Stay

I stepped through the looking glass,

Walk on by, just a sweeping glance.

Never cared for wasted hours I amassed.

I’d pick up all my longing, and regret,

Heading to a new day, without relent,

And take the lie of my content

Wherever that I went.

I was stuck in my old ways

And let-down days.

But now I’m here, caught in the grey,

I know that I can be.

I know that I can be.

Stolen moments, fear and joy.

So suddenly, so easily, I see,

What’s been right in front of me.

And I can finally say,

I think that I can stay.

I think that I can stay.

Maybe I have lost my way,

And maybe I could fly away

But now that I can only see the grey,

I take a step to you and say,

That I could finally stay. 

I’d pick up all my longing, and regret,

Heading to a new day, without relent.

I’d take the lie of my content

 Wherever that I went.

I was stuck in my old ways

And let-down days.

But now I’m here, caught in the grey,

I know that I can be.

I know that I can be.

Stolen moments, fear and joy.

So suddenly, so easily, I see,

What’s been right in front of me.

And I can finally say,

I think that I can stay.

I think that I can stay.

Somehow, my defenses

Will just wear away.

And now I’m standing in today.

Chasing all my demons far away.

I was stuck in my old ways

And let-down days.

But now I’m here, caught in the grey,

I know that I can be.

I know that I can be.

Stolen moments, fear and joy.

So suddenly, so easily, I see,

What’s been right in front of me.

And I can finally say,

I think that I can stay.

I think that I can stay. 

Emma Miller (1839 – 1917)

Emma Miller, otherwise known as “Mother Miller” was an Australian revolutionary. She was a seamstress, suffragette, a leader of women and avid supporter of trade unions.

Born in England, Emma migrated to Queensland in 1879, bringing along populist ideals that would change Australia forever. Throughout Emma’s life, she was an active promoter of women, workers’ rights, and the idea one vote for every person. Emma was a small woman, yet her spirit and determination were larger than life.

As a prominent member of Brisbane’s Free-thought Association, she was an unyielding campaigner for equal pay and the rights of the working class. It was there, she gained her reputation as a bold radical thinker.

She also developed a name as a strong and charismatic public speaker. She was invited to speak at numerous public meetings on women’s suffrage. In 1890, Emma took the initiative of creating the first women’s union in Brisbane.

Being a tradesperson herself, Emma gave evidence at the Royal Commission into Shops, Workshops and Factories in 1891. “Back in the day,” women workers commonly received less pay and were subject to harassment. Times certainly have changed, haven’t they?

Emma was elected president of the Women’s Equal Franchise Association (WEFA) in 1884. Emma was a woman before her time, believing that gender inequality and class were overlapping issues. However, many disagreed with her, believing that the exploitation of the working class was a separate issue to the poor treatment of women.

Meanwhile, the upper class continued to rule the country. Farmers were entitled to a vote for each of their properties. And the rich farmers would buy, or inherit multiple properties.

Emma continued to campaign for one vote for one person, and that included women. Something that was predictably unpopular with the elites. The Telegraph newspaper called Emma and the others members of WEFA “autocratic,” and accused them of “hijacking the Labor Party.” It’s one good example of the past echoing conflicts in the present day.

Emma would accept nothing less than complete fairness in Australia’s voting system. And in 1904, women in Queensland were the right to vote in federal elections. Emma took another step in advancing equality one year later. She became a member of the Brisbane Political Labor Council. Emma had fully gained the esteem of the male-dominated organization.

Emma Miller's statue at King George Square
in Brisbane

But the battle for equality continued. After members of the Australian Tramways Association were sacked for being members of a union, the historical General Strike of 1912 began.

At 72-years-old, Emma played a pivotal and notorious, role in the protests. On 2 February, which would go down in history as Black Friday, protesters were denied permission to march that day. Still, Emma organised the 300 women who had come to protest, and they moved forward. When the police couldn’t stop the strike, they resorted to violence, lashing out at the women with their batons.

Emma fought back with only a hatpin. She stuck it into the rear end of the Police Commissioner’s horse. The Commissioner soon found himself on the ground, thrown from his stead in a very undignified manner! Emma’s actions that day were celebrated by her friends and fellow unionists as a victory against the oppressive authorities. 

Even after being diagnosed with cancer, Emma remained active. During WW1, Emma joined the committee for the Anti-Conscription Campaign and often gave speeches on the need for peace.

In 1917, Emma passed away after a long struggle with cancer. On the day of her death, Trades Hall flew the Australian flag at half-mast in honour of Emma activism. Fiercely protective and brave, Emma Miller was called the “Mother of the Labor Party.” She was a tireless campaigner for the downtrodden and working class, making her story one that needs to be told now.

