Colleen Z Burke, The Waves Turn: A memoir (Feakle Press 2016; for availability see here)
Colleen Z Burke is a Sydney poet whose work, as David Brooks says in his introduction to her Home Brewed and Lethal (1997), ‘has not received the attention and awards it’s deserved’. She is a poet of place, particularly inner-city Sydney and the Blue Mountains; a poet of domestic life, feminist and fiercely maternal; a historical poet, exploring the stories of working class Australians and her Irish heritage. I’ve blogged about a couple of her books (here and here) and our paths have crossed in a number of contexts. The word that comes to mind is ‘staunch’. The Waves Turn tells the story of her first three decades.
Colleen was born in the early 1940s into a tight working-class Irish Catholic community in Bondi, not a hundred miles or many years from the world of Ruth Park’s The Harp in the South. She was educated by the Sisters of St Joseph, whose treatment of their young charges in Colleen’s day would not have helped the cause of their founder Mary MacKillop’s canonisation half a century later. Leaving school at 15 to help with the family finances, she landed a public service job, but was already snatching moments to write poems and read widely. With a friend she dared to venture into Sydney’s bohemian milieu, but remained enough her mother’s daughter not to plunge into their pre-feminist sex and drugs lifestyle. From there it was small dramatic step into the thriving folk music scene, where she was courted by singer Declan Affley, whom she eventually married, and began to discover her deep connections to Ireland.
Declan’s personality dominates the second two thirds of the memoir, as they negotiate their relationship, travel together to North Queensland, to Melbourne and to Ireland and England, struggling to earn enough money to live on (mostly it’s Colleen who earns while Declan’s work as a musician is paid pathetically), joining causes, and making music. In an extraordinary range of contexts, almost in the shadows, Colleen finds a place for her typewriter and works away at her poetry. This was before the days of creative writing courses, and it was a lonely enterprise, requiring a heroic determination to hold to her own course against all expectations – from bohemians and folkies as much as from Catholics – that she would make a man the centre of her life.
In 1975, which is as far as the book takes us, Colleen was in her early 30s. She had finally gained a university degree, the first in her family to do so. Her mother had died, her first book, Go Down Singing, had been published in the feminist Khasmik Poets Series, and half a dozen of her poems were included in Kate Jennings’s landmark anthology of Australian women poets, Mother I’m Rooted. We know from occasional mentions that she will have children, and from her poetry that Declan will die young and unexpectedly, that there will be more hardship, so it feels as if the book just stops rather than coming to an end point. The final sentence reads:
And as waves turn I’m unsure what the future holds but look forward with anticipation.
Where some memoirs read like novels that claim to be factual, The Waves Turn is more like a careful accumulation of facts in which a story can be discerned. The image of an archaeological dig comes to mind: Colleen Z Burke has delved patiently into the layers of memory, brushed the dirt from the innumerable artefacts she found there, labelled them and arranged them chronologically. Sometimes, in talking about the folk scene for example, memory has almost certainly been helped by festival programs or similar documentation.
There were places where I found the accumulation of detail fascinating, such as the points of similarity between Colleen’s childhood and my North Queensland Catholic childhood half a decade later: the same bottles of milk curdling in the sun at school (why?), the same ‘worms’ made by Vegemite in biscuits with holes (which I read just the other day will soon cease to exist), the same songs of Irish nostalgia. In my 20s, I followed in some of Colleen’s paths: to the edges of the Push and the folk music scene, to protest against the US and Australian war in Vietnam, to the ferment of women’s liberation, to the stacks of Fisher Library at Sydney University (though in that case I was there half a decade before her) … the list goes on. There’s pleasure in recognising the names of people, streets and buildings, in being reminded of forgotten rituals (Oh, that’s right, on Friday nights people would ask, ‘Where’s the party?’). I don’t know how it would be for someone who hadn’t been there. They might do a lot of head-scratching (as with the passing reference to some Catholics not buying Sanitarium breakfast cereals) and skipping (as with the list of performers at numerous folk-music events).
An edition of the book that included footnotes on all the musicians and big personalities mentioned would be spectacular. I recognised only a handful, but if the ones I didn’t recognise were as interesting as that handful, each list of names in this book is a flag pointing to a trove of stories.
We do get the stories of Colleen and Declan, or rather many of their stories.
For example, Declan Affley is perhaps the only good thing in Tony Richardson’s 1970 movie Ned Kelly. (In a nostalgic moment, I recently downloaded ‘The Wild Colonial Boy‘ from the soundtrack – Mick Jagger reduces it to passionless rinkydink, but Affley’s tin whistle fights to give the song heart, and wins.) The book takes us behind the scenes, not to juicy celebrity gossip, but to how the film gave economic relief to Affley and Colleen, and how, having the rarity of a decent amount of money, they splurged on luxuries.
More than fifty poems are scattered through the book, many of them dealing with events or places that have just been described in prose. So, not just in general but very specifically, the memoir gives a valuable insight into the relationship of the poetry to the life, into things that can only be said in poetry. For example, towards the end of the book, Colleen is employed on a survey to assess the health and welfare needs of people in the suburb of Glebe. In prose:
The health/welfare survey had its limitations, all surveys do, but talking to people in the open-ended section, I gleaned interesting information about their lives. The diverse community included students, transients, pensioners, professionals and more affluent residents in wealthier parts of Glebe Point. We interviewed people from the Glebe Estate in houses owned by the Catholic Church. The Glebe Estate wasn’t bought by the Federal Labor government’s Department of Urban and Regional Affairs, under the radical leadership of Tom Uren, until late 1974.
And so on. In typing that out, I’m reminded of something that nagged at me, though it might be of no significance to most readers. Feakle Press clearly operates on a shoestring, with little money for professional copy-editing, and my blue-pencil finger twitches to fact-check and clarify. In this paragraph, for example: the Glebe Estate was owned by the Anglicans, not the Catholics; will readers from elsewhere understand the reference to Glebe Point (perhaps ‘more affluent residents who lived close to the water at Glebe Point’ would cover it)? is the government purchase relevant, or a distracting complication? But these editorial questions are beside the point here. Colleen then gives us her poem, ‘The questionnaire’, which I hope she won’t mind me reproducing in full:
walking through Glebe
these summery days
of nearly autumn
of nearly autumnI move
through street shadows
of paperthin _ March trees
Knock on doors
by young people
as spring to answer
But older rustier men
__mostly nod their heads
like old clocks
__listening somewhere else
___________warm as sunlight
___________caught in old brick walls
look at my papers
____________ my well-chosen words
then shut their doors kindly.
And clutching empty questions
I run home
through thin pools
of March trees
And we’re there.
The Waves Turn is the sixth book I’ve read as part of the 2016 Australian Women Writers Challenge.