I've been remiss and given you nothing recently. I'm going to continue to be remiss for now. Fortunately, Perry Middlemiss has produced the goods without even knowing that there were goods to produce. He hasn't written
about Breaker Morant - he's found and posted on his blog an angry letter from Morant's lawyer, defending the man's reputation.Morant's case is one of those that we used to defend our Australianness in the early 80s. We were very defensive about our Australianness in the eighties. Also in the seventies. And the sixties. Maybe in the fifties. And possibly in the nineties. It was an important aspect of our very particular cultural cringe and we milked our defensiveness and self-awareness for all they were worth. There was a film about Morant in 1980 (starring Edward Woodward, which gives Harry Morant a direct link with the Babylon 5 universe, for those who keep track of such things) and then there was a film about Gallipoli in 1981 and then there were more films. Before that were also films (My Brilliant Career, for instance) and TV series (Rush, Seven Little Australians - both in the seventies). None of them were the country as presented by Hollywood. They were part of a strange shift in national consciousness. Four decades of cultural shift, expressed in national fervour on film. I've never considered it quite like that before.
I think I need to see all these again sometime, in chronological order. In the meantime, the Breaker's story is depressing but fascinating.
His poem while awaiting death is a lot longer than Ned Kelly's last words. Also rather uncomfortable politically, which makes sense since Morant was executed for war crimes. A friend and I loved that first stanza when we were in our teens and used it to excess. I'd half-forgotten:
In prison cell I sadly sit,
A d__d crest-fallen chappie!
And own to you I feel a bit-
A little bit - unhappy!