Women in Australian History: Fanny Cochrane Smith

The aboriginal population in Tasmania is barely existent today. Colonialism either killed or drove away the Palawa, which translates to Tasmanian Aboriginals. Fanny Cochrane Smith was officially the last Indigenous Australian in Tasmania. Her voice carries the only records of the Palawa people.
Abducted in early childhood, Fanny endured abuse and the systematic attempts to indoctrinate her and her family into Western beliefs. Fanny’s mother and father, Tanganutura and Nicermenic were sent to Flinders Island, where their lives were ruled over by Rev. George Augustus Robinson and the other religious authorities. 
Fanny was born at the Wybalenna establishment on Flinders Island. There are no records of Fanny’s original name. Reverend Robinson chose Anglo names for all the children on the Island.  
However, she still had a connection to her culture, that lasted throughout her life. Fanny’s parents and the other Aboriginals on the island often escaped into the bushlands. Away from the Colonial authorities, they would perform the dances of their people, told stories of the Dreamtime (creation tales) and sing their traditional songs. 
Likely fearing this connection, the religious authorities removed Fanny from her parents care at only five-years-old. She was forced to live with Robert Clark, the preacher at Wybalenna. 
Judging the spirited Fanny as too unruly and independent, Clark sent Fanny to an orphan school in Hobart when she was eight. There, she was taught domestic skills and subjected to harsh punishments for refusing to throw away her culture. She was returned to Wybalenna at thirteen and continued to work for Clark and his family. He kept Fanny in squalor and beat her whenever she rebelled. 
Thankfully, Fanny would eventually escape from her life as a domestic servant. In 1847, the Wybalenna settlement was closed down. The 46 survivors, including Fanny and her family, were relocated to Oyster Cove in the south of Hobart. After many years of forced separation, she was finally able to live freely with her family and community. 
Fanny married an English sawyer and ex-convict in 1854. William Smith was a dependable hardworking man, who was sent to Australia after making the mistake of stealing a donkey! 
The two developed had a deep respect for another and developed a strong partnership. Wanting to provide a safe haven for the downtrodden, Fanny and William started a boarding-house in the centre of Hobart. 
Fanny’s brother, Adam frequently stayed with them, along with the rest of her people from Oyster Cove. Fanny worked to ensure her boarding house was one of the few places her people could find refuge.
When Adam passed away in 1857, Fanny and William moved to Oyster Cove, so Fanny could be close to her mother. She also opened the doors of her home in Oyster Cove to her people whenever they needed somewhere to stay. 
Fanny welcomed her friend Triganini into her home, who is often, mistakenly, recorded in history as the last of the Tasmanian Aboriginals. However, that title fell on Fanny’s shoulders when Triganini died in 1876.
After the loss of Triganini, Fanny felt the weight of an entire culture’s legacy rested on her shoulders. With an ever-pressing need carry on her people’s culture and beliefs, Fanny performed the songs and dances of her people for the public. 
In recognition of her status as last Aboriginal, the Tasmanian government granted her 300 acres (121 ha) of land. Fanny spent the rest of her life there. 
Fanny spent her life navigating between the European world, and the world of her people. As a devout Methodist, Fanny hosted an annual Methodist picnic. People would come from all over the country to see her perform the Palawa songs and dances.
In 1899, she shared the songs of her people at a concert held in her honour. Out of fear they’d be lost forever, Fanny recorded the Palawan songs on wax cylinders. When not performing, Fanny spent her time on the land diving for shellfish, hunting, and basket weaving.
Throughout her life, Fanny experienced great brutality and witnessed the subjugation of her people. Her passionate voice that proudly carried the language of her people, remains in the Tasmanian Museum and Art Gallery. Today, it is the only known recording of the Palawan language. 

Trump White House Greenlights FCC’s Repeal of Net Neutrality

A Night with Dicken's Women and Miriam Margolyes

Miriam Margolyes’ engaging and witty one-woman show, “Dickens Women,” is a revealing portrait of one history’s greatest writers. The play begins with the calming piano introduction of John Martin. However, it is abruptly interrupted by Miriam Margolyes who bursts on stage as the hilarious, alcoholic nurse, Sarah Gamp from “Martin Chuzzlewit.” From there, Miriam Margolyes chronicles Charles Dickens' life and pays homage to the women in his writing.

Miriam Margolyes’ passion for Dickens’ work came out in every character she portrays. However, her aim was to “oblige” his daughter Kate, who wished that the great author be presented as more than his common public persona of a "jolly, jocose gentleman." Margolyes takes note of Dickens' fixation on seventeen-year-old girls. She explains that it stemmed from the death of his sister-in-law, Mary Hogarth, who died in his arms at the age of seventeen. I was impressed when Margolyes candidly declared, "I find them all rather icky, actually ... for obvious reasons." Magroyles enacts a scene between little Nell, one of Dickens’ many seventeen year-old-girls, and Mrs. Jarley from “The Curiosity Shop. ”The writing contains the same quirkiness and clever word play Dickens was famous for, while treating the women in works with more dignity and complexity.

