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Burgess (left) and two of his gang (Image: Alexander Turnbull Library, Reference: PA2-2593)
Burgess (left) and two of his gang (Image: Alexander Turnbull Library, Reference: PA2-2593)

BooksFebruary 2, 2017

Book of the Week: Ian Fraser on the Maungatapu Murders

Burgess (left) and two of his gang (Image: Alexander Turnbull Library, Reference: PA2-2593)
Burgess (left) and two of his gang (Image: Alexander Turnbull Library, Reference: PA2-2593)

Ian Fraser on a new, brilliantly told account of the famous 1862 killings on a remote track between Nelson and Marlborough. 

It’s hard to imagine anyone telling the story of colonial psychopath Richard Burgess (1829-66) better than Wayne Martin in this gripping and vivid history.

Step by step, Martin shows the leader of the Burgess Gang following the money to be had in the 19th century gold rush in Otago and the West Coast, ending in a series of crimes “unmatched in colonial New Zealand for their scale and cold-bloodedness”. He means the Maungatapu Murders, among the most famous killings in New Zealand history.

There was nothing heroic or romantic about the murders. As Martin acknowledges, “No trace of redemption or gallantry has clung to the legend of the Burgess Gang, as it did with contemporary New Zealand bushranger Henry Garrett or Australia’s Ned Kelly.”

This is striking, because from the American West to the Australian Bush, the history of the frontier takes the form of a Beggar’s Opera. The rules are that the bad guys get shot up or lynched in the end but, like the devil, they invariably have the best tunes. They’re the characters who add a dash of brimstone and charisma to the saga of rape and pillage which is the real story of how the West was won.

There were other bad guys who took land and other people’s stuff by force of arms or under cover of the law. Mostly they rose without trace. They endowed galleries and libraries, ran for office and were duly admitted to the national pantheon of hypocrites.

But we stubbornly prefer the figures who didn’t cover their tracks or redeem themselves with good deeds once they were old and past it. They come down to us fresh-minted in movies and country songs and novels by masters like Larry McMurtry and Peter Carey. We’ve even found ways of placing them on the right side of our historical morality plays. Jesse James, we’re lectured, resorted to bank robbing not just because the banks were there but because it allowed him to go on fighting the Southern cause even after the cause was lost – continuing the Civil War by other means.

Richard “Dick” Burgess, though, was just a bad guy, although he did have a fancy prose style. Awaiting execution, he produced a 47-page memoir, eventually published by the Lyttleton Times, as the “Life of Richard Burgess, the Notorious Highwayman and Murderer, written by himself, while in prison, shortly before his execution, which took place at Nelson, NZ, on the 5th day of October, 1866.” Mark Twain, briefly in Nelson on a lecture tour at the turn of the century, read it and hailed it as “perhaps without its peer in the literature of murder”.

Born illegitimate in 1829 in London’s Hatton Garden, Burgess grew into a toughened young criminal with a pronounced streak of cruelty. He earned his final expulsion from school when he punched the end of a pencil, which a classmate had inserted in his own nostril sharp end up, driving it deep into the boy’s nasal cavity.

Martin follows Burgess through the serpentine layers of Britain’s Victorian penal system. Transported to Melbourne, he found himself in a rare position to escalate his life of crime – for, as Martin observes, “crime was Hill’s drug”.

After a period in the notorious prison hulks of Hobson Bay and a stint in the austere setting of the new model prison at Pentridge, he eventually made his way to New Zealand. He arrived at Port Chalmers in 1862 in good time for the Otago gold rush, which had boosted Otago’s population from 691 in 1860 to more than 30,000 the following year.

His preying on miners reached its homicidal conclusion on the rugged, isolated Maungatapu track between Nelson and Marlborough. In two days, June 12 and 13, 1966, Burgess and his gang lay in wait, and robbed and killed five men.

