments of Eliza

My feelings towards the persona of Eliza Fraser are decidedly mixed and my

loyalties torn by my consideration of her tale. Some versions of events point

to her highly exaggerated accounts of her experiences as contributing

substantially to European attitudes to Aboriginal people in the 19th and 20th

century and the justification for treating them as sub-human.

On the other hand, if you consider what she lived through - a shipwreck,

starvation, possibly giving birth at sea, suffering exposure, extreme physical

exertion and witnessing her husband’s death… then perhaps it was enough to

drive her to madness. As the accounts she gave afterwards became more

exaggerated perhaps she felt she had to give her audiences the horrific tale

they expected (shipwreck tales being quite common place in those times) …

perhaps she was suffering what we might now call post-natal depression or

post-traumatic stress disorder.

In deciding to explore the narrative I have focused on trying to understand

how one might live through such an experience, without making judgements,

trying to consider a frame other than our present one. To take on such a task, I

believe, you have to work from an empathic perspective, and explore why

someone may have done things that they did, what might have driven them to

act as they did. Whilst this work is based on extensive research, it is in the end

a fictional imagining of what may have occurred, a story to prompt thought

and reflection.

The focus on Eliza’s perspective does not ignore or disregard that of others,

especially those of the Aboriginal people she encountered, lived with and gave

accounts about. There is a whole other story to be told from that perspective,

one explored by artist Fiona Foley and discussed by Batjala elder Olga Miller. If

this project continues on, that is a story that I hope would be included more

fully. In the meantime I have used this story as a means of reflecting on our

experiences of this place and what it means to belong.

Figments of Eliza

Cast and production support

Eliza: Mary Eggleston

Writer/director/video imagery: Sue Davis

Music/sound design: Leah Barclay

Featured artwork: Judith Laws

Mary Eggleston is a Sunshine Coast based actor who runs her own drama

school and has been festival director for the children’s festival Solarcoaster.

She has performed in a range of theatre pieces on the Sunshine Coast, in

Brisbane and overseas. This year she appeared in La Ronde & Erotique

produced by XS Entertainment and The Secret Lovelife of Ophelia with Fractal

Theatre.

Sue Davis is a lecturer, writer and ‘pracademic’ – combining teaching with

research and creative practice. Her work includes exploring the ways that new

media and the pervasive technologies can be used for creating drama. She

currently sits on state education advisory panels for Senior Drama and The Arts.

Sue has extensive experience managing arts-based community projects and

events, writing and directing performance work.

Leah Barclay is an Australian composer and interdisciplinary artist who has

been recognised internationally for her distinctive sonic language. Her work

has been commissioned, performed and exhibited across Australia, New

Zealand, Canada, Europe, India, China and Korea. She creates complex sonic

environments with a strong focus on the textural and timbral properties of

sound. Her work spans film, theatre and dance to hybrid performance,

interactive media and site-specific installations.

Judith Laws is a Sunshine Coast based artist who has exhibited widely

throughout Australia and internationally. Her Eliza Fraser series can be seen

on the website of Art on Cairncross.

Thanks also to: Jim McDonald for male voiceovers, Judy Barrass for the

screencast drawing and Hari Scholes for sewing.

Figments of Eliza

“I was a most ordinary woman, a wife and a mother. I did not desire riches,

fame, or notoriety. I never thought of the possibility of my name living on, of

being responsible for the actions of others, or even for some of my own. I have

been called a liar, a victim, a thief, a sideshow spectacle. Perhaps there is truth

to be found in these labels. To be honest, I wished only to survive and live to

see my children grown …to keep heart and soul alive.” (Figments of Eliza)

Figments of Eliza

Accounts, art and mythmaking

Various accounts of the Stirling Castle and events that followed were given by survivors

including Eliza Fraser, John Baxter the Second Mate, and Joseph Corralis, the Steward.

Other accounts were recorded from Lieutenant Otter, the soldier who led the rescue party;

Captain Foster Fyans, Moreton Bay Commandant; John Graham, the convict who rescued

four of the survivors; and later by David Bracewell, who also claimed he rescued her.

Bracewell’s account was reported by Henry Stuart Russell in his “Genesis of Queensland”

but was not supported by any other accounts.

As none of the official accounts were published at the time, the main stories that fed the

public imagination were generated by the media and newspapers in Sydney, the US and the

UK.

