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  • One perfect weekend on the Mary River floodplains

    One perfect weekend on the Mary River floodplains

    Words by Liani Solari

    Published in Qantas’s inflight magazine and on Qantas Travel Insider, August/September 2016

    Following a dry Wet Season at Bamurru Plains, lodge guests discover there’s more to the Top End than barra fishing. Read more

  • The Gardener’s Bucket List: Lord Howe Island

    The Gardener’s Bucket List: Lord Howe Island

    Words by Liani Solari

    Published in ABC Gardening Australia magazine, January 2020

    More than 240 indigenous plant species live in the rainforests, grasslands and other ecosystems of this biodiverse paradise. Read more

  • Mumbai city guide

    Mumbai city guide

    Words and photography by Liani Solari

    Published in MiNDFOOD magazine, May 2009

    India’s most populous city – the backdrop to Slumdog Millionaire – pulsates with a cosmopolitan vibe and vital energy. Read more

  • Daytripping with Dalí

    Daytripping with Dalí

    Use Barcelona as your base to cross over to the “unsuspected and hallucinatory world of surrealism” in Figueres, Spain.

    Words and photography by Liani Solari

    Mae West was the queen of quips. This fact was not lost on Salvador Dalí when the Catalan artist devoted a room to the 1930s American actor in his Dalí Theatre-Museum in Figueres, north-eastern Spain. Keeping in mind that West believed it was “better to be looked over than overlooked”, visitors ascend a small flight of stairs to view the room through a reduction lens. Its contents instantly meld to become West’s face: a Botox-like frozen moment with a plastic fireplace nose and Saliva-Sofa overblown lips.

    Installation view, through a reduction lens, of the Mae West Room at the Dalí Theatre-Museum, Figueres, Spain, featuring Salvador Dalí Face of Mae West Which Can Be Used as an Apartment circa 1974, photo © Liani Solari

    We had read in a guidebook that none of Dalí’s best-known works are in his home town of Figueres, a 140-kilometre bus trip from Barcelona. However, the guide had failed to acknowledge that the Dalí Theatre-Museum – Dalí’s greatest contrivance and his final resting place – is the largest surrealist work in the world, its scale matching the largesse of its creator’s ego.

    Inaugurated in 1974, the museum occupies the site of Figueres’ former municipal theatre, which was razed in 1939 at the end of the Spanish Civil War. Dalí’s choice of site was purposeful. “The municipal theatre, or what was left of it, seemed to me to be very appropriate for three reasons,” he said. “First, because I am an eminently theatrical painter; second, because the theatre is in front of the church where I was baptised; and third, because it was precisely in the lobby of the theatre that I had my first exhibition of paintings.”

    In this town of Dalinian beginnings and endings, which is easily navigable on foot, it’s a 10-minute stroll from Dalí’s museum to the house in which he was born in 1904 at No. 20 Carrer del Monturiol and his family’s subsequent home in nearby Placa de la Palmera. Neither of Dalí’s childhood homes is an architectural stand-out in the Catalan modernista streetscape, unlike his museum with its deep-pink walls studded with gold bread rolls; its lofty, precariously placed giant eggs; and its crowning glory, a huge glass geodesic dome.

    Entrance to the Dalí Theatre-Museum, Figueres, Spain, photo © Liani Solari

    The whimsical entrance to the museum assures us that we are crossing over to another world – “the new, unsuspected and hallucinatory world of surrealism”, as Dalí described it – which is reinforced by the museum’s advice to consider Dalí’s idiosyncrasy by not following a preconceived route. Trying to ignore that flash of panic at the possibility of missing any part of the museum, I surrender to the ride.

    There’s nothing fusty about this museum experience, I realise, as I jostle with other visitors to take in every detail of Dalí’s large Rainy Taxi (1974) sculpture in the light-filled internal courtyard that used to be the theatre stalls. Beyond the courtyard, sunlight streams through the glass dome to throw a natural spotlight on the stage area, illuminating the backdrop canvas that Dalí created for the ballet Labyrinth (1941). Even in death, Dalí is the ever-present director of these scenes, guiding visitors to appreciate the many ways he has played to the museum’s origins as a theatre.

