A CRITICAL BIOGRAPHY OF EDWIN JAMES BRADY - Mallacoota ...

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Explaining the term to another friend, Brady stated Daley’s definition and his
statement that the quality went “with a click of the right finger and thumb”. The two
writers also agreed that Esson wrote the type of prose which entitled him to fraternal
regard and concluded that if he came to Sydney he should be given membership in the
Dawn and Dusk Club, the Supper Club, the International Socialist Club, and admitted,
upon a small payment “to the free companionship of The Hole in the Wall” – honours
extended “only to the very elect.” 1
Soon afterwards did meet Esson, whom he described to Quinn as a little man with
keen eyes, dark curly hair, bright and humorous conversation and “the first Scotsman
with an Irish temperament I had ever discovered”; to this intelligence Quinn replied
that Scotland had once been an Irish colony. On closer acquaintance with Esson,
Brady concluded that “his genius would never lift him in this country to great heights
of popularity; but he would make a valuable contribution to its literature”, and this is a
brief summation of Esson’s position.
Whenever they met, Esson and Brady argued about literature, often to the disgust of
their wives, and frequently into the small hours of the morning. Brady recalled Esson,
always with affection, as a tolerant, sympathetic and gentle man. At least one play
(“Dead Timber”) was written at Mallacoota with Brady’s encouragement. It was
Esson who introduced Yeats to some aspects of Australian literature, writing back to
Brady and giving the Irishman’s opinions. This was probably the source of Yeats’
comments upon Quinn’s “The Camp Within the West”. Esson tried to persuade
Brady to join him in England in the 1920’s, regarding conditions there and in the
United States as better for writers than in Australia, 2 but Brady came to the
conclusion:
The maximum literary effort in Australia could only bring a minimum of
return in fame and finance. The maximum elsewhere might bring – anything
that lies within the horizon of a writer’s wishes. But this meant leaving the
land of one’s birth – shaking the dear dust of Australia from one’s shoes,
putting behind one, perhaps for ever, the blue ranges, the brown plains, the
green jungles and the singing creeks. It meant that one would listen vainly in
the morning for the carol of the magpie, and hear no more the kookaburra’s
guttural laugh at eve. 3
How often, in future years, Brady regretted this decision not to go overseas is hard to
say. Certainly the reasons given are purely romantic, would not have stayed the hand
of a writer thoroughly immersed in his art; and one suspects that the words covered an
inertia and apathy which he wished to rationalise. He was also urged to emigrate by
James F. Dwyer, a short story writer and novelist who found success in America and
whose book, Leg-Irons on Wings Brady reviewed in Meanjin. 1 This was an interesting
review, for Dwyer had been in prison, had smuggled out some prose and verse he had
written there, and was fortunate enough to have it reach Archibald’s hands. There is a
poignancy when the effects of this publication upon its author is detailed; when he
realises that he is no longer merely “number ninety-eight” but a man with another
identity – a prospective member of society again. Dwyer went on to achieve
considerable success with his publications, and considerable wealth also, visiting
Australia on several occasions and usually contacting Brady on these visits.
1
“Memories and Impressions: E.J. Brady” in Louis Esson, The Southern Cross and Other Plays
(Melbourne, 1946), p.215.
2
Esson to Brady, 19.1.1921, in Mitchell Library.
3
“Literary Mateship” manuscript in National Library.