1838 - John Curtis a journalist, interviewed Eliza Fraser & John Baxter, wrote “The Shipwreck

of the Stirling Castle” but never visited Australia

1841 - Sydney children’s book “A Mother’s Offering to her Children” by Charlotte Barton,

includes an account of the Eliza Fraser story

1853 - Henry Youlden (Bribie Is survivor) publishes his story in “Knickerbocker magazine” he

had an intense dislike for Eliza Fraser

1888 – Henry Russell Stuart published the “Genesis of Queensland” including accounts of

the Fraser story as told to him by the escaped convict Bracewell

1947 – Sidney Nolan visited Fraser Island and worked on a series of paintings. In 1957 he

exhibited a series of Eliza Fraser paintings

Nolan introduced the story to Patrick White who visited Fraser Island in 1961 and wrote the

novel “A Fringe of Leaves”, loosely based on the Eliza Fraser story (the character is called

Ellen Roxburgh)

Figments of Eliza

1971 Michael Alexander published “Mrs Fraser on the Fatal Shore” a comprehensive

fictionalised account - references not all recorded

1976 Kenneth Cook’s “Eliza Fraser” was published – “A rollicking tale of lust and adventure

from the violent, bawdy colonial past”

1976 David Williamson wrote the script for feature film “Eliza Fraser” made by Tim Burstall,

starring UK actress Susannah York

1978 Peter Sculthorpe “Eliza Fraser Sings” with text by Barbara Blackman

1979-80s Neil Buchanan, a local researcher works out a way that it might have been possible

for both Graham and Bracewell to have been involved in the rescue. He writes up his

account in various forms

1986 To commemorate the 150th anniversary of the wreck of Stirling Castle Neil Buchanan

and Barry Dwyer reprint their publication “The Rescue of Eliza Fraser”, with more attention

to black/white relations and primary evidence

1990s Fiona Foley – a descendant of Fraser Island Aborigines produces work which depicts

her reaction to Eliza Fraser’s influence on the way Aborigines were treated after the

shipwreck and subsequent events

1990 Play by Allan Marott in style of Japanese Noh drama – “Eliza”

1991 Documentary film produced by Gillian Coote’s “Island of Lies” which looks at the

effects of Eliza Fraser’s story

1995 Dr Kay Schaffer publishes “In the Wake of First Contact: The Eliza Fraser Stories” and

“Constructions of Colonialism: Perspectives on Eliza Fraser’s Shipwreck

2000 Elaine Brown publishes “Cooloola Coast” which is based on her research into the

history of the area, including the Eliza Fraser story

2009 Judith Laws (a Sunshine Coast based artist) produces a series of paintings of the Elisa

Fraser story after visiting Fraser Island. Judith and partner Rex Backhaus-Smith are

developing a book based on the series.

Figments of Eliza

And when they reached the fatal shore,

Its name is call’d Wide Bay,

The savages soon them espied,

Rush’d down and seiz’d their prey,

And bore their victims in the boat,

Into their savage den,

To describe the feelings of those poor souls

Is past the art of men.

(Wreck of the Stirling Castle, 1837, John Curtis)

“The soul withers but the body endures – that is how to survive such a time.”

“Before I leave this fatal shore, I must give thanks and raise a stone, an

Ebenezer. I must honour my James, my Lord... and honour our Lord and

Saviour.” (Figments of Eliza)

Figments of Eliza

“Today I dreamt of new bonnets and babies… of fresh raspberries and cream,

and embroidered silk scarves. Every day I make myself think of something

beautiful, of something simply perfect. And there are oranges cut into eight

… pudding with nutmeg and raisins … and a bright pink bonnet with a silk

satin ribbon ….” (Figments of Eliza)

‘Sweet Charity’ by Judith Laws

Figments of Eliza

Timeline of events (drawn from different accounts)

May 15, 1836 – Stirling Castle set sail from Sydney bound for Singapore.

(Interestingly Andrew Petrie came to New South Wales in 1831 by the Stirling

Castle).

May 21/22 - the Stirling Cast struck the outer edges of Swain’s Reed off

Rockhampton. Two boats launched, a pinnace and a longboat.

Third or fourth day in the longboat (which was leaking) – Eliza Fraser possibly

gave birth and the baby died at sea.

Fifth day reached a small island in the Cumberland group (Fred Williams says

Bunker group after 8 or 9 days). Mrs Fraser found water up a cliff.

May 29 – set off from Cumberland, towards mainland. Attempted to land at

Repulse Bay, wind changed.

28 days unable to land, during this time the pinnace parted company with the

longboat.

On the Longboat – the Frasers, Brown, Baxter, Youlden, Doyle, Corralis, Darge,

Elliot, Denny, Dayman and Carey.

With no food or water left on the longboat, the crew started talking about

drawing lots (cannibalism of survivors).