    Installation view of the courtyard at the Dalí Theatre-Museum, Figueres, Spain, featuring Salvador Dalí Rainy Taxi 1974, photo © Liani Solari

    On this self-guided tour, I’m curious to know on what grounds Dalí’s detractors had dismissed his works as the ravings of a chaotic mind. Certainly, the 1970 documentary Soft Self-Portrait of Salvador Dalí, narrated by Orson Welles, had highlighted the outlandish behaviour and outrageous beliefs of “The Divine Dalí”, as the artist styled himself. “Dalí is not crazy!” the artist ranted at the camera before staging several happenings at his home in nearby Port Lligat. These included Dalí leading a procession of a plaster rhinoceros’s head and two children dressed as cherubs along a coastal goat track, tossing handfuls of feathers into the air; and Dalí emerging with his wife, Gala, from a giant egg on the beach, like the offspring of Leda and Zeus.

    Back in the museum that Dalí opened four years later, I start in the Treasure Room with The Spectre of Sex-Appeal (1932), which Dalí completed during his surrealist period before he was expelled from the movement in 1939. This paradoxically miniature painting of the young Dalí beholding an oversized, grotesque female apparition is rendered in fascinating detail with a sure hand. Dalí was no Sunday painter. Despite being unable to apply himself to his art studies in his youth, he could apply his hallucinatory visions to canvas with almost faultless classical precision. While the subject of the painting is disquieting, its rendering is measured, considered and anything but frenzied.

    It’s also in the Treasure Room that I glean further insights into Dalí’s interior world. While Dalí arguably had his demons, there are few signs of them here in his portraits of his Russian wife and muse, Gala, with whom he instantly fell in love in 1929 while she was married to French poet Paul Eluard. Gala’s image, for the most part, is immune to the grotesquerie and dismemberment that afflict so many of Dalí’s other subjects, his brush instead meditating on her unaffected beauty in the serenely poised Galarina (1945) or elevating her to the supreme object of desire in Atomic Leda (1949). Theirs was not a conventional marriage, with Dalí installing Gala in her own medieval castle in nearby Pubol in 1969, visiting her only by written invitation.

    In the museum’s Fishmongers’ Room, Dalí’s portrait of Spanish artist Pablo Picasso (the two met on a trip to Paris in 1926) shares the space with Dalí’s Soft Self-Portrait with Grilled Bacon (1941). The transparently unflattering Portrait of Pablo Picasso (1947) seems intent on resisting interpretation, the full title of the painting enigmatically nodding to the “genius” of Dalí’s fellow countryman. I’m amused and frustrated in equal measure, until I remember that Dalí claimed he could never understand his own works either. “Dalí only creates enigmas!” he said. (Sorry, Picasso, it’s not really about you.)

    Like fellow Catalan artisan Antoni Gaudí, whose crypt is in La Sagrada Familia in Barcelona, Dalí is buried within his greatest work. I enter the museum’s dimly lit Crypt Room, forgetting the first lesson about Dalí: expect the unexpected. The air is sombre with orthodox reverence that almost seems to flout the memory of this flamboyant personality who made a career of thumbing his nose at convention and inflaming controversy. Dalí’s tombstone, too, is a surprisingly simple, unadorned slab inscribed with stoic roman capitals.

    Torre Galatea (with Sant Pere’s bell tower behind), Dalí Theatre-Museum, Figueres, Spain, photo © Liani Solari

    On leaving the museum, we wander around the building’s perimeter and happen to look up at just the right moment: the bell tower of Dalí’s baptismal church, Sant Pere, is seemingly sprouting up from behind the museum’s egg-crowned tower, Torre Galatea, where Dalí lived for five years before he died in 1989. No other scene could so poetically encapsulate the life of this theatrical illusionist. It’s in this unexpected moment that I appreciate what writer Josep Playa Maset referred to as Dalí’s “first and last acts of a perfectly planned scenario”. Or perhaps, to borrow a line from the character of Dalí in the film Midnight in Paris, “I see a rhinoceros!”

    Getting there: Catalunya Bus Turistic operates return daytrips from Barcelona to Figueres (via Girona). You can also do a virtual visit of the Dalí Theatre-Museum.