Burgess (left) and two of his gang (Image: Alexander Turnbull Library, Reference: PA2-2593)
Burgess (left) and two of his gang (Image: Alexander Turnbull Library, Reference: PA2-2593)

First there was a flax grower. The next day, four businessmen were strangled and shot. George Dudley, a storekeeper, was murdered first. Burgess’s gang led him off the track and into the bush before they strangled him. The original plan had apparently been to strangle all four victims to avoid the sound of gunfire. But Dudley had taken an inconveniently long time to die, so they decided to shoot the other three. Again, they took their victims well off the trail to shoot and stab them.

The gang reconvened in Nelson, bought smart new suits with the gold they had stripped from their victims, ate and drank well – and hatched a plot to rob the Bank of New South Wales. This would entail one of them taking a steamer to Melbourne to acquire disguises, including false beards, moustaches and wigs (yes!).

Martin: “They planned to enter the bank just before closing time and tie up and gag the male staff. [Thomas] Kelly would quieten any women present by putting a knife to their throats. When all were secure they would take the victims one by one into another room and force strychnine down their throats. Devised mainly by Kelly, the plan called for one man to be led away, killed and buried so that he would be blamed for the murders.”

Then it all went wrong. Rumour and gossip hardened into fact as the dispersed pieces of the bloody puzzle came together and colonial Nelson closed ranks against the killers. Several thousand Nelsonians had already filed past the bodies of the four men, laid out in the town’s engine house, and nearly 3000 mourners had gathered at the cemetery for the burials.

The final act of the melodrama unfolded on the gallows built in the exercise yard of the gaol. Burgess, the leader of the gang, declared in ringing tones, that “although going to that fatal scaffold, I feel as happy as if I were going to a wedding this bright and beautiful morning. This is the morning of my death but it is also the morning of my birth into another and brighter world, where sorrow shall pass away and all tears be wiped from the eyes.”

Then he raced up the stairs of the scaffold and, holding a small bouquet of flowers, strode to the drop, seized the centre rope, kissed the noose and announced that he “greeted it as a prelude to Heaven”.

I doubt he believed a word of it but it must have been an electrifying performance.


Murder on the Maungatapu: A narrative history of the Burgess Gang and their greatest crime (Canterbury University Press, $45) by Wayne Martin is available at Unity Books.

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JAIPUR, INDIA – JANUARY 21: Audience at the session Gandhi, Ambedkar and the Crossroads at Jantar Mantar’ moderated by Urvashi Butalia during Jaipur Literature Festival 2012 on Saturday. (Photo by Ramesh Sharma/India Today Group/Getty Images)
JAIPUR, INDIA – JANUARY 21: Audience at the session Gandhi, Ambedkar and the Crossroads at Jantar Mantar’ moderated by Urvashi Butalia during Jaipur Literature Festival 2012 on Saturday. (Photo by Ramesh Sharma/India Today Group/Getty Images)

BooksFebruary 1, 2017

500,000 people at a literary festival: we cross live to Jaipur, India

JAIPUR, INDIA – JANUARY 21: Audience at the session Gandhi, Ambedkar and the Crossroads at Jantar Mantar’ moderated by Urvashi Butalia during Jaipur Literature Festival 2012 on Saturday. (Photo by Ramesh Sharma/India Today Group/Getty Images)
JAIPUR, INDIA – JANUARY 21: Audience at the session Gandhi, Ambedkar and the Crossroads at Jantar Mantar’ moderated by Urvashi Butalia during Jaipur Literature Festival 2012 on Saturday. (Photo by Ramesh Sharma/India Today Group/Getty Images)

Half a million people attended last week’s literary festival in Jaipur, India. Half a million! There was anti-Muslim debate, a famous author described Trump as America’s “dick pic”, and police roamed around in camel-coloured berets. Sam Gaskin reports.

In Jaipur’s historic pink city, people pick their way through narrow lanes littered with Nestea paper cups drained of chai, the spent cigarette packs of those undeterred by their depictions of mouth cancer, and thick pats dumped by cows chewing on damn near anything — from wooden kite reels to strings of abandoned marigolds. A rocky five-minute auto-rickshaw ride away is one of the world’s premiere cultural happenings.

