Monday, August 27, 2012

H.M.A.S. SEA MIST & The Attack on Sydney Harbour :: Re-discovering a Piece of Aussie (and Family) History…


"H.M.A.S. Sea Mist" on patrol, circa 1942..

I recently stumbled upon a little ship that has an amazing history; having a place in both Australian wartime and maritime history - as well as my family’s…

I was out treading the boardwalks at the Royal Queensland Yacht Club in Manly, doing some R&D for a project I’m working on; and as I came to the end of the long spit that runs to the mouth of the marina and opens out into Moreton Bay, a few bays into the last jetty, I saw a classic, low profile “bridgedeck” timber rig in one of the larger berths.  I went for a closer inspection and the name on the stern revealed “Sea Mist” – I knew of her well…

My uncle had owned Sea Mist in the 70’s and early 80’s, at which time it was based at Southport.  My parents had some fond memories of being aboard her.  But the beautiful 65 foot cruiser, built and launched in 1939 by the famed Lars Halvorsen & Sons (“Halvorsen”) of Neutral Bay, had an incredible history before that – and if her timber gunwales could speak, they would tell a great story…  For it was Sea Mist that had sunk one of the Japanese Midget submarines in Sydney Harbour on that fateful night and morning of 31 May / 1 June, 1942   

"Sea Mist" tied up near Customs House, Brisbane - 1979





























I had known a little bit about Sea Mists's involvement in the famous "Attack on Sydney Harbour", through my family, but seeing her again prompted me to dig a bit deeper - and I discovered a wealth of literature on this very historic and symbolic moment, in the arrival of the war to our shores..

The mere fact that the Sea Mist found herself in this position was quite remarkable…  So scant and minimal was Australia’s naval resources at the time of World War II, the Government, realising it had to bolster its fleet, requisitioned a number of larger, privately owned pleasure vessels from their owners  for service, to “prop up” its forces.     

Sea Mist was hardly built for combat.  It had originally been commissioned for the founder of “Meadow Lea” food products, businessman Oliver Triggs (the first person in Australia to manufacture table margarine).  Sea Mist was said to be the very last boat that the revered boatbuilder Lars Halvorsen  - the Norwegian immigrant and original founder of Halvorsen - had a hand in designing, before his passing in 1936. 

It was commandeered by the Royal Australian Navy in 1942 - when Japan entered World War II - and was acquired for 4,000 pounds; a bargain price considering its Lloyds valuation of 5,500 pounds...  There was apparently some haggling around this, but ultimately, Sea Mist became one of "Her Majesty's Australian Ships" as part of what was known as the Navy Auxillary Patrol (NAP).

HMAS Sea Mist (Q10) was subsequently re-fitted accordingly; with a .303 Vickers machine gun on the bow, windows “blocked in”, various other artillery and armour, 4 depth charges and a military paint job.  With the other large pleasure-come-patrol boats, including several other Halvorsens, Sea Mist became part of what was affectionately referred to as the “Hollywood Fleet” – charged (in part) with the defence of Sydney Harbour. 

To its advantage it was long, “lean” and reasonably fast - for a displacement hull – and built well.  From a distance, in profile, it could be mistaken for one of the legendary 80 foot American PT boats - but it couldn't go anywhere near the 42 knots those "giant killers" could - nor did it have anywhere near the arsenal - the PT's being, pound for pound, the most heavily armed boats in US military history...

However Sea Mist was to "punch above its weight" in the attack on Sydney...


The Attack

Warning signs that an offensive by the Empire of Japan was being planned for Sydney had been existent for sometime.  A submarine attack off Newcastle; reconnaissance flights over Sydney by Japanese sea planes; and New Zealand intelligence that there was an enemy unit 40 miles east of Sydney, being among these...  Further, the British Admiralty had failed to report a submarine attack on a harbour in Madagascar, just hours before.

Nonetheless, there was no extra or special vigilance on Sydney Harbour on the evening of 31 May.  It was a Sunday night with the typical "end of the weekend" atmosphere.  It was rainy, overcast and cold.  There was plenty of movement around the city, with people making their way home and there was hustle and bustle in the areas populated by sailors - there were reportedly over 80,000 US Servicemen in Australia at the time.