    © Liani Solari

    ‘Daytripping with Dalí’ was originally published on Liani Solari’s Girls’ Own Adventure travel blog (now offline).

  • DIY royal visits in Scotland

    DIY royal visits in Scotland

    You don’t need an invitation to have a right royal time at these residences of the British Royal Family that are open to the public.

    Words and photography by Liani Solari

    Balmoral Castle

    The royal why: Built by Queen Victoria and Prince Albert in the 1850s, Balmoral Castle is now the holiday home of Queen Elizabeth II and her family from September to November. Although the castle is not as ostentatious as you might expect, Queen Victoria described Balmoral as “my dear paradise in the Highlands”.

    The grounds of Balmoral Castle, Scotland (Photograph: Liani Solari)

    Common ground: The ballroom is the only room in the castle that is open to the public. Watch video footage capturing the Queen’s lighter side (when she takes her then young grandchildren Zara, Beatrice, William and Harry for a pony ride around the grounds) and Prince Charles’s balding royal pate doing the dosey doe around the ballroom (thanks to the camera angle).

    In the castle grounds, woe betide any weed that infiltrates the royal vegie patch, but the public is welcome to traipse around the neat plantings of mollycoddled carrots, leeks and beets.

    The royal vegie patch at Balmoral Castle, Scotland (Photograph: Liani Solari)

    Royal scandals: In autumn 2012, Prince Harry sought refuge at Balmoral from his nude-in-Vegas photo scandal, no doubt receiving a different kind of dressing-down from the powers that be.

    John Brown, Queen Victoria’s rumoured lover, is buried in the old graveyard across the road from nearby Crathie Kirk, the parish church where the holidaying royals attend Sunday services.

    We are not amused: In the nearby town of Ballater, royal warrants are proudly displayed by stores that supply goods to the Queen and Prince Charles. Note the wall of the Chinese takeaway displaying the Queen’s royal warrant, which really belongs to Chalmers Bakery next door.

    Glamis Castle

    The royal why: Glamis Castle (featured image) is the fictional residence of William Shakespeare’s Macbeth, the real-world childhood home of then commoner Elizabeth Bowes-Lyon (the late Queen Mother) and the birthplace of the late Princess Margaret. The castle is on land in Angus granted to the Bowes-Lyon family in 1372 by King Robert II. When Elizabeth was four, her father inherited Glamis Castle with the title of 14th Earl of Strathmore and Kinghorne. The fairytale-like building with its lofty turrets is reportedly the most haunted castle in Scotland.

    Common ground: The 50-minute guided tour of the castle includes the family chapel, where a particular seat is always reserved for ‘the Grey Lady’, the ghost of Lady Janet Douglas of Glamis, who was burned at the stake in 1537 by King James V of Scotland on trumped-up charges of witchcraft. The castle is also said to be haunted by the spirit of ‘Earl Beardie’, who declared that he would play cards with the Devil himself into the wee small hours of Sunday when he could find no-one else in the castle who would violate the Sabbath.

    Members of the public may stroll at their leisure through the picturesque grounds, keeping an eye out for red squirrels and Highland coos.

    Royal scandal: In Victorian times, Glamis Castle was plagued by rumours that the first-born son and rightful heir of the 11th Earl was held captive in the castle, concealed in a secret apartment within its walls.

    We are not amused: When the 18th Earl of Strathmore and Kinghorne married commoner Karen Baxter in August 2012, the Daily Mail couldn’t let sleeping corgis lie, reporting, “Twice-divorced Queen’s cousin with ‘taste for drinking and prostitutes’ weds shop manager.”

    Palace of Holyroodhouse

    The royal why: Located at the end of Edinburgh’s Royal Mile, the Palace of Holyroodhouse is the official residence of the Queen in Scotland, and where she receives guests in the Royal Apartments during Holyrood Week in June/July. Maintaining a tradition dating back to King George V and Queen Mary, the Queen and the Duke of Edinburgh (1921–2021) would entertain 8000 guests at a Garden Party in the grounds of the palace each summer.

