The Nature of Ice Read online

  IT WAS OVER A DECADE ago that Robyn Mundy first went to Antarctica, and she has managed to return there every year since, working as an assistant expedition leader for a Sydney-based eco-tour company. In the summer of 2003–04, she spent a season living and working at Davis Station, Antarctica, as a field assistant. In 2008 she over-wintered at Mawson Station, Antarctica, where she worked on an emperor penguin project. Robyn has a Masters Degree in Creative Writing from the University of New Mexico, USA . She wrote The Nature of Ice as part of a PhD in Writing at Edith Cowan University in Western Australia.

  THe Nature OF ice

  ROBYN MUNDY

  First published in 2009

  Copyright © Robyn Mundy 2009

  All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the publisher. The Australian Copyright Act 1968 (the Act) allows a maximum of one chapter or 10 per cent of this book, whichever is the greater, to be photocopied by any educational institution for its educational purposes provided that the educational institution (or body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act.

  This project has been assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory board.

  Allen & Unwin

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  Crows Nest NSW 2065

  Australia

  Phone: (61 2) 8425 0100

  Fax: (61 2) 9906 2218

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  Cataloguing-in-Publication details are available

  from the National Library of Australia

  www.librariesaustralia.nla.gov.au

  978 1 74175 576 3

  Set in 12.5/16.25 pt Garamond Premier Pro by Bookhouse, Sydney

  Printed and bound in Australia by Griffin Press

  10 9 8 7 6 5 4 3 2 1

  To Nancy Robinson Flannery, with love and admiration

  CONTENTS

  AUTHOR’S NOTE

  TO THE ANTARCTIC AND SUCCESS

  DAVIS STATION

  STEEL CROSSES

  FIELD TRAINING

  SLUSHY

  A THOUSAND RIVERS

  ZOLATOV ISLAND

  ROOKERY LAKE

  THE REAL THING

  DRESSED TO KILL

  CURLICUES OF FILM

  SUMMER SOLSTICE

  CHRISTMAS DAY

  PIONEER CROSSING

  PAQUITA DELPRAT

  CRIMSON BERGS

  THE BIRTHPLACE OF BERGS

  A MEMENTO

  ANOTHER WOMA N’S PAST

  FANG PEAK

  NORTHWARD BOUND

  THE BAY

  A NEW WAY OF SEEING

  WINTER SOLSTICE

  ACKNOWLEDGMENTS

  ARCHIVAL SOURCES

  AUTHOR’S

  NOTE

  MISSPELLINGS AND ORIGINAL PUNCTUATION in the archival material have been retained.

  After Antarctica, nothing is the same …

  —THOMAS KENEALLY, 2003

  Tasmanian Club, Hobart

  2 December 1911

  THE SCENT OF BLOSSOM CAUGHT the night breeze and drifted into his room. He stood naked in the darkness. Beyond the open window a bow of streetlights; far away, a mopoke owl. On this, his final night in the known world, he tried to imprint on his memory each sound, each smell, the lightness of summer, the touch of air against his skin. He imagined Paquita’s tortoiseshell clip falling to the floor. He had never seen her dark hair loose.

  Mercury newspaper,

  4 December 1911

  The Antarctic Expedition

  The Aurora sailed from Hobart for Antarctica via Macquarie Island on Saturday afternoon, having on board Dr Mawson and nearly half the members of the Australasian Antarctic Expedition, the scientific instruments, and wireless telegraphy equipment, a large quantity of stores of all kinds, provisions, clothing, sledges, 266 tons of coal, etc. She is to proceed direct to Mac–quarie Island, where the party which is to remain on the island will be landed …

  Hearty cheers were given by those on shore as the vessel drew away, and these were answered by the occupants of the Aurora, while there was much waving of hats and handkerchiefs. Cameras were busy in all directions, and the cinematographs were not idle, so that the memory of the departure of the first Australasian Antarctic Expedition from Hobart should not be lost as long as pictorial records can preserve it. Occupying a prominent position on the Aurora’s rigging was a signboard with a finger pointing ahead, supplied by the Tasmanian Tourist Association, bearing the words “To the Antarctic and Success”.

  TO THE ANTARCTIC

  AND SUCCESS

  AURORA AUSTRALIS YAWS IN THE roll of the storm, four days out from Hobart and hurtling southward beyond the edge of the known world. Freya’s world, that is. During the night the cabin has turned into a dance floor for Blundstone boots, a fluffy seal, an empty water bottle missing its cap. As if in an act of surrender, a drawer flings open and jettisons a roll of large format film. Freya Jorgensen watches from the top bunk as it tumbles over carpet to join the motley collection.

  From along the hallway, sounds of retching spill from a cabin. A tingle rises through Freya’s jaw and spreads across her lips as she teeters on the edge of nausea. If she could only open the porthole, stand before the moonlit night and draw in great gasps of cold ocean air. Her stomach rises and falls like an untethered buoy, its rhythmic wave keeping time with the curtains that fringe each bunk and glide freely on their tracks. She wedges her body diagonally and determines again to concentrate on breathing, dismiss each new thought that entices distraction. She weighs up the energy required to maintain purchase on her bunk with that of abandoning sleep and escaping the cabin altogether. Her travel clock reads 2:20 a.m., forty minutes since the last time she looked. She gives sleep one more chance, though she knows a lost cause when she sees it.

  FREYA REELS ALONG THE SHIP’S corridor, out through the heavy double doors and onto the covered stern deck where she pulls on gloves and zips a padded jacket over her pyjamas. She leans against the railing above the trawl deck and looks out at the rolling mountain of ocean lit by the floodlights of the ship. With the wind screaming and steel groaning, the ship ought to tear in two, continually pummelled and pulled by the yank of the storm. Yet she feels secure aboard this ice-strengthened vessel, her feelings a contrast to the mix of dread and excitement she remembers as a child—seesawing across oceans and hemispheres to a strange southern land.

  Flood lamps bathe the protected surrounds with an amber glow that drains the hurry from the ship’s lurid orange paint. Freya relishes the mood of this working deck where few stay longer than to smoke a cigarette. In the roughest seas she can stand at eye level with the ocean and watch wind peel back the caps. In daylight hours she photographs albatross and petrels wheeling across the wake, their wing tips skimming the waves with a precision that astounds her. How easy it would be to mistime the peak of the swell, to fly too low, to flounder. And yet the sea birds toy with the ocean, spiralling upward, weaving in great playful arcs, circling the ship time and again.

  Aurora Australis slides into a trough and shudders to a standstill. A wave of vibration stutters down its spine, reverberating through her hands and feet. Before the ship has time to regain momentum, a new crest of water gallops forward, lifting the hull on its shoulders.

  Freya moves to the first run of steps leading down to the trawl deck, but even from here she sees how easily she could lose her footing in a roll. She grips the handrail and leans out into the night.
<
br />   It takes time for her eyes to grow accustomed to the dark, to realise that what she took for cloud-covered moonlight is something else again. The movement is subtle at first, little more than a mystical shroud tinted with the softest hush of green. The wisp of colour begins to swell, its edges inhaling and exhaling like a creature stirring into life. She has an image, fleeting, of lying beneath such a sky roiling with emerald and gold. But Freya is not inclined to rely on childhood memories; her first eight years are filtered through the countless recollections of her mother who, after three decades in Western Australia, still yearns for the seeming perfection of their Norwegian homeland. Is she so very different from Mama, always wanting more?

  ‘Willing us to get there faster?’

  The man pauses at the top railing before walking down the steps. Adam Singer is one of the carpenters heading to Davis Station. A few of the younger girls have been talking about him and Freya understands why: drop-dead gorgeous is right.

  ‘Didn’t mean to startle you.’

  His gaze disarms her, and though it seems foolish—a married woman of thirty-six—she suddenly feels unsure of herself. ‘Do you think that’s an aurora out there?’

  Adam leans into her side and nods. ‘First time south?’

  ‘Is it that obvious?’ She smiles. ‘I still can’t believe I’m on my way to Antarctica. That it’s not a dream.’