The floodlights were on at Garden Island and there was a hive of activity on the harbour, with vessels coming and going and ferries doing their usual runs.  Indeed the harbour was full of ships - more than at any other time of the war, with over 30 naval vessels and several large commercial ships.

The sun went down at 5pm and an air of calm descended on the harbour - the calm before the storm -  for just outside the heads of Sydney Harbour, three of Japan's largest ocean going I class submarines were launching three potentially lethal Ko-hyoteki-class"midget" submarines on the unsuspecting city, with a further two submarines in support and a total of 500 Imperial Japanese navy personnel in total.  Their mission was to inflict as much damage as possible on major allied ships.

The three midget submarines, the M24, M21 and M27, were released from the three larger submarines - two of which had launched midget submarines into Pearl Harbour in the famous shock attack, just six months previous.  Each of the midgets were 24 meters long (80 foot) with a two member crew, two torpedoes and with a 12 hour range, submerged.

The Japanese had intended to destroy several major warships moored in the harbour;  among these were the three major, heavy cruisers, the USS Chicago, HMAS Canberra and the HMAS Adelaide; along with several other destroyers, minelayers, corvettes and armed merchant cruisers.

USS Chicago
The M27 entered Sydney Harbour around 8pm, but became fouled in the partially constructed anti-submarine boom net, near Watson's Bay.  They were noticed by surface craft and, realising escape was hopeless, its two crew committed suicide and used a scuttling charge that destroyed the front end of the sub.

The M24 was not so unlucky - following a Manly ferry through the boom defences - it recorded inward crossings on an "indicator loop" at 9:48pm.

At 10.50pm an Ensign aboard the large warship, the USS Chicago, saw the M24's periscope 500 meters away.  He opened fire with his .45 pistol before the submarine was illuminated by the Chicago and then subjected to a torrent of shells, both from the Chicago and other corvettes - which proceeded to pursue the intruding submarine around the harbour, much to the shock of passengers on small craft in the vicinity.  The submarine submerged to escape attack.  Despite the potential danger to civilian craft, remarkably, ferries were allowed to keep running; Rear Admiral Muirhead-Gould believed:
"...the more boats that were moving about at high speed, the better chance of keeping the submarines down till daylight."
Avoiding its pursuers, at 12.30am, M24 re-surfaced and took aim at the USS Chicago.  It fired its torpedoes.  The first went astern of the Chicago, passed under the Dutch submarine K9, and slammed into the HMAS Kuttabul, a converted ferry come accommodation vessel.  The torpedo ripped through the Kuttabul, exploding it in two and sending large chunks of its hull skyward in a thunderous concussion.   Twenty-one (21) sailors were killed, with a further ten injured.  (The ultimate retrieval of the corpses took some time and was one of the more confronting scenes of the war on the domestic front).


HMAS Kuttabul... sunk by the Japanese.  21 people perished.
It was several days before they could all be recovered.
The second torpedo ran aground at Garden Island, but failed to detonate.

Unexploded torpedo from the Japanese midget sub, M24
In the chaos that proceeded, three of the big ships made ready to exit the harbour.  Rear Admiral Muirhead-Gould issued a message:
"Enemy submarine is present in the harbour and Kuttabul has been torpedoed."

The channel patrol boats were dispatched.  "Tomaree" to the East boom gate.  "Steady Hour", "Lolita" and "Yarroma" were sent to the boom.  "Marlean" and "Sea Mist" were sent to the West.

M24 made its way for the heads - a crossing was later identified at 1.10am - one and a half hours after firing its torpedoes...  At 3am the Chicago left the harbour and as it was leaving, it identified a periscope, almost alongside.  The M21 was making a belated entry...  The Chicago signalled Garden Island:
"Submarine entering the harbour."
There was now a concerted effort to find this and any other midget submarine in the harbour.

For several hours there had been pandemonium - sirens were sounding, searchlights, flares and tracer fire arced overhead.  There were so many navel vessels swarming across the harbour and such frequent explosions of depth charges and gunfire, it was somewhat miraculous there were no collisions or accidents...

