Fate must have seemed cruel indeed, to those first Britons transported as convicts to Australia. The 15,900-mile voyage of the “First Fleet” from Portsmouth, England, to Botany Bay in New South Wales, took almost eight months – about as long as a manned flight to Mars would take today. Once the convicts and their guards arrived, they found an unfamiliar and seemingly harsh landscape where everything seemed to be the reverse of what they had known back in England. And yet, from such inauspicious beginnings, a great nation was born, as Robert Hughes makes clear in a book filled with equal doses of horror and paradox.
The Fatal Shore takes its title from an early-nineteenth-century convict ballad that chronicles the process by which convicts transported to Australia were “assigned” to free or paroled planters:
“The very day we landed upon the Fatal Shore,
The planters stood around us, full twenty score or more;
They ranked us up like horses and sold us out of hand,
They chained us up to pull the plough, upon Van Diemen’s Land.”
Author Robert Hughes, a well-known art historian, gained throughout his long literary and scholarly career a reputation for being a bit of a contrarian; and in his preface to The Fatal Shore he notes how, for many years, “Amnesia seemed to be a condition of patriotism” in Australia; in contrast to the justifiable pride with which Australians celebrated the heroism of ANZAC soldiers at Gallipoli in 1915, “there seemed to be so little in our early history to which we could point with pride” (p. xiv). Knowing full well that some Australians would resent his evocation of the difficult heritage that is the convict system, Hughes nonetheless stubbornly, and characteristically, forged ahead, working from his belief that “whether or not England should feel ashamed of creating the System, Australians certainly had cause to be proud of surviving it and of creating their own values despite it” (pp. xiv-xv).
The early chapters of The Fatal Shore not only chronicle the beginnings of the “First Fleet” settlement, but also set forth the world of Georgian England from which the convicts were sent – a world in which property rights often trumped human rights. A society-wide assumption that criminality resulted from a sort of genetic predisposition made it easy for affluent and powerful Britons of that time to conclude that the proper solution was a sort of “quarantine” – sending the country’s criminal element as far away from Britain as was humanly possible. The possibility that crime in Britain might have something to do with British society’s social injustices and inequities seems to have occurred to no one. The result of this way of thinking was the colonization of Australia; and Hughes’s verdict regarding the settlement of Van Diemen's Land (Tasmania) – “a muddled and squalid affair” (p. 120) – could also be applied with regard to the colonization of other areas such as New South Wales and Norfolk Island.
Hughes devotes considerable attention to the fine points of the convict culture that developed in colonial Australia. He focuses, for example, on the particular travails faced by women convicts, LGBT convicts, and Aboriginal Australians. The convicts included not only ordinary criminals but also political prisoners from Ireland, transported for resistance against British rule; the speaker of one ballad called “Moreton Bay,” about a convict settlement in modern-day Queensland, laments that “I am a native of Erin’s island, but banished now to the fatal shore” (p. 421). With brutal punishments – hundreds of lashes – being customary for those who violated the system’s strict norms, convicts learned to master the “government stroke,” doing just enough work to avoid drawing notice and punishment from the authorities.
And then there were those who escaped into the wilderness and became bushrangers, continuing in a practical manner their opposition to the system. Those readers who like stories of the “flash lads” of Australian history – tales of wild anti-heroes like Ned Kelly – will enjoy the saga of Matthew Brady, an outlaw who distinguished himself by his chivalrous attitude toward women, and who responded to Sir George Arthur’s posting of a reward for his capture by defiantly, and waggishly, posting a notice of his own: “It has caused Matthew Brady much concern that such a person known as Sir George Arthur is at large. Twenty gallons of rum will be delivered to any person that can deliver his person to me” (p. 232).
Among the many grim accounts of millions of lashes being meted out, of ever-more-severe and torturous punishments being designed by British officials who believed that the only way to deter crime in Britain was to make the name of Australia synonymous with absolute terror, relatively few sympathetic figures emerge. One is Lachlan Macquarie, the Scottish-born New South Wales governor who found that the “idea of Australia as a theatre of horror acted out for a distant audience was not to his moral taste”, and who was seen by faraway British officialdom as “too lenient because he, alone among the early governors of New South Wales, really thought about the rights of these prisoners” (p. 301). Another Scot, the British naval officer Alexander Maconochie, would emerge during his governorship of Norfolk Island as “the one and only inspired penal reformer to work in Australia throughout the whole history of transportation” (pp. 488-89). These exceptions aside, however, Hughes’s account of life in the penal settlements of N.S.W., Norfolk Island, and V.D.L. is, by and large, a grim and protracted litany of cruelty and horror, where colonial officials unleash their latent sadism in an effort to break the spirit of convicts, and convicts endure the unendurable because their spirit is all they have, and they are determined not to let that spirit be broken.
Hughes also shows how the Australian transportation system was presented in literature and art. Two of Charles Dickens’s novels have a strong Australian connection – David Copperfield (1850), where the improvident Mr. Micawber leaves England at novel’s end to make a new start in Australia, and Great Expectations (1860), in which Abel Magwitch, a transported-for-life New South Wales convict who has illegally returned to England, turns out to be the mysterious benefactor of the novel’s protagonist, Pip. More specific to the Australian convict experience is Marcus Clarke’s For the Term of His Natural Life (1872), a long and uneven novel that nonetheless conveys with vividness the horrors of the System.
I first read The Fatal Shore when it came out in 1986, a year before my first visit to Australia in 1987. I re-read it this year, while on my second visit to Australia. Much has changed in those thirty years, but the great and enduring spirit of the Australian people, and the beauty of the Australian landscape, remain unchanged. The always-controversial Hughes raised more than a few hackles when he published The Fatal Shore; some Australians seem to have felt that he was blowing the proverbial whistle, or airing too much metaphorical dirty laundry, in presenting in such detail the horrors of colonial Australia. Today, however, Hughes is honoured with a plaque on Circular Quay’s Writers’ Walk, in the heart of Sydney, and all is, to some extent, forgiven. And The Fatal Shore, now as then, provides a compelling look at Australia’s beginnings.