In the days after the country trains had moved from the Railway Station to Keswick, but before the passenger trains from Port Pirie had been cancelled, I sometimes caught the train back and forth on weekends and during uni holidays.
Just before the trip ended, the train would snake past the gaol. From the train, I could never properly place the gaol's location. I didn't know much about the western side of the city, and so there were no landmarks I understood. I looked at it in much the same way I had looked, as a child, at the Goodwood Road Orphanage. Looking for wan faces to appear above walls or from windows, or for a message in a bottle to be flung from those same walls or windows, or to see some Fagin-like creature hiding in the trees.
Too much post-war children's literature.
Given that the gaol closed in 1988, and I only moved to Adelaide in 1987, I can't have trained past it too many times. Maybe it was only once. But in twenty years, I haven't forgotten the short-film feeling as the train moved slowly past.
Driving to the gaol during the past school holidays, I understand that the gaol is part of our famous, endlessly-discussed parklands, so follow my nose to the end of West Terrace, turn left down towards Port Road then miss the turn off. Too busy marvelling at the other weird sites. The traffic school. The police horse paddocks. So round the block and here we are. My boys and me.
I have read that the average age of prisoners ranged from 18 to 22 years.
My boys - aged seven and five - are excited to be here. They play endless games of 'under-arrests' and 'locked in jail'. That's why I've brought them here. To try and show them some of the complexities.
Built in 1841. Through that white door is the Sally Port which is a beautiful word for main entrance. These days, you go in through a door that's just to the left of the Sally Port.
I doubt my mothering instincts as soon as we're inside. You enter this gaol one group at a time, so we must wait until the family in front of us finishes at the first listening post. While we wait, my boys stand on their toes and crane their necks to look in the displays. Displays which show weapons fashioned from toothbrushes, forks and combs.
After we've walked through the visiting room,
we go into the doctor's surgery and my children hold my hands and my eldest boy says 'let's go out of here...this is freaking me out'.
They see it all through children's eyes of course and at the canteen say 'there's not many healthy choices there'
and at the telephone 'really, is that really a phone, how does it work'.
Here's the library
and a room that looks like the rooms we had at my school:
There's things that I don't tell my children or let them see. Like the room filled with grafitti and pasted with warnings about explicit material. I tell them 'it's not suitable for children. My youngest boy says 'why can't we look, why can't we' but my oldest boy says 'don't tell me anymore about that room'.
We walk past the tower where people were hanged and I (somehow) stop them from reading the sign. Gallows. That's right, they're called gallows.
I do point out the places where these people were buried, their places marked with their initials and date of execution. I want my boys to stop running and skipping. It doesn't feel right.
Honeycomb bricks make a noise as they collapse. It's a much more poetic solution than barbed wire.
There might be other trees visible from inside here, but these are the only trees I saw.
Saturday 9 August 2008
Friday 8 August 2008
Thursday 10 July 2008
The Sign
I'm not really too fussed about how much money the flirtation with Carnegie Mellon did or didn't cost us. Not every risk pays off.
But what does shit me off is this number. And their sign.
Not to read too much into signs, but this 220 could stand as a symbol for how I live in Adelaide. Always, just slightly to the side.
The Torrens Building, at 220 Victoria Square, was, back in the 90s after many years of standing empty and many years of negotiations, co-habitated by a bunch of community organisations and NGOs.
It could have been great. As is the way with a great many things. But all sorts of things made it a hard building in which to reside. No signage was one of those things. Can't we just have the number displayed we tenants asked the landlords (which was, to all intents and purposes, the government).
No. This building is heritage listed. Don't mess with its facade.
And I get that, I do. But do you know how hard it is to explain the address of a building on Victoria Square. Do you know where the State Admin building is? We're next to that. No, that's the Treasury Building. The other side. Yes, opposite the Cathedral. That's it. No, there's no sign. No number.
We were community organisations. With volunteers.
And then, as soon as Carnegie Mellon moved in. A number. And a sign.
But what does shit me off is this number. And their sign.
Not to read too much into signs, but this 220 could stand as a symbol for how I live in Adelaide. Always, just slightly to the side.
The Torrens Building, at 220 Victoria Square, was, back in the 90s after many years of standing empty and many years of negotiations, co-habitated by a bunch of community organisations and NGOs.
It could have been great. As is the way with a great many things. But all sorts of things made it a hard building in which to reside. No signage was one of those things. Can't we just have the number displayed we tenants asked the landlords (which was, to all intents and purposes, the government).
No. This building is heritage listed. Don't mess with its facade.
And I get that, I do. But do you know how hard it is to explain the address of a building on Victoria Square. Do you know where the State Admin building is? We're next to that. No, that's the Treasury Building. The other side. Yes, opposite the Cathedral. That's it. No, there's no sign. No number.
We were community organisations. With volunteers.
And then, as soon as Carnegie Mellon moved in. A number. And a sign.
Monday 16 June 2008
A memory
The saddest thing I ever saw is not the children's graves.
Marble tombstones. Flowers, teddies, whirligigs. Crayon drawings, handwritten notes.
Though that is sad enough.
But the saddest thing I ever saw is the marble tombstone.
Flowers, teddies, whirligigs. Crayon drawings, handwritten notes.
And the father's name scratched off.
Marble tombstones. Flowers, teddies, whirligigs. Crayon drawings, handwritten notes.
Though that is sad enough.
But the saddest thing I ever saw is the marble tombstone.
Flowers, teddies, whirligigs. Crayon drawings, handwritten notes.
And the father's name scratched off.
Sunday 15 June 2008
signs
hindley street
My children say 'can we stay in the car and read?' and I say 'no'.
My biggest boy says 'how does that shopkeeper know your name?' and the shopkeeper says, as he hands me my book and my magazine, 'she comes in here a lot'.
I say 'shall we get a CD' and after we'd tried all of the ones on the listening post, we bought the B52s.
My youngest boy says as we pass the men (young and old) sitting at outside tables, inhaling things from hookah pipes of silver and glass 'when I'm an adult, that's what I can do' and I open the car and say 'let's go home, I have to start the tea'.
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