Vikram Chandra, the author of Sacred Games, a crime novel now being filmed as India’s first original Netflix series, turned me on to the festival when I interviewed him back in 2011. In Jaipur, he told me he’d gone to school in Ajmer, a couple of hours away, in the 1970s. “At that time Rajasthan really felt like the backend of nowhere,” he said. “It felt like you were stuck in the middle of the desert. If somebody had told me that a few years from now there’s gonna be world famous writers congregating in Jaipur I would have said you’re insane.”

And the Jaipur Literature Festival did begin humbly. Hurriedly recounting a story he’s told a hundred times before before moving on to his next obligation, William Dalrymple rubbed at the outside corner of his right eyebrow — an outlet for his inextinguishable energy — and told me that the first literary event he arranged in Jaipur was attended by just 20 people, 16 of whom, he says, were “Japanese tourists lost on their way to Amer”. The festival, which is co-directed by Dalrymple and Indian author Namita Gokhale, has since grown into something distinctly un-lit-fest-like.

The entrance to the Jaipur Literary Festival (Image: Supplied)
The entrance to the Jaipur Literature Festival (Image: Supplied)

From January 19 to 23 an estimated 500,000 people, many of them in their teens and twenties, attended talks by hundreds of authors on five stages strewn across the grounds of the 160-year-old Diggi Palace Hotel. The event has become a Rajasthani Glastonbury — polyphonic, chaotic and overcrowded — but with a saber-sharp edge of debate, dissent and controversy.

Salman Rushdie was infamously prevented from attending even via video link in 2012 by Islamic fundamentalists who promised any amount of violence to stop the author of The Satanic Verses being heard. Unsanctioned by the festival, four authors went ahead and read excerpts of the book, which is still banned in India.

This year’s festival again delivered its share of scandals. In a session not included in the festival’s programme, Bangladeshi exile Taslima Nasrin — like Rushdie, the target of a fatwa — spoke out against Islamic intolerance. Islamic intolerants protested her attendance.

Another bone of contention was the inclusion of a session by the Rashtriya Swayamsevak Sangh (RSS), the Hindu nationalist organisation behind India’s ruling Bharatiya Janata Party. The RSS has been described as an extremist organisation, a paramilitary group, and criticised for anti-Muslim violence.

“We struggle to get right-wing authors but we do think it’s right that they should be here too,” Dalrymple said. “Two of our authors dropped out in inviting the RSS, which I understand and sympathise with, but I do think the point of free speech is you have to engage with voices that you disagree with. It’s not just liberals tolerating their own views.”

American writers at the festival were asked, inevitably, about their own anti-Muslim menace, President Trump, whose inauguration took place during the festival. New Yorker music critic Alex Ross stayed up all night rewriting his remarks to focus on the connections between despots and music. And Paul Beatty, who won the Man Booker last year for his relentless race relations tragicomedy The Sellout, described Donald Trump as “America’s dick pic. It’s out there. Some people are proud of it.”

Beatty said he would find a good place “to watch the atomic mushroom cloud“ of the Trump inauguration, a seat on the “Enola Gay”.

Luke Harding speaks at the Mughal Tent (Image: Supplied)
Luke Harding speaks at the Mughal Tent (Image: Supplied)

Concurrent with the women’s marches that took place in response to Trump’s election, several sessions at Jaipur focused on women in a part of the world where they are notoriously mistreated. (Urmi Bhattacheryya, a Delhi-based reporter for The Quint I met at the festival, last year interviewed a five year old rape victim.)

In a discussion called “Manelists, Misogyny and Mansplaining”, panelists fielded questions from young Indian women complaining that “My mother is the most anti-feminist presence in my life” and, post-Trump, “My father says why do you expect me to be progressive when half the world is not?”

And speaking to Mei Fong, the author of One Child, on China’s history of forced abortions and sterilisations, moderator Suhasini Haidar made a comparison to Indian Prime Minister Modi’s surprise decision to demonetise 1,000 and 500 rupee notes.

