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Agnarsdóttir, Anna

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Agnarsdóttir, Anna BOOK REVIEWS Glenn Grasso (comp. & ed.); transcribed by Marc songs, like "A Long Time Ago" and "Lowlands Bernier. Songs of the Sailor: Working Chanteys at Low," have been rewritten and greatly shortened Mystic Seaport. Mystic, CT: Mystic Seaport from the source on which they claim to be based. Museum, 1998. 67 pp., illustrations, musical Such editing is severe enough to lose the sense transcriptions, suggested readings, glossary. US and mood of the song. With "Shallow Brown," $9.95, spiral-bound; ISBN 0-913372-84-6. verses of other songs replace most of those of previously published va riants. While adding such Sea shanties were the shipboard work songs of the verses to suit the duration of a task was a period Age of Sail. At the Mystic Seaport Museum, practice, removing the original verses and the shanty singers demonstrate how songs were used story they tell is unprecedented. Deletion of not only in their modern role, as entertainment, verses is also encouraged by the one-song-per- but also in their original role as an important page format, so that some songs have been much element of shipboard work. This book is an shortened. While the notes mention the censorship overview of shantying at the museum as well as and editing, they don't adequately convey its an accompaniment to Songs of the Sailor, a extent, so that readers will be left without a full compact disk by the museum's shanty team. impression of what shanties were really like. The book briefly explains how shanties are This book shows well how shantying can used at the museum. The introduction, aimed at a work in the context of a modern museum. This is young audience, explains sailing, shipboard life, an increasingly impo rtant context for shanties and the shantying tradition. The annotated bibli- today. Overall the book is well-organised and laid ography is brief but well-considered, while the out. The musical transcriptions are well presented short glossary doesn't quite catch all the technical and match the sources. They are set in keys ap- terms used in the book. Twenty-seven shanties propriate for singing and playing on common comprise the heart of the book; they are arranged instruments. The spiral binding makes it easier to in five categories according to the particular ship- read the music while playing. I cannot comment board activity they were intended to accompany on how well the book complements the CD it is (capstan, halyard, short drag, windlass and pump- intended to accompany, as I have not heard it. ing shanties, and ceremonial and fo'c'sle songs.) Nevertheless, as a general introduction to shant- Each section is introduced by a one-page explana- ies, it is marred by the wholesale editing of lyrics tion of the activity that the songs would accom- and the extreme brevity of exposition. Rarely is pany, the typical subject matter, as well as musi- any element of the book longer than one page. A cal considerations. The selection of songs offers reader wanting a true sense of shantying must still a good overview of the variety in the genre, seek out-of-print works by Colcord, Doerflinger, although there is no mention of the non-English Whall, and Hugill. Sadly, only Stan Hugill's shanties. For each song there is a note about the Shanties from the Seven Seas (also published by source, an explanation of any special terms or Mystic) is still in print. situations, and often a further exposition on shanties. A few songs are presented with variants. Andrew Draskoy The song texts are often not loyal to the St. John's, Newfoundland source versions cited. Some technical terms are simplified. "Unacceptable" language is replaced Martin Terry. Maritime Paintings of Early Aus- or removed. Verses that might offend modern tralia 1788-1900. Carlton South, Victoria: readers have also been omitted – a museum must Miegunyah Press, 1998. xiv + 1 1 I pp., illustra- work with a family audience in mind. Yet this tions, bibliography. AUS $59.95, US $59.95, means that much of the vocabulary and subject cloth; ISBN 0-522-84688-2. Distributed in the matter used on seagoing vessels in the 1800s is USA by Paul & Company, c/o COSI, Leonia, NJ. thus rendered inappropriate. Curiously, references to drinking and drunken behaviour remain. The "Antipodes" have produced a rich and unique Other editing appears more arbitrary. Some body of maritime art, yet historical analysis of 47 48 The Northern Mariner such images has traditionally been discussed from in the text, belittling these good intentions. the centre of power (the "Empire") outward. Also problematic are Terry's art historical Maritime Paintings ofEarly Australia provides an biases. He casually dismisses scrimshaw as an Australian perspective on this artistic production, "artless" form (though the example shown clearly challenging, to some extent, the established view demonstrates "artful" aesthetic considerations), that this marine art was merely a reflection of yet decries those who call maritime painting European artistic conventions and an expression "artless."