It is reported that Sydneysiders displayed a variety of reactions to the action.  Some went about their business - others hurried to the nearest air-raid shelter, while others still rushed to the nearest vantage point to see what all the commotion was about...

For the next two hours, there were intermittent sitings near Taronga Zoo and Bradley's Head, but it wasn't until 5am that M21 was discovered by "Sea Mist", in Taylor's Bay.
A rare photo believed to show one of the depth charges being
dropped in the harbour on the morning of 1 June, 1942.

Sea Mist confirmed the object as a submarine and dropped a critical depth charge into its frothing wake, set for 30 metres.  This blew the midget submarine to the surface.  Attacking again as it sunk, Sea Mist's captain, Lt Andrew dropped a second bracket of shallow-set depth charges, set at 15m, which only allowed his boat 5 seconds to clear...  It didn't quite make it - lifted by the stern by its own explosion, Sea Mist's engines were disabled.  In the process, however, it had floundered the Japanese sub.

While Sea Mist was out of action, the damage was done - the attack had brought the invading Japanese to peril.  Not to be outdone though, "Steady Hour", the 56 foot Halvorsen, picked up where Sea Mist left off, continuing the assault and with other angry patrol boats joining it soon after, a further 17 depth charges were dropped on the wrecked sub.  Crippled and laying on the bottom with its engine still running, the two Japanese crew members were dead.  They had been unable to detonate the submarine's internal demolition charges...

HMAS Steady Hour - another Halvorsen - came to assist Sea Mist.

Midget submarines M27 and M21 were subsequently salvaged from the harbour in the days after the raid:  M27 from the anti-submarine netting and M21 from Taylor's Bay.  Their four deceased crew were cremated with full military honours and their ashes returned to Japan.  However the whereabouts of M24, the sub that had sunk the Kuttabul, remained one of the great wartime and maritime mysteries - until very recently...

The M21 midget submarine is retrieved from Taylor's Bay
M27 trapped in netting during recovery
Japanese Midget Sub on 3 June, 1942.


For over 60 years the final resting place of M24 was unknown.  There were many theories about what might have happened to the missing submarine and many alleged discoveries.  It was not until November 2006, that a group of weekend divers, the "No Frills Divers", located the still intact Japanese midget submarine M24 off Bungan Head, Newport.  It was entangled in nets, fifty-four meters below on the seabed.  The popular belief is that the crew never made it back to the planned rendezvous point, immediately south of Port Hacking.

Initially kept secret, the discovery generated considerable media interest.  The wreck was gazetted as a heritage site and war grave, in December 2006; numerous commemorative services and dives have taken place at the site, since.






Mamoru Ashibe was one of the Japanese sailors entombed in the wreckage of the M24.




"Sea Mist" earned one battle honour for its contribution to this historic defence: "Pacific 1942".  It is reported that perhaps its skipper, Lt Andrew, did not receive the recognition and credit he deserved...  The mere fact these humble yet capable boats were used in a major military engagement is more evidence of how far our country has come in the last 70 years - and, how gutsy Australia's contribution and sacrifice to WW2 was...  
It remains the first and only time in history that Sydney was attacked.


Post War

The original owners of Sea Mist, the Triggs, only came to know about the family boat's role in Sydney in recent years, after mistakenly thinking Sea Mist had headed for New Guinea... Oliver Triggs' son, Ken, was quoted in 2011:
"Our family had been told that our boat would be patrolling around New Guinea so it did come as a surprise to find out about her role in Sydney...  I've only just found out that our cruiser played a crucial role in the sinking of the Japanese midget submarines... a good friend told me he had found that information on the internet..."
In the late 1940's and 50's Sea Mist was used and owned by Hope Bartlett, the motor racing identity and was subsequently purchased by Radio 2GB for popular media personality, Jack Davey.  

She ultimately came north to Queensland, to Southport.

My uncle, John Donnelly, sold Sea Mist in the early 1980's to a Brisbane family - where it has called home ever since.  As I understand, the same family has retained ownership.   My cousins and I had spotted her in the Brisbane river once or twice in the 90's, looking a bit tired...  In 1999, to celebrate her 60th, she underwent a comprehensive overhaul and re-fit.