In her attention-grabbing Oxford accent, Margolyes describes Dickens’ early life of poverty, and his interactions with the older women around him. He held grudges against the women who had mistreated or rejected him in youth. As a result, he would create unpleasant characters based on them, such as the cold intimidating Estella. However, the best part of the play is when Margolyes is putting her own twist on Dickens’ characters, effortlessly changing her accent and entire persona. Her rapid-fire movements from one seat to the other as she played both the awkward Miss Corney and the crude Mr. Bumble from “Oliver Twist” are a joy to watch. Her use of pitch and language brought to life on stage, characters that Dickens first gave life to on the page.

Charles Dickens 

Miriam Margolyes also captures the depth and pathos in Dickens’ work as well. As she read excerpts from “Great Expectations,” Pips first and second meeting with Miss Havisham, her performance is haunting and mesmerizing.

Her most intense monologue was that of Miss Wade from Little Dorrit and Miss Flyte from Bleak House. Margolyes captures a world weariness and cynicism in the lonely Miss Wade, and the desperate sense of longing in the confused elderly spinster, Miss Flyte. Miriam Margolyes has the ability to bring characters to life in a way that you momentarily believe different people have appeared on stage.

Miriam Margolyes’ confidence and power on the stage especially shine through during these scenes. Margolyes captures the charm; quirkiness and poignancy that have made Dickens’ work so enduring. It renewed my appreciation for the talents of both Charles Dickens and Miriam Margolyes.

Cartoonish

I see the term “cartoonish” among movie and literary critics so often, I’m starting to feel that it’s losing  meaning from overuse.

When depicting a story based on real events, critics will call its authenticity into question if a person in the story is too kind, or too terrible. Unrealistic and exaggerated traits happen in fiction; real life people also can, and often do, come in extremes. The criticism, cartoonish, loses weight when you consider two things. One, that Donald Trump exists, and two; the secondary players in a narrative about a real person’s life must be restricted to an easily identifiable role.

 For example, in Eddie the Eagle, the officials who want to deny Eddie’s entry into the Winter Olympics, are the stuffy and arrogant road blocks in the way of Eddie’s dreams. Were these men more than just haughty snobs too set in their ways to encourage something new and unusual?  Of course, they were. They had their own histories, and families. However, they are reduced to the role of conservative naysayers because that’s the role they played in Eddie’s story.

The fact is, we all project an image that might make us seem two-dimensional to the people we meet throughout our own story.  We might play the role of boss, tired check out attendant, ruffled customer or patient teacher. Sometimes, you need a character that approaches caricature to highlight the main character’s story. The key thing is to ensure that you central characters are well-rounded, so their interactions with the other characters feel real.

Hidden Figures

Yesterday, I saw the critically acclaimed film based on a true story, Hidden Figures. Set during the space race between the USA and Russia during the 1960s, the film focuses on the lives and achievement of three African-American women Katherine Goble, Dorothy Vaughan and Mary Jackson.  This is the untold story of the brilliant minds behind some of the greatest achievements in NASA, including sending astronaut John Glenn into space.

Bold and honest, Hidden Figures is a story with genuine heart and an impassioned message. The audience is introduced to Katherine Goble as a girl with a gift for math and infinite potential in the field, before propelling us into the movie’s main timeline.  Katherine and her co-workers social limitations are referenced lightly as they make quips about their forced position at the back of a bus.

The adult Katherine is performed with striking intensity by Taraji P. Henson, drawing a sense of empathy from the viewer as she stumbles through an often hostile work environment.  Montages such as Katherine’s daily, half a mile walk from her workplace to the “coloured bathrooms” highlights the everyday inequalities in society.

The prolonged effort and hurt conveyed in Taraji Henson’s acting, results in a powerful release challenging the people around her not to unthinkingly accept these policies. The frequently repeated phrase, “that’s just the way things are,” is challenged in many ways throughout the movie. The film isn’t the least bit subtle about drawing parallels between NASA breaking down scientific barriers, and these women breaking down social barriers. However, the movie tells this little-known story with such passion, that its directness is actually welcome.

From left to right: Janelle Monae, Taraji P. Henson and Octavia Spencer

Towards the end of the movie, the pace starts to lag somewhat because of a heavy focus on the technical aspects of the NASA flights. However, the touching and fun dynamic between the three leads keeps the audience engaged. Octavia Spencer portrays the unbendable Dorothy Vaughan with quiet self-assurance. Singer and newcomer to the silver-screen, Janelle Monae brings a wit and strength to potential mechanical engineer Mary Jackson.  Together with Taraji Henson, they move the plot forward with determination and smarts.

Hidden Figures is a no-nonsense, bold and uplifting tale that brings to light the struggles and achievements of people who were treated with little dignity or respect. This movie is looks at a time in the past, but is still painfully relevant. It’s a powerful cinematic experience, and I highly recommend it.