    Depiction of a unicorn (the national animal of Scotland and a symbol of Scottish royalty) on a wall at the Palace of Holyroodhouse, Scotland (Photograph: Liani Solari)

    Common ground: The palace’s Royal Apartments and Historic Apartments are open to the public. Mary, Queen of Scots’ Bedchamber and Outer Chamber are a treasure-trove of the bedevilled 16th-century monarch’s personal possessions, including a lock of her hair, delicate needlework she completed in exile in England and a perfume pomander.

    Royal scandal: Arguably the most famous room in Scotland, the Outer Chamber is where David Rizzio, Mary’s secretary, was dragged and stabbed 56 times by the queen’s jealous husband, Lord Darnley, and his henchmen.

    We are most amused: In 2011, when Zara Phillips and Mike Tindall held their wedding reception at the palace, wannabe karaoke king Prince William performed Bon Jovi’s Livin’ On A Prayer. Aye, Britain’s got talent.

    © Liani Solari

    ‘DIY royal visits in Scotland’ was originally published on Liani Solari’s Girls’ Own Adventure travel blog (now offline).

  • David Bowie is

    David Bowie is

    Is there anything that David Bowie isn’t? Well, yes, according to this V&A exhibition. David Bowie is not David Jones.

    Words and photography by Liani Solari

    ‘David Bowie is’ was originally published on Liani Solari’s Girls’ Own Adventure travel blog (now offline) in May 2013. The David Bowie is exhibition toured the world from March 2013 to July 2018. Bowie died in January 2016 after releasing his final studio album, Blackstar.

    Is there anything that David Bowie isn’t? Well, yes, according to the V&A’s David Bowie is exhibition. “David Bowie is not David Jones” protests a sign at the entrance. It’s confirmed by a typewritten letter, dated to 1965, from Bowie’s manager, Ralph Horton, advising, “I have now changed Davie’s name to David Bowie.” No Monkee business going on here.

    Today, 48 years after he took American frontiersman Jim Bowie’s name to distinguish himself from teen idol Davy Jones of the Monkees, David Bowie is very much in the present tense. Earlier this year, the English musician released The Next Day, his first studio album in 10 years, and if the queues outside the V&A and inside the exhibition are any indication, London is in the grip of Bowie fever again.

    This world-first retrospective of the serial reinventor’s five-decade career contains 300-plus objects but seems far more dense, layered as it is with video installations, an integrated audio tour and a background-music loop that runs the gamut of Bowie’s greatest hits.

    Charting the rise of the boy from Brixton to the Top of the Pops, the exhibits include a black-and-white photo of a 16-year-old Bowie (then a trainee paste-up artist for an ad agency) when he had his first band, The Kon-rads. It’s a reminder of his longevity in the industry. Camera-ready and primped to within an inch of his young life, Bowie would later sing, “When you’re a boy other boys check you out,” cutting a fine figure as a drag queen (or three) in the exhibition’s screening of the video clip for Boys Keep Swinging.

    As the exhibition progresses, the teenage Bowie’s blond rockabilly coif morphs into a Mick Jagger-esque ’do on the cover of Bowie’s 1967 debut album for Decca (Bowie was openly fascinated with Jagger) and then the shock of red hair he sported as Aladdin Sane in 1973 (a look immortalised on the Brixton 10-pound note).

    “Bowie’s blond rockabilly coif morphs into a Mick Jagger-esque ’do and then the shock of red hair he sported as Aladdin Sane.”

    There are outrageous costumes that immediately scream Bowie – the 1973 Tokyo Pop vinyl bodysuit designed by Kansai Yamamoto is a standout – along with unexpected objects and references that raise a chuckle. The framed diploma that Bowie received for entering the 2nd International Song Festival in Malta in 1969 (the year he released Space Oddity) resembles an encouragement award, while there’s nothing too cool for school about his song choice for his first BBC audition: Mary Poppins’ Chim Chim Cher-ee.

    What is cool, though, is the way Bowie’s record covers are displayed, inviting us to riffle through the album sleeves as if in a vintage record store (or, for some of us, through our own vinyl collections).

    Incidentally, no harm was done by Mary Poppins, with Starman launching Bowie onto the BBC’s Top of the Pops and into living rooms across England in 1972. The video of his performance, which caused a stir at the time, is displayed on a floor-to-ceiling screen behind a mannequin dressed in the Starman’s two-piece quilted suit.