Nowadays, she is berthed at RQYS and is in pretty pristine order.  When spotted in the Bay, she still turns heads.
  
"Sea Mist" at RQYS, 2012

When I saw her and took these photos, it was clear she’s had a bit of work done over the years – a few of the aft portholes have been filled;  windows look too good to be original.  Of course the paintwork has had a few go-overs and the aft entrance doors, rails and cabins have all been changed.  No doubt "re-caulked" a few times...  But she is fundamentally the same, with"cosmetic surgery".  



She still looks outstanding and endures as a reminder not only of a chapter in our history but as an example of great design and timeless boatbuilding.  Few boats get built like this anymore - the timber construction being largely a lost art and cost prohibitive in a materials and tooling sense - Sea Mist would cost a small fortune to build today...  This is a hand designed, meticulously hand-crafted rig, that could theoretically be around for quite a bit longer yet...


*****

Incidentally, a few weeks after discovering Sea Mist, I was at the Gold Coast City Marina and came upon another of my uncle’s old boats – which also has a pedigree – albeit not quite as decorated as that of Sea Mist…

“Odyssey” is a beautiful 75 foot Millcraft built timber and fiberglass boat – originally commissioned by the late Keith Williams in 1971 and used widely in the promotion and early operations of his (then) fledgling "Sea World" venture... 

It sailed extensively up and down the east coast - particularly the Great Barrier Reef - spending time in Melbourne and Sydney, but has called the waters of the Gold Coast and Brisbane home for much of its life.  Williams is on the record as saying it was the nicest boat he ever owned.  My uncle purchased it in the early 80’s and I believe felt similarly - and both these gentlemen have owned some very nice ones... Most recently it was owned by the Commodore of the RQYS and was for sale when I spotted her.

"Odyssey" on the Broadwater, Gold Coast.

It is a testament to great Australian boatbuilding that these grand old ladies continue to work our waterways – and in such style.  Boats like these have presence and personalities and these two have plenty…


NJC

Saturday, February 18, 2012

Whitney Houston




The loss of a celebrated public figure is a curious phenomenon – especially in the case of musical artists. How is it that an entertainer –usually only ever known to us through a speaker or a screen or a grand arena, can affect the emotions of the masses when they pass away? Why is it that we become so close to some?

Just as the human condition is complex, and perhaps because of this fact, the answers are not all that straightforward… One argument regularly put, is that we live in a celebrity obsessed society and this mourning is another form of celebrity worship – perhaps there’s some validity in this…

However, it does seem plain to me that the people who carry the most gravity in death have managed to affect vast volumes of peoples of all creeds and colours, with some profundity, in an emotional way - through their life, their work; their influence. People have taken something from them on a (sometimes intense) personal level… In the case of musicians, songwriters and singers, the examples of John Lennon, Elvis Presley and Michael Jackson loom as grand examples… in the case of each, there was the magnifier of tragedy, too …

The performer / fan exchange is an interesting one. The average fan pays a bit of money for records or concert tickets; but in return, they receive a part of that artist – a part of their personality and perspective; perhaps even a fragment of their soul and essence, if we are to consider things deeply…

Arguably all of us have been shaped by musical artists in some telling way – the music may have been an accessory to pivotal moments. It may have provided an insight or some observation or expression, that has touched us. The artist has sacrificed or offered up a piece of themselves to create something that has provided a kind of intangible value and their art has coloured your own life experience – sometimes in a very significant way.

To use an economic analogy, If you were to “value price”, with a dollar figure, the impact the significant artists have had on your life, in the case of some, that figure could be very high…

The news that Whitney Houston had passed away, personally struck with a kind of un-emotional sense of resignation and expectation, initially - like some unwelcome message that had been been overdue. While undoubtedly it was shocking for many, the morbidly casual acknowledgement of “there goes another one” was definitely there for me; as though I had accepted it a while back…

Admittedly I hadn’t been a big fan, for a fair while…

… in the sense I hadn’t really listened to one of Whitney’s records closely in years, and she hadn’t been on high rotation (in my ipod); until now… Walking through her catalogue a bit upon hearing the news was like a journey into the past… I’d listened to a lot of it as a kid – it was hard not to be into it. I’d forgotten about her in many respects, as I’d grown up… But being a child of the 80’s and 90’s you could not escape her influence - it was everywhere. “The Bodyguard” film and soundtrack was iconic in the early 90’s – and very pervasive... And as I discovered listening back through the songs, her music was influential – even to a part time fan like me – the music was there in the memory bank and listening to it activated some old memories completely unrelated to her music.