“Many of us are complaining about the state reaching into our ATMs. This is the state putting its hands into our wombs,” Haidar said.

“And scrotums,” Fong added.

Fong told how she was unable to find a publisher for One Child in Chinese after the People’s Republic cracked down on publishing houses in Hong Kong, abducting individuals and forcing confessions. Instead, she hired a translator and made an ebook available for free online. When I told her that I saw an intermediate age school kid in full uniform showing off a copy of her book to his friends, she said, “I’m not sure it’s good reading for 11 year olds!”

North Korean defector Hyeonseo Lee, she of the 7-million-view TED Talk, also spoke out against China, where I live. China continues to capture and repatriate North Korean defectors knowing they’ll be subject to torture or even execution. In her words, “The Chinese government is doing a big favour for our dictator, even today”.

Lee attended the Beijing Bookworm Literary Festival last year at significant personal risk — China doesn’t recognise the South Korean citizenship given to North Korean defectors, meaning she had no guarantee she’d be able to leave the country. Shanghai and Beijing’s biggest literary festivals have both been cancelled in recent years, officially because of difficulties finding sponsors, though rumour has it their troubles stem from China’s discomfort with sessions like Lee’s.

The Jaipur Literature Festival, by contrast, is not hurting for government support. The chief minister of Rajasthan helped launch this year’s event, police in khakis and camel-coloured berets were there in support, and state-backed culture and literature festivals that seek to replicate its success have sprung up around India.

“I think the organisers of this thing have done a major cultural service because this idea of festivals has spread across India and now there’s some incredible number, like 90 literary festivals,” Chandra said. “I get invitations to — in my very snobbish urban attitude — the backwaters of India where people are organising literary festivals, which means everyone is taking part in this ferment.

Audiences crowd onto the Front Lawn (Image: Supplied)
Audiences crowd onto the Front Lawn (Image: Supplied)

“One could argue I think quite convincingly that this is a necessary part of the whole economic revival. What we have here is a bourgeoning new bourgeoisie that is trying to figure itself out and one of the ways that it has of doing this is encountering culture. In India and I think particularly at this festival, because we’ve been talking so much about sanskrit and tradition, it’s also a way of reinvestigating the past and seeing what that means in terms of where we’re going.”

Despite fulfilling these functions, the Jaipur Literature Festival gets criticised for its popularity, a problem most lit tests would love to have. One comment I heard repeatedly was that the event has been overrun by scenesters from Delhi. Another was that speakers at the festival include not just novelists, poets and journalists but less literary celebrities who draw bigger crowds. Past participants include Oprah and the Dalai Lama.

“We don’t have them unless they have a book out,” Dalrymple said. “We had [cricketer] Dravid last year and he was the biggest event. [Yogi] Sadhguru and [actor] Rishi Kapoor were the biggest this year. And our plan next year is we might move those sorts of events to an adjacent venue, particularly during the weekend when it can get very crowded.”

(Sadhguru is the author of a self-help book called Inner Engineering: A Yogi’s Guide to Joy, a title that encapsulates his effort to link traditional and contemporary wisdom, something also evidenced by his sports sandals.)

But the event’s popularity is due not just to the attendance of celebrities, nor its inclusion of critical and contentious voices. The most powerful, radical thing about it is that it’s free.

Media company ZEE is the title sponsor but many of the 176 individual sessions have their own sponsors. Dove, for instance backed a series entitled “Real Women”. Fighting for corporate sponsorship is difficult, Dalrymple said, “but it means our audience is huge and incredibly young and vibrant.”

In spite of its reputation for controversy and past threats of violence, the festival’s atmosphere is overwhelmingly upbeat, almost giddy. There’s a feeling being there, torpedoing expression in crumbling towers and colourful marquees, that you’ve gotten away with something.

“Go down to the railway station and you’ll find so many kids there sleeping rough,” Dalrymple said. “They’ve come from Assam or Tamil Nadu and they can’t even afford a hostel but they’ve come here to see the fucking writers.”

 

Sam Gaskin attended the festival as cultural content editor for Flamingo