    The exhibition also offers rare insights into Bowie’s creative process, documenting everything from the people who inspired his overt theatricality (including avant-garde mime artist Lindsay Kemp) and use of the cut-up technique (Beat Generation writer William S. Burroughs), to his handwritten lyrics, album artwork sketches and costumes. Influenced by filmmaker Stanley Kubrick’s A Clockwork Orange, Bowie’s early costumes for Ziggy Stardust take the short bodysuit and platform boots to new heights.

    Channelling the glamour of 1940s Hollywood screen siren Lauren Bacall on the cover of his 1971 album, Hunky Dory, Bowie also unwittingly took imitation to its unflattering end, incurring the annoyance of Andy Warhol with his eponymous song about the pop artist on the album. The two met just once, that same year. Watching their awkward encounter on video, I can’t imagine what Warhol would have made of Bowie wearing the dead man’s wig and glasses to play him in the film Basquiat in 1996.

    Acknowledging Bowie’s many collaborators and co-conspirators, the exhibition features the Union Jack coat designed by Alexander McQueen for the Earthling album cover (1997); Bowie’s diary entry about co-writing his first American hit single, Fame, with John Lennon (1975); and Bowie’s painting of Iggy Pop from the musicians’ Berlin years in the 1970s.

    In addition to Bowie’s handwritten lyrics to Starman, there’s a simulation of the Verbasizer computer program and a video of Bowie demonstrating how he uses it to write his songs. “In the ’70s he becomes fascinated by chance as a catalyst for creativity,” explains the accompanying information about Bowie’s songwriting methods. By the ’90s, Bowie’s use of the Beat-inspired cut-up technique culminates in the Verbasizer, an electronic lyrics generator. So re-inventive. So Bowie.

    We leave the exhibition via a larger-than-life video of Bowie’s final Ziggy Stardust concert at London’s Hammersmith Odeon in 1973. We could almost be at a live concert. “It’s the last show that we’ll ever do,” Bowie announces to an unsuspecting audience before performing the final encore. We’ve heard that before, so should we be concerned? Let’s hope David Bowie is a doing word.

    © Liani Solari

  • Window Seat photo prompt: Nockburra Creek, Murray River

    Window Seat photo prompt: Nockburra Creek, Murray River

    Words by Liani Solari • Photograph by Greg Brave

    Published in Qantas’s inflight magazine, January 2019

    As you navigate the turns of this slow, shallow creek, every oar stroke is a meditation on natural beauty. Read more

  • Hawaii’s melting pot

    Hawaii’s melting pot

    Words by Liani Solari

    Published in Virgin Australia’s inflight magazine, September 2010

    Meet the people who are growing the culinary movement known as Hawaii Regional Cuisine and promoting Honolulu’s reputation as a fine-dining destination. Read more

  • Island envy in Greece

    Island envy in Greece

    Words by Liani Solari

    Published in From The Bridge cruise magazine, March 2015

    Cruise to the less-visited Greek islands for an authentic, uncomplicated experience of the region’s highlights. Read more

  • Camperdown Cemetery: A walk among the tombstones

    Camperdown Cemetery: A walk among the tombstones

    Words and photography by Liani Solari

    ‘Camperdown Cemetery: A walk among the tombstones’ was originally published on Liani Solari’s Girls’ Own Adventure travel blog (now offline) in 2014. Details about cemetery tours were correct at the time, but may have changed. To enquire about current tours, go to Newtown Erskineville Anglican Church.

    In today’s market you’d be lucky to get change from $1 million for a terrace house in Sydney’s Inner West, but offloading land in Camperdown in the early decades of European settlement was a hard sell. Potential buyers didn’t want to live that far out from the colony!

    In 1848, however, Mary Bligh, daughter of former governor William Bligh, managed to sell 12 acres to the 200 entrepreneurial businessmen who had formed the Sydney Church of England Cemetery Company. There they established Camperdown Cemetery, the colony’s third burial ground, in the suburb now known as Newtown.

    Today, wading through knee-high kangaroo grass – a protected species among the decaying sandstone grave markers – you have to close your eyes to imagine what the Cemetery Company envisioned in 1848: a manicured English-style cemetery to put Sydney’s two unkempt government-run cemeteries to shame.