(I particularly remember this image on a VHS cover...)

Perhaps the loss of a public figure reminds us of the passage of time in our own lives and does inflame that bittersweet romance for the past and some nostalgia. But equally, nobody likes to see such a gift destroyed – particularly a gift placed in such a beautiful yet fragile instrument.

Given time to digest the loss of her talent and re-visit her career, it is immensely sad. The heaviness of heart in my own case was perhaps delayed by that perception that her life had been tenuous for years. The reporting of those darker parts of her struggles and the obvious, public effect on her faculties no doubt played a part in forging that sense of the inevitable... But even putting the drug abuse aside, she always seemed “breakable” – outwardly courageous; outwardly defiant and strong - to an extent - but extremely vulnerable…

She was a flower, floating on the breeze… Flying on her own impulse and instinct, in her own rhythm and time – just as easily elevated to great heights as caught in a storm.

It was both a fatal flaw and a beautiful quality.

On review of her remarkable and tumultuous journey as an artist, I found myself feeling a sense of emptiness over how her own positive and negative influences shaped her – on account of that vulnerability and impressionable personality. The premise behind “the Bodyguard” film is an appropriate metaphor for her own life – in many respects, she needed protecting – instead, she made a decision to marry somebody who was also prone to self-abuse and who, it seems, enabled her more pernicious instincts. Her magic was drained and her natural beauty dulled.

It reminds me a bit of the life and personality of Princess Diana. The end result being the same – although occurring through a violent crash and not a “slow motion suicide” over 15 years. Whitney was a vessel - capable of being filled with the good and the bad. We are all like that, but she more than average, it seemed. Her openness allowed for those soaring crescendos in a performance sense; equally it was a void that could be weighed with a heavy payload, personally.

While it probably is easy to cast Bobby Brown as the insidious “life taker”, Whitney was of course, more than just complicit – it was, after all, her life – and while wastage is sad, it was hers to waste.

There were the positive influences too of course; with the likes of her mother Cissy Houston, aunty Dionne Wawrick and Arethra Franklin close at hand, it was no wonder she found a soulful voice and her essence and spirit as an artist and performer...

Perhaps the most tragic component of this ending was that it didn’t seem to come at the bottom of the ebb – like Michael Jackson’s burnout seemed to. In most recent years, she seemed to be transcending many of her demons and making a meaningful comeback – albeit beset with steps backwards… Given a lot of her public comment – she also seemed to have every intention of sticking around, for her daughter’s sake. It seemed for a moment that she may prevail after all... Then an accident – possibly one final step too far – and it’s all over.

Maybe it is reading too much but the way she carried herself and moved through life – her existential and hedonistic behaviour, her sometimes blind faith, her whimsical nature, her devout religiosity and “trust” in God – revealed in her public life, through her comments, actions and demeanour - paradoxically - framed a strong sense of fatalism; which is clearly contrasted, for example, with the rigid control and domination of life and career exerted by, say, a Madonna style of artist…

Her god-given talent was undisputed – it was giant. And much more than straight vocal ability, her power came from a delivery drenched with genuine soul. Real emotion and feeling… such a precious and now rare commodity… Add to that astonishing physical beauty and she was indeed a rare package.

The performer / fan relationship is two–way; being one of giving and receiving. While it gives to the artist a career, it does exact a toll, too. There is a price a cost for the adulation and love they receive..

It can be easily overlooked, but some of the so-called flaws in a person can also be at the nerve centre of how they are able to do what they do. Addiction, of course, is not merely a flaw but a malignant illness... But the soul in her voice was not manufactured. It is what took her from being an extremely talented singer to such a great artist, capable of conveying emotion to millions.