Early July – the longboat landed on Fraser Island (then known as Gari/K’Gari)

near what is now Orchid Beach or Indian Head. Mrs Fraser had a sou-wester

(Aborigines did not like it). When met by Aborigines they traded clothes for a

piece of kangaroo (or fish).

23 July (approx) Darge, Youlden, Dayman, Denny, Elliot and Carey set off down

the beach.

4 August (approx) – Captain Fraser died – apparently too weak to work, he

stumbled, was speared, possibly died in his wife’s arms.

Figments of Eliza

7 August (approx) – Eliza and Brown taken to the mainland. Brown died a few

days later apparently from burns.

8 August - Lt Charles Otter on a recreation shooting trip on Bribie Is,

encountered Corralis and Darge, joined by Youlden. Otter returns to Brisbane

and raises a rescue party.

10 August (approx) Eliza moved to the place where a tribal gathering was held

near Fig Tree Point.

13 August - Dayman and Carey rescued by John Graham

15 August - Graham walked north to Inskip Point, crossed to Fraser Island in a

canoe and found an emaciated Baxter near Hook Point.

16 August – Graham set off to locate Eliza, via Teewah Beach, then inland to

“Wa Wa” near Fig Tree Point. Graham convinced the Aborigines that Eliza was

the ghost of his Aboriginal wife and persuaded them to release her into his

care.

21 August - The rescue expedition arrived in Brisbane – Eliza rested for two

months in Brisbane.

6 September – Eliza Fraser’s account recorded in Brisbane.

Mid October – Eliza went to Sydney in the Prince George. Public funds were

raised.

3 February, 1837 - Eliza Fraser secretly married Captain Alexander Greene in

Sydney

16 July - Eliza Fraser arrived in Liverpool, England with her new husband, but

they kept the marriage a secret. They later travelled to London and asked the

Lord Mayor for help – public funds were again raised. The marriage was

revealed and her accounts were increasingly questioned.

Figments of Eliza

References

Alexander, M. (1971). Mrs Fraser on the Fatal Shore. London: M. Joseph.

Brown, E. (2000). Coolooa Coast. St Lucia: University of Queensland Press.

Buchanan, N., & Dwyer, B. (1986). The Rescue of Eliza Fraser (150 Anniversary

edition ed.). Pomona: Cooroora Historical Society.

Curtis, J. (1838). Shipwreck of the Stirling Castle. London: George Virtue.

Genocchio, B. (2001). Fiona Foley: Solitaire. Annandale, NSW: Piper Press.

Russell, H. S. (1888). The Genesis of Queensland. Sydney: Turner & Henderson.

Schaffer, K. (1995). In the Wake of First Contact: The Eliza Fraser Stories.

Melbourne & New York: Cambridge University Press.

Schaffer, K., McNiven, I., & Russell, L. (Eds.). (1998). Constructions of

Colonialism: Perspectives on Eliza Fraser’s Shipwreck. London: Cassell/Leicester

University Press.

Steele, J. G. (1984). Aboriginal Pathways: in Southeast Queensland and the

Richmond River. St Lucia: University of Queensland Press.

Williams, F. (1982). Written in Sand: A History of Fraser Island. Milton, Qld:

Jacaranda Press.

Figments of Eliza

Acknowledgements

The NeoGeoGraphy project has involved five Sunshine Coast artists using arts

practice and digital media to explore stories about place. The project also had

a focus on using the spaces and facilities at the new Cooroy library and cultural

precinct, and I would like to acknowledge the wonderful support we have

received from all the staff at the precinct.

This project was supported by the Sunshine Coast Council and the Queensland

Writers Centre, and arose from the 3Cs project developed by Jock McQuinnie

in collaboration with Arts Queensland and the Australia Council for the Arts.

The project has provided us with wonderful opportunities to meet the other

artists, to work with community members and with leading thinkers and

cultural organisations.

Thank you to the people who have added their creative input to this

performance project, including Leah Barclay, Mary Eggleston and Judy Barrass.

Thank you also to Judith Laws, who has given permission for us to use images

of her beautiful paintings which complement our telling of the story so well.

Thank you to Sunshine Coast Council for hosting this project and Christine

Ballinger and Megan Marks for nurturing and supporting its unfolding. I would

like to thank Ray and Jackson for supporting me through another mad

obsession, and my work colleagues and CQUniversity for supporting my

involvement in this project.

figments of eliza

Documents

figments of eliza background

persona of eliza fraser

performance of figments

captain fraser

fraser island

emergent timber industry

timeline of events

grave of captain james