[ix] Similarly ships po rtraiture is written of colonial control over the region. The idea is off by the author as a repetitive and "self-defeat- admirable: unfortunately the writing does not live ing genre, [83] yet he fails to consider how nu- up to this "post-colonial" potential, a potential ances like handling, composition, lighting and that the pictorial richness of the book reveals. detail can speak volumes regarding the impor- For a publication released by Melbou rne tance of such images in the marketplace of the University Press, Maritime Paintings is, surpris- day. As Marcia Pointon has shown with her ingly, academically weak. It lacks supporting examination of "wigs" in eighteenth century documentation (only six notes for the whole book, portraiture (in Hanging the Head), even the most though there is a decent bibliography) and there is insignificant detail in a formulaic genre reveals only limited analysis of the a rt works reproduced. insights into changing social and cultural stan- Moreover there are a number of errors in the dards. book, including mis-numbered illustrations, Nevertheless, this is an odd book for while improper dates, along with a confusing use of the text could do with more development it is a both plates (colour images) and illustrations pictorially enlightening "read," particularly in the (black and white images – though at least one forms of art considered as "maritime" imagery. listed illustration is in colour). Passages of hyper- Objet d' art, photographs, still-Iifes, cartographic bole and melodramatic conjecture (as on pages illustrations, explorer's and surveyor's drawings, 39, 85, 98), along with sections of convoluted and scenes from "below decks," are included in phrasing, also detract from the text. Terry's discussion. These expand pictorially upon Terry's analysis is further confined by a the limited visual repertoire often found in books more traditional formalistic reading of the art on maritime art (though the inclusion of dentures works. While not advocating that Terry delve into rescued from the wreck of the Dunbar is needless the more arcane aspects of the contemporary pictorial filler). Included in the book are excellent critical theory, the book's subject matter does works by Tom Roberts, and John Skinner Prout, provide an ideal mechanism for a post-colonial along with Arthur Streeton's magnificent "The perspective. Post-colonial theory/practice gives a Three Liners" of 1893. Streeton's work captures, voice to those normally viewed as powerless through impressionistic brush-work, the energy under colonial authority, providing a multi-vocal and dynamics of modern steamship life juxta- "speaking/writing back to the Empire" in effect. posed with the sailing and rowing taking place in Its practice shows how minorities (notably Ab- Sydney Cove. However Terry's statement that original people), emigrants, and the dispossessed Streeton's work is sketchier than anything Monet (transported convicts), often subverted colonial would have done is inaccurate, particularly given power to their own ends. Indeed Terry uninten- Monet's earlier, and seminal, maritime scene, tionally hints, a number of times, at just such a "Impression: Sunrise" of 1872. In praising the post-colonial position – as when he discusses the amateur artist J. Pearson and his naïve painting maritime artworks of convict artists like John "The Fish of Sydney Harbour" (c. 1901) Terry Lancashire or Thomas Watling. Watling's water- visually ends his book on a strong note. If only colour of a departing ship watched by, what more texts included the work of such divergent appears to be, shore bound local colonial admin- artists, we would find marine a rt to be a far more istrators (themselves imprisoned by the departure) dynamic field than the editions published by the provides both a melancholic and sardonic painting "Collector's Club" on the subject lead us to "back to the Empire." Terry also stresses, in both believe. his opening and conclusion, the importance of the Aboriginal perspective towards colonization and Gerard Curtis the creation of their own unique maritime imagery Fox Lake, Alberta – but he fails to include a single Aboriginal image Book Reviews 49 Wendy Robinson. First Aid for Underwater for professional conservators (except those who Finds. London and Po rtsmouth: Archetype Publi- need to educate archaeologists), nor for hefty cations Ltd. and Nautical Archaeology Society, organisations like Parks Canada which already 1998. 128 pp., photographs (b+w, colour), bibli- ensure that any raised artefacts are immediately ography, index. Spiral-bound; ISBN 1-873132- passed over to a well-equipped conservation team. 662. Instead, it addresses the growing trend among avocational diving groups, contract archaeologists When underwater archaeology began to take on a and smaller museums to take on the excavation of more serious hue in the late 1970s, one of its a submerged site.
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