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After running away from the Franklins, Mathinna hides in the forest. She is not scared to be alone in the woods—rather, she fears more “what await[s] her back at the settlement” (73). She remembers her mother telling her that, before she was born, a younger sister had been taken by British settlers and sent to the Queen’s Orphan School near Hobart Town, never to be seen again. Mathinna does not want to be kidnapped. She recalls how her stepfather, Palle, told her the story of the European conquest of Australia—how the Palawa were once a tribe who worked symbiotically with the land, giving and receiving as needed: They “coveted nothing and stole nothing” (75). When the European settlers arrived 200 years before, “strange-looking creatures with freakishly pale skin” (75), they immediately began pushing the Palawa further and further into the mountains, claiming to need the land for their sheep herds. A decade before Mathinna was born, the British annihilated the Palawa tribe, “hunting [them] for sport” (76) under the command of the British government. When most of the tribe was dead, the remaining people were rounded up and sent to Flinders Island under the promise that their land would be returned to them one day.
As she sits in the forest, the rain begins falling harder, soaking her to the skin. She feels the cold settling in. Exhausted and hungry, she tries to catch muttonbirds but realizes she has no fire with which to cook them. Eventually, her hunger overtakes her, and she forces herself to return to the settlement. She is first strengthened by the fact that the Franklins are no longer there, but the schoolteacher sees her and tells her that they have been looking for her.
On board a ship headed for Van Diemen’s Land (modern-day Tasmania) and the Franklins, Mathinna waves goodbye to her stepfather through her tears. The captain, a former British convict who has served his time, tries to comfort her, but she is unaccustomed to sea life and promptly throws up. The only things from home that she is allowed to bring with her are the shell necklaces her mother made for her and her pet possum, Waluka, which she has raised from a baby.
The captain shows her a map of their journey—it will take 10 days to reach Hobart Town, but she does not recognize any of the names on the map. The days go by, and Mathinna watches the captain closely as he goes about his duties. When he reveals that he had originally been sent to Australia as a convict, he remarks that she would never believe “what people do to each other” (83). For Mathinna, who has been “torn from her family and everyone she knew at the whim of a lady in satin slippers” (83), this idea is not hard to comprehend.
They finally arrive at Hobart Town, and Mathinna packs her items in her bag and puts her shoes on—uncomfortable as they are for her normally barefooted feet. She does not understand what she sees at the landing—activities, smells, and sounds that all seem foreign to her. The captain hands her over to two men who will take her to the Franklins. As she rides in the carriage, she feels that “no one in this strange place look[s] like her” (86).
The carriage arrives at Government House, the Franklin’s home, and the housekeeper greets Mathinna with distaste—she is dirty and unpresentable. Mrs. Crain, the housekeeper, orders her into a bath immediately. Sarah, a young housemaid, assists Mathinna and reveals that home is a pretty nice place to live. Sarah is a convict, allowed to work at Government House due to her good behavior and low criminal activity. She dresses Mathinna in an old dress that once belonged to Eleanor, the Franklin’s daughter.
Sarah takes Mathinna to the kitchen to eat dinner, where Mrs. Wilson, the cook, forces her to eat cold fish and gelatin before meeting with Lady Jane. When Sarah takes Mathinna up to her new room, Mathinna is shocked to see that the windows have been covered with wide wooden planks, obscuring her view of the outside. Sarah reveals that the window coverings are by order of Lady Jane, who thinks that Mathinna will be less homesick if she can’t see outside.
They then move to the parlor where Lady Jane is waiting, a room covered in artifacts of Australian culture—human skulls, stuffed animals, and lifelