The Ghosts of Bungarribee.

I love a good ghost story and I consume as many books on the subject as I can get my hands on. A couple of years ago, while perusing one of our local second-hand book shops, I found another book to add to my collection. It contained a few Australian ghost stories I had never heard of before. One of them, about a haunted house that was once located in Sydney’s western suburbs, would become the inspiration behind my novella The Curse of Marsden Hall.

In 1821, Major John Campbell arrived in Australia with his family, soon buying land around Eastern Creek. At the time, it was believed the site was where a battle between two warring Aboriginal tribes took place, some believing it was a sacred site. These have since been disproven and ‘Bungarribee’ means ‘creek with cockatoos’ or ‘creek with campsite’.

In 1822, the house was convict-built, with some convicts dying during the construction. It is believed that one was murdered there. As the house was nearing completion in 1826, John Campbell’s wife died. The last section of the house, a round drawing-room and tower, began the following year. It was during construction that John Campbell, himself, died less than twelve months later. After his death, the house would change hands many times. Rumours began to spread that the house was cursed, or even haunted; the first reference dating back to 1838.

Legend has it that the next death after the Campbell’s was that of an army officer. It is believed he lost a duel and shot himself in one of the tower rooms, his body in a pool of blood. Another army officer was later found at Bungarribee, his body discovered on the grounds. Apparently seeking refuge and escaping creditors, it is believed the words ‘died of hunger’, were written beside his body.

Bugarribee Homestead during better days.

A number of strange events seem to focus on the circular drawing room and its tower. In the room where the officer shot himself, bloodstains appeared on the floor. Despite the best efforts of housemaids, they would reappear the next day. Muffled sounds, scratching, and scraping would be heard in the tower, as well as the clanking of chains at night. While sleeping in one of the tower rooms, people would wake up feeling cold hands around their necks or be touched.

There have been reported sightings of a young woman, dressed in white, crying outside the circular drawing-room. Sometimes she would be seen clawing at the glass as if trying to gain entry into the room. There are also reported sightings of convict ghosts, lights in the tower rooms (when not occupied at the time), and animals, such as horses, refusing to go near the house.

By 1910, Bungarribee began to deteriorate with age and neglect, and the land was subdivided. By the early 1950s, despite some attempts at restoration, the house was a complete ruin. The Government bought what remained in 1956, and the house was demolished a year later.

Today, the site where the homestead once stood is a public reserve called Heritage Park. The ghost stories of Bungarribee continue to be handed down into folklore.

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IWSG: Living the Dream.

This month for the Insecure Writer’s Support Group, I thought I’d join in on the fun for the optional question. The question being: – how would you describe your future writer self, your life, what it looks and feels like if you were living the dream?

Firstly, if I were able to live my writing dream, I would be living off my writing, my husband could finally retire (his dream in life) and we would buy/build our dream home in Tasmania. This dream home would consist of a few acres and preferably (for me, at least), be near the coast so I can go for long walks along the beach, swim, and listen to the sound of waves crashing upon the shore as I go to sleep at night.

Yes, okay, this isn’t me.

Gone will be the days of having my desk set up between the living room and the kitchen because my dream home would also consist of a suitable office. Of-course this room will have a gorgeous view, complete with window seat, to help my muse find inspiration (okay, daydream), and where I will no doubt leave papers scattered everywhere so that I can just leave them ready for the next day and close the door. No interruptions!

Why yes doctor, I would like some privacy.

I would be able to afford trips around the country and overseas whenever I felt the need to explore, research and meet new people. My ideal destinations are too numerous to go into detail here, but I think you get the idea.

The muse can take some time to kick in!

And of course, I wouldn’t be able to afford such a lifestyle if I wasn’t a prolific, nationally and internationally bestselling indie author. 😉

This reality won’t change though!

How would you describe your future writer self? What would your life look and feel like if you were living the dream?

The purpose of the Insecure Writer’s Support Group is to share and encourage. Writers can express doubts and concerns without fear of appearing foolish or weak. Those who have been through the fire can offer assistance and guidance. It’s a safe haven for insecure writers of all kinds.

Main image courtesy of Pixabay

What is Australian Gothic?

Recently I watched my favourite film, Picnic at Hanging Rock. I make sure I watch it at least a couple of times a year. With its constant sense of dread, this film made a big impact on my life and as a result, my writing tends to naturally gravitate towards Australian Gothic.

So, what is Australian Gothic?

The Gothic genre came to Australia as an imported genre (you’ll find a helpful post here on the ten elements of Gothic Literature) and took on many qualities of the traditional gothic, including the supernatural, romance and gloomy atmosphere. Like traditional Gothic, Australian Gothic has an element of mystery and fear.

Within Australia, the Gothic soon developed its own characteristics. The unique landscape of the country became an important element, therefore, becoming a character all of its own. The Australian bush transformed into a monstrous, spectral place, becoming the setting for nightmare and terror.

During the colonisation of the country, earlier stories were tied to the violence of settler life, including stories of death and brutality where murder victims returned from the dead, and burial grounds were uncovered. Stories involved the protagonist becoming lost or disorientated, sometimes even abandoned, so that the protagonist is isolated from others in order to be confronted by events. Such events either took place on the edge of civilisation or within the colonial homestead.

Australia ‘was a world of reversals, the dark subconscious of Britain. It was, for all intents and purposes, Gothic par excellence, the dungeon of the world. The familiar transposed to unfamiliar space. Nature, it seemed to many, was out of kilter. From its inception, the Gothic has dealt with fears and themes which are endemic in the colonial experience: isolation, entrapment, fear of pursuit and fear of unknown’.*

In an article on Australian horror films, The Sydney Morning Herald describes Australia as ‘a scary place. The size of the United States but with only the population of greater Los Angeles, its outback means you can get about as far away from civilisation as it’s possible to get.’

“We call what we do ‘Australian Gothic’,” says Everett DeRoche, a key figure in Australian horror who wrote the scripts for classics such as Patrick (1978), The Long Weekend (1978) and Razorback (1984). “Australia doesn’t have that iconic ‘haunted house’ that we are familiar with from American movies. But it does have the outback, and people’s fear of that, that agoraphobia.”

If you have ever watched such films as Mad Max and Wolf Creek, then you are familiar with the horrors such a landscape can represent. For me, the combination of the traditional Gothic with elements that are uniquely Australian make for an intriguing mix, full of many possibilities.

Do you enjoy Gothic Fiction? Do you have a favourite book or film within the Gothic genre? What film has made an impact on your life?

*Turcotte, G. The Handbook to Gothic Literature, Mulvey-Roberts M. (Ed.) New York University Press, 1998, pp.10-11.