    On most Sundays, while parishioners are pulling up a pew in St Stephen’s (the onsite church designed by architect Edmund Blacket), other locals are unpacking their picnic baskets on stone slabs in the cemetery.

    Once a month, Marcelle Rodgers, the wife of St Stephen’s former rector, and archaeologist Jenna Weston conduct a two-hour walking tour of Sydney’s oldest existing European cemetery (now four acres), introducing participants to Napoleon’s harpist, a verified ghost, the victims of Australia’s Titanic story, the real Miss Havisham and many others…

    Napoleon’s harpist

    In 1856, opera singer Anna Bishop erected what can only be described as a Victorian death monument – with all the histrionics that implies – to her lover, Nicholas Bochsa. Nicholas had been the imperial harpist to Emperor Napoleon of France and had given lessons to Empress Josephine, fuelling a passion for harp-playing among Parisian ladies.

    In 1817, to avoid 12 years’ imprisonment for forgery, Nicholas fled to England, where he was a big hit in London. There he met composer Sir Henry Bishop and his young opera singer wife, Anna. Nicholas and Anna ran off together, touring Europe and America before taking their highly anticipated act to Australia. However, they gave just one concert in the colony before Nicholas died.

    Crowned with Anna’s self-portrait (rendered headless by vandals), Nicholas’ tombstone in Camperdown Cemetery declares her “sincere devotedness” as his “faithful friend and pupil”. But, judging from the extravagance of the piece, local stonemason John Roote Andrews had read between the lines.

    Grave of Nicholas Bochsa in Camperdown Cemetery, Sydney (Photograph: Liani Solari)

    Mr Eternity’s serendipity

    The headstone of Lieutenant John Putland – Governor Bligh’s aide-de-camp and Mary Bligh’s first husband – was ‘homeless’ for a time, not unlike the man who inadvertently led to its discovery in Marcelle Rodgers’ garage when she lived next door to Camperdown Cemetery.

    The find was made about 10 years ago when a film crew was working in the cemetery on a documentary about Arthur Stace, dubbed ‘Mr Eternity’. Arthur, who led an itinerant lifestyle and suffered from alcoholism, was inspired by a preacher at the Burton Street Tabernacle in Darlinghurst to chalk the word ‘Eternity’ in perfect copperplate on the streets of Sydney from 1932 until his death in 1967.

    The film crew wanted to chalk the word ‘Eternity’ on the back of a headstone. Rather than disturb anything in the cemetery, Marcelle agreed to bring out a headstone that was stored in her garage, without taking notice of the inscription to Putland. “The next week, people started knocking on my door, saying, ‘You won’t believe what’s turned up in the cemetery – an important historical piece!’” she recalls.

    Putland’s headstone predates Camperdown Cemetery by 40 years, and no-one quite knows how it got there. Historians suspect that, like Mr Eternity, it had done the rounds in Sydney.

    Thomas Downes and the “sham balloon ascent”

    Take a closer look at the headstone of 11-year-old Thomas Downes and you’ll realise the hot air balloon isn’t a reference to a child’s toy.

    In 1856, a Frenchman, Monsieur Pierre Maigre, sold tickets to hundreds of people to watch him launch the first flight in Australia in the Domain, Sydney. It all went disastrously wrong when the balloon caught fire and didn’t rise. Accusing Maigre of ripping them off, the crowd began to riot. In the chaos that ensued, a pole anchoring the hot air balloon was knocked down, striking the Downes boy in the head. While Maigre fled, the boy was taken to the Sydney Infirmary and Dispensary, where he died from his head injuries.

    Thomas’ death went before the courts, the jury concluding, “We unanimously consider that, if any person is to blame, it is Monsieur Maigre, the perpetrator of the sham balloon ascent.”

    Dr Charles Nathan, the surgeon who attended to the boy at the Sydney Infirmary and Dispensary, is also buried in Camperdown Cemetery. In June 1847, he administered the first anaesthetic in Australia, which was understandably a big deal. Until then, the few operations that were possible were carried out with no pain relief; after a dose of opium and/or alcohol; or after a good old-fashioned blow to the patient’s head that would ‘knock them out’. (These days we’d call that malpractice.)

