Les Murray’s ‘second funeral’ and his everlasting poetry10 May 2019
Les Murray will be farewelled today at St Bernadette’s Catholic Church, Krambach, just out of Bunyah. It will be his second funeral.
More than 20 years ago, Murray suffered an abscess on the liver and was in a coma for three weeks. Coming to, he discovered well-wishers had sent “a Spring-in-Winter love-barque of cards, / of flowers and phone calls and letters”. Waking to the nation’s love, which he’d “never dreamed was there”, meant everything to him. He called it his “State Funeral”. Now that he really has gone, the accolades have been even more numerous and good willed.
To be sure, some commentators have felt the need, in praising Murray, to indicate they were on the “other side” to him politically. What side would that be? Were they on the other side of Murray when it came to the working poor and marginalised? Were they on the other side to his advocacy, long before it was fashionable, of Indigenous Australians? Were they on the other side when he called out – long before anyone else – the problem of schoolyard bullying and its reverberations through the culture?
“Nothing a mob does is clean,” Murray believed. That was the main thrust of his politics. Like the eponymous hero of his remarkable 1998 verse novel, Fredy Neptune, Murray would often step in to protect individuals from a mob, even if he disagreed with them. In an era of “Safe Schools” programs, this is a lesson that should be part of the curriculum, and there is no better way to teach it than through the work of our greatest poet. But there are, of course, many good reasons to encourage the young to read Murray. Indeed, there is an obligation on our schools and universities to do just that.
When I was 16, my father handed me a copy of the 1983 collection The People’s Otherworld. I was confronted by the brazen dedication to the Glory of God, but I was even more challenged by the language itself: “Flashy wrists out of buttoned grass cuffs, feral whisky burning gravels, jazzy knuckles ajitter on soakages… migrating mouse-quivering water.”
A year later, my interest was fostered by John Watkins, later deputy premier of NSW, who introduced his Year 11 English class to the early poetry, including Driving through Sawmill Towns, Spring Hail and An Absolutely Ordinary Rainbow. The difference between these poems and the more mature ones was stark, and intriguing. How to account for it?
Honestly, I was a slow learner. When I first encountered them I could make little literal sense of the more mature poems, but I felt their electric charge and kept returning to them, year after year, delighting when something suddenly became clear. The last line of the poem, Shower, for example: “Only in Europe is it enjoyed by telephone.” What on earth was he talking about, I wondered for years, until I took a shower in Italy in 1997 and lifted the shower-head with its trailing cord from its fitting: a telephone!
I taught this poem to undergraduates over 10 years in an Australian literature course. Their reaction to the closing line was more often than not the same as mine had been, but I couldn’t bear to make them wait as long as I had to to discover its meaning. I can still see their smiles of recognition when they “saw” for the first time what Murray was describing.
And when I see them in my memory, it is another poem of Murray’s that captures their reaction: “Streaming, a hippo surfaces / like the head of someone / lifting, with still-entranced eyes, / from a lake of stanzas.”
We owe it to every student in Australia’s schools and university English departments to give them this experience.
Stephen McInerney is executive officer (academic) at the Ramsay Centre for Western Civilisation and author of The Enclosure of an Open Mystery: Sacrament and Incarnation in the Writings of Gerard Manley Hopkins, David Jones and Les Murray.
Article published in The Sydney Morning Herald 10 May 2019