For me, there is nothing much to “celebrate” in this passing; a possible exception being the intense “re-discovery” that occurs in such circumstances. People take time to re-examine the contribution of the artist. In the case of Whitney Houston, who had been quiet for a long time, there is a substantial re-discovery and re-realisation of her talent going on...

An ironic subtext to what is a tragedy, is that her music has, like many illustrious artists before her, taken on a new life beyond her mortality, that may improve the financial position for her daughter and that may continue to dissolve some of the baggage.

It is one of the great human accomplishments to be able to transcend expectations and imitations imposed by others; it would have been much better for the world if this re-discovery had occurred in her lifetime…

The world has lost some of its greatest music makers – old and new – in recent years. The parade of the deceased, remembered at the recent Grammys evidenced what gets lost each year – not just in terms of a loss of gifts, talents and influence, but stories too. I’m dubious as to whether what is being lost is being replaced, but let’s hope so…

The music world and the world in general is poorer for losing these “natural” talents. Which brings me back to the concept of musicians, musical performers and their impact – in life and death. Music commentator, Paul Gambacini comments:

“Music is a part of self definition… I’m afraid it’s something the literary world, the theatrical world, even the cinema world, is never going to have… There’s something about the intimacy of music and one’s personal identity that, at least in this era of human history, makes us connect more closely with pop stars…”

My own view is that there is something else – something physical and primal – to this reaction to music. For music has a direct, physical impact on us as well – that contributes to its power and this sense of intimacy… Music is sound and vibration. While you don’t see it, it physically “hits” you and enters your body – to this end, the rhythms and vibrations are working on a number of different levels – plugging straight into the subconscious as well as the conscious. It is a force that has been in human cultures for thousands of years, predating nearly all other forms of “entertainment”, expression and celebration - it has been influencing human society since the days of our tribal ancestors.

Perhaps it should not be suprising then, that musicians /musical performers / pop stars are feted in death unlike any others…

The polarizing views and opinions that get expressed and the widely varied reactions among the wider population, on large media events like the Whitney Houston death, gives more evidence that there are larger forces at play; that are being exerted on subliminal, personal levels. It confirms a sense of bewilderment and confusion – that perhaps people don’t know quite why they feel – or don’t feel – a particular way about someone.

I admit to be a bit taken aback watching footage of a screaming crowd cheering the late night arrival of Whitney Houston’s hearse at the church for her funeral. As the hearse backed into a marquee to preserve the privacy of the arrival of the coffin, flashbulbs went off incessantly, people screamed and shrieked hysterically, chanted her name and applauded.

Watching it on an online video, it seemed "beyond the pale". My gut told me it was a bit weird and distasteful… Most would expect some quiet dignity at such a moment. For those that were there though, in that atmosphere, it may have seemed entirely appropriate and natural – perhaps in being overcome with emotion and not knowing how to react, that was the result… They probably were, simply, following their heart. Whatever the reason, the anomalies at such times are many and varied.

To consider whether these reactions are appropriate or contrived and artificial is to place a rational and sensible argument in a highly charged and grey, emotional environment…

It is somewhat fitting that the film “Sparkle” will be Houston's major posthumous artistic release. She apparently had great affinity with the original film and its thematic substance would seem to have parallels with her own life experiences. It was a project that she had wanted to see realized for many years - she had worked hard to seize the rights, stayed committed to the vision of seeing it made and persevered through to its eventual production. Set to be released in August, I personally do hope it emerges as a strong testament - she deserves for her last major work to stand on a strong and meaningful note.

Whitney Houston will be buried in the early hours of tomorrow morning, Australian time. She ultimately succeeded in transforming her image of being - to use her own words - “nobody’s angel…”. She was a rebel diva. Yet many, many people - hundreds of thousands - probably millions - are grieving over her loss - people who felt a connection with her and with her music, of considerable significance - angel or no angel. As a performer, she was influential to the extent she became a template for female vocalists. Her music at its best was fun, energizing, soulful, inspiring and full of that key ingredient - emotion.