    Convict ghost

    Camperdown Cemetery reportedly has several ghosts, but only one that can be verified: Bathsheba Ghost. In 1838, Ghost was convicted at London’s Old Bailey court of receiving stolen property. Sentenced to 14 years in the colony of New South Wales, she was forced to leave her husband and three-year-old son.

    Thirteen years into her sentence, Ghost was appointed to one of the most prominent and well-paid positions available to a woman in the colony: matron of the Sydney Infirmary and Dispensary. Along with Dr Charles Nathan, she attended to the boy fatally injured in the hot air balloon accident.

    Ghost remained in Sydney and never remarried. It is not known what happened to her husband, however, towards the end of her life, her son immigrated to Australia and she came to know her grand-daughter.

    Australia’s own Titanic

    Towards the far corner of Camperdown Cemetery is a mass grave for the victims of the Dunbar shipwreck. Some refer to the Dunbar tragedy as ‘Australia’s Titanic story’, but given that it occurred in 1857 (the Titanic sank in 1912), perhaps the Titanic should be ‘Ireland’s Dunbar story’?

    Unlike the ships of the First and Second Fleets crammed with convicts, the Dunbar was an English sailing ship bringing upper-class passengers and their servants back to Australia. On its second voyage to the colony, disaster struck.

    At about midnight on 20 August 1857, during an east coast low, Captain Green made a fatal error: he thought he was guiding the ship into Sydney Harbour, but he was a kilometre off course. A massive wave smashed the ship against the wall of the Gap at Watsons Bay, and within a couple of waves the ship was destroyed.

    All but one of the 122 people on board perished. Miraculously, crewman James Johnson was washed up on a ledge at the Gap, where he spent two days before he was seen and rescued. James later became a lighthouse keeper up the coast at Nobbys Beach, Newcastle – where, the story goes, he saved the sole survivor of a shipwreck, like himself.

    While you won’t find the Dunbar’s sole survivor in this cemetery, you will find another love triangle and a ghost story. Next to the Dunbar mass grave is that of Captain John Steane, also a victim of the Dunbar. His body was among the handful recovered intact, so he was given an individual burial. Just a couple of metres away, within eyeshot, is the grave of John’s alleged lover, Hannah Watson, and her husband, Captain Thomas Watson, the Harbour Master of Port Jackson.

    According to the story, when Thomas discovered his wife’s infidelity, he cursed the lovers. Hannah wrote to John, begging him not to return to Sydney, but it was too late – he had already set sail on the Dunbar. While the ill-fated lovers were never reunited in life, Hannah’s ghost has reportedly been seen drifting from the tomb she shares with her husband to the grave of her lover.

    The real Miss Havisham?

    When her well-to-do father, James Donnithorne, died in 1852, Eliza Donnithorne inherited most of his estate, including their home, Cambridge Hall (no longer extant), at 36 King Street, Newtown.

    Four years later, Eliza was to marry shipping clerk George Cuthbertson. However, on the morning of the wedding when all was ready – the bride decked out in her gown, the wedding breakfast laid out, and the guests assembled – George failed to turn up.

    From that time on, the jilted bride never left the house, opening the door only to a select few and taking refuge in books. The wedding breakfast remained on the dining table, gradually decaying. Eliza died in the house 30 years later, aged 60, and was buried in Camperdown Cemetery with her father, James.

    Sound familiar? Eliza Donnithorne bears an uncanny resemblance to the eccentric recluse Miss Havisham in Charles Dickens’ novel Great Expectations. Though no-one can be sure if Eliza was the real-life inspiration for Miss Havisham, the Dickens Society in England gave Eliza the benefit of the doubt and money towards the restoration of her granite headstone when it was knocked over and broken in 2004.

    Grave of Eliza Donnithorne and her father in Camperdown Cemetery, Sydney (Photograph: Liani Solari)

    Dickens published Great Expectations four years after Eliza was jilted. You have to wonder if she read his novel while she was holed up in Cambridge Hall. If so, did she recognise shades of herself in Miss Havisham? Today, ironically, the slab next to the gravestone of reclusive Eliza is a popular picnic table.

    © Liani Solari