  ‘A year-long dream. If Davis is like Macquarie Island we’ll have plenty of good auroras through winter.’

  ‘I’ll have to find a way to come back. I’m only down for summer.’

  ‘That’s a shame.’

  The ship heaves and jolts. Freya grabs for the handrail but misses. She feels herself teeter backward, stopped by Adam who snags her waist. A rush of ocean cascades over the stern and jams open the trawl gates with a deafening ring. Beneath the gridded steps they stand upon, water floods the deck. Adam does not loosen his hold and she in turn lingers, registering, in this surreal light, the invitation proffered. As intimately as a lover, he combs back threads of her white-blonde hair blown across her face while she stands mesmerised, leaning towards his touch. With an air of fascination Adam traces his finger around the birthmark that spreads across her cheek like a stain. Perhaps his blatant trespass onto tainted skin, perhaps her own returning sanity, makes her break away, her discomposure heightened by the hardness in his eyes.

  He holds up his hands in a gesture of retreat. ‘Only wanting to help. Nothing more.’

  Freya turns her blemished cheek away, confused, stammering thanks and apology in a single sentence. She stands rigid until Adam has gone. She looks back to her shining sky but not a wisp remains, nothing but stars strewn across the night, wind scouring the waves.

  AURORA AUSTRALIS LEAVES STORM AND darkness in its wake and moves through higher latitudes towards a summer of perpetual light. Within the course of a morning the air drops below freezing point, the sea chills to one degree Celsius, an indicator that at some intangible moment they have crossed the dotted line on the chart marking the Antarctic Convergence. With each changing minute of latitude illuminated on the GPS, the Southern Ocean yields to the influence of ice. Waves ease to ripples, ripples to calm, the ocean, punctuated with white, rises and falls lazily. Beyond the windows of the bridge, ice stretches towards the curve of the horizon. Ice in myriad forms. The ocean surface cools until frozen needles cluster together to form frazil ice. The ship crosses a thin sludge of grease ice that disintegrates on contact. At times they motor through pancake ice, lily pads that bob and turn. Aurora swings past crystal fields of multi-year pack-ice that rise two metres above the water’s surface. Living up to its classification, the icebreaker shears through the stratum of first-year pack-ice. At the height of each day, channels of ocean thaw, only to refreeze into fragile sheets that raft one upon the other—panes of glass the vessel snaps in two. On the radar, a tabular berg edging the sky measures fifty kilometres in length; Freya mistook the berg for a long, low cloud.

  Aurora’s captain, no older than she, has a pageboy haircut that moves in one slick motion with each turn of his head. He reminds her of photos of her husband Marcus as a boy. The captain veers the ship towards a stretch of ‘water sky’, an ominously dark band that on any Australian horizon would signal rain. Here, the sky is a chameleon, stained dark by an underbelly of ice-free ocean. ‘Look at the difference there.’ The captain points to where the sky brightens to a luminous glow. This he calls ‘ice blink’, an upward reflection from pack-ice and bergs. ‘That’s where we don’t want to end up, stuck in heavy ice and chewing through fuel. Ice blink and water sky were all they had to go on in the early polar days,’ the captain says, flicking his hair as he leans down to scan the radar. ‘You’ve got to hand it to’em, finding their way south through this.’

  Aurora eases past bergs whose skirts of icicles thaw in the late afternoon light. Freya sets up her camera on the flying bridge, wishing they could turn off the engines and listen to the streams of water, could simply drift awhile with no direction in mind.

  Ice crunches beneath the hull. Squadrons of cape petrels keep pace with the ship, the small birds with their black-and-white chequered wings forming a graphic blur against the electric orange hull and crystalline ocean.