Saturday, November 19, 2011

The Lost Letters

The Lost Letters

Dear Reader,

I stumbled upon a most interesting website called “Letters of Note” that collates letters of some significance or “note”; mostly written by well known, historical figures – but also unknown people - who have corresponded something worth archiving (in the editorial eyes of the website), whatever it may be.

I really like it… Many of the letters do have great historical merit and are rare finds. Others are simply humorous. Some are very revealing and as primary documents, items of great worth for discovery purposes. Take for example the letter between Gandhi and Hitler shortly after the invasion of Poland in 1939. Ghandi’s letter is an appeal from a place of “friendship” to Hitler, for a merciful political approach. It never reached him due to a British intercept.

Then there's the letter between Beat poet and author, Jack Kerouac to the leading actor of the day, Marlon Brando, to write, produce and act a screen adaptation of his influential beat novel, “On The Road” and assume the character based on the life of Kerouac himself. This letter reveals much…

I actually discovered this website, while searching for materials on Kerouac and Brando. I thought that Brando probably would have played a Kerouac character role well - I felt both men were similar in some ways - so I was interested to know whether they had known each other. My search led me to the letter.

The fact that Brando didn't respond would tend to reveal something about himself also, of course… as someone wise once pointed out to me, not responding to such a communication is a response in itself.

Some of the letters are not so grand, but rather, about smaller, more trifling matters, that nonetheless are interesting. Being a tactile and personalised item, you can tell much from a letter… from the handwriting, the phrasing, the deliberation or casualness, the signatures, the type fonts and stationary used – it is all an expression of the individual.

The site has the original letters scanned with transcripts provided below and in most cases, some accompanying brief, explanatory notes. Although I have not perused comprehensively, here are a few favourites thus far:

The site reminded me of how much I like letters and the place I feel the letter still has, in society. Letters have undoubtedly become a lost art in the modern communication spectrum. Their usage, as I understand, continues to decline as vastly more convenient forms to achieve similar ends, take hold ever more. Many are prophesizing the death of postage as we know it. Hard postage is now a bastion of largely undesirable stuff - more commonly the reserve of formal commercial matters, annoying direct marketing campaigns, bills and other financial statements... Personal letters, I suspect, are increasingly becoming common only among the elderly for whom it has always been a way of life.

And yet, perhaps their importance or significance has never been greater. Perhaps in spite of the modern communication landscape (and because of it), it is heightened. For a letter seems, in my view, to have more gravity; it is capable of being far more formal and concentrating than an email - which in the maelstrom of the digital space, can evoke a passive response. It has personality for the reasons I have offered above. It remains a physical experience as well as an emotional and personal one and there is an opportunity to uniquely inscribe a gesture or thought in ways harder and in some cases, impossible, through other forms.

Their now rarity makes the experience of a personal letter a welcome novelty and change – and for this reason alone, people are probably more likely to pay attention to their contents.

This perceived significance is probably well founded, however, as given the lack of convenience involved in preparing, printing and posting a letter, writers are generally going to take more care in thinking about and crafting their contents and subsequently more time to their writing - more than may be applied when the process is instantaneous and a finger’s click away, as with email.

Of course historically, and especially among writers, letters have been considered an art form. Many books have been published of collected letters (I not so long ago purchased a big but good one of George Bernard Shaw’s) and many word men, particularly of the Romantic era, used use it as a modem to express their opinions and exert their style in a different format. Indeed the output of letters from some writers is incredibly prolific.

Several of the Romantic writers such as Byron and Wordsworth used it to critique each others work – frequently and sometimes heatedly – which I think had the effect, like most vibrant creative periods, of “lifting the bar” of the output in a kind of faux combative, collaborative way… when you read some of these you understand the importance they placed on letters and it is well documented that particularly among such writers, vast amounts of time used to go into writing them – sometimes hours or days, for even very short letters, of half a dozen lines or less.

As a valued human communication for centuries, I am sure letters still have an important place and a functional one. They are not only still very meaningful and valuable but probably quite practical and effective for a range of communication purposes, also. I love to receive them, when I do, on the odd occasion. I am going to make it my business to write many more (while a service still exists to deliver them).

Your friend,


NJC