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Figments of Eliza
By Sue Davis
‘Food gatherer’ by Judith Laws
Figments of Eliza
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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
Page 3
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
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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
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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
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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
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“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
Page 8
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
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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
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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
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“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
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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
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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
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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
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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
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