  Behind the viewfinder her focus is rarely deflected. She has tempered the promise of the perfect photo into disciplined restraint, resisting the wonder of the moment to weigh shape against tone and texture, to balance shadow and light. Marcus calls her driven, seldom as praise. Freya is reminded of the difference between herself and her husband when she sees him in their overgrown garden where he will sit and read for hours, seemingly oblivious to a litter of leaves, the influx of snails and weeds. Occasionally she still arms herself with clippers and a faded memory of a garden once so lush with colour and native birds, she never questioned the time she used to put into it. She has let her photography become so consuming, she wonders has she lost the ability to be part of a world beyond the boundaries of a 4 x 5 inch transparency? Not part of the programme, she averts the subject to stem her mother’s not-so-gentle reminders of time marching on, and women who want it all then leave it too late. This, she persuades herself, is all she wants. Thoughts of home and things she’ll never have eased by the unutterable beauty of ice. Freya draws back from her camera to absorb the vision that spills beyond the frame. She turns slowly on the deck as she feels against her pocket for sunglasses. She had anticipated the glisten of white, the glare of ice painful to the unprotected eye. Her collection of oversized books picked up from discount bins had long since imprinted her mind’s eye with the blue of bergs. Never had she expected this opalescence of light and colour. How can any camera capture such an impossible expanse?

  She was first drawn to Antarctica through the images of Frank Hurley, photographer on Douglas Mawson’s 1911–14 Australasian Antarctic Expedition. An Antarctic heaven, he named the pack-ice. Freya was still a photography student when she gazed in wonder at Hurley’s black and white photographs, fell through them as if to touch the ice. She wonders now how Frank Hurley reconciled himself to the knowledge that every nuance of colour displayed before him would be reduced to tones of grey.

  Freya catches sight of a familiar face at the far railing. She knows Travis from her pre-departure training in Tasmania where he helped untangle her prusik loops and distinguish alpine butterflies. She makes her way towards him but is intercepted.

  ‘Freya? I’m Kittie. Davis Station weather forecaster. Fine-weather forecaster, I’m known as.’ Kittie holds out her camera. ‘I was hoping you could give me a rundown on my new toy.’

  ‘Happy to.’ Freya takes the camera.

  ‘They say when all else fails consult the manual. All else has failed, including the manual, which I managed to leave on the kitchen counter at home.’

  ‘Mind if I listen in?’ calls Travis, holding up his point-and-shoot.

  The three sit down on the flying deck in a circle. Freya could be running one of her university
extension weekend courses, giving Travis tips on how to override the automatic settings in tricky lighting scenarios, working through the different modes and menus on Kittie’s high-end SLR.

  She glances up to see Adam Singer propped against the railing. He nods in her direction but declines her gestured invitation to join them.

  ‘You’d be all digital?’ Kittie asks.

  ‘For small format work. And stuff I play around with in Photoshop. I still use film for images I want to enlarge into murals.’

  ‘Film?’ Travis banters. ‘We’re talking acetate, chemicals, darkrooms? I wouldn’t have pegged you for a luddite, Freya.’

  Freya shrugs. ‘Part of me still likes the idea of creating an original transparency. Something you can hold in your hand.’

  ‘Digital artist meets traditional craftswoman.’

  Travis is a volunteer field assistant who will be stationed out at the Amery Ice Shelf. He looks scarcely old enough to have finished a science degree, let alone be sporting a wedding ring. Like Freya, it’s his first time south. ‘Fine-weather’ Kittie, a title that seems to extend to a sunny and boisterous disposition, has summered and wintered twice before.

  ‘Any tips for the uninitiated?’ Travis asks her.

  Kittie snorts. ‘Out at the Amery Ice Shelf all summer? An hour’s flight away from the politics of the station? My advice, you lucky bastard, is to pinch yourself now and again.’ She raises her camera in a toast: ‘To Antarctica.’

  ‘To the Antarctic and success,’ Freya seconds.

  Travis checks his watch. ‘And to one more sumptuous five-thirty evening meal, never mind the nursing home hours. See you down there.’ He springs to his feet and bounds away.

  Kittie points at Freya’s camera. ‘What exactly is your project?’

  ‘My husband and I are putting together a travelling exhibition of Antarctic images, my photos alongside Frank Hurley’s first photos. A sort of Antarctica-then-and-now.’

  ‘Whoo-hoo!’ Kittie gives her a mock punch. ‘A breath of fresh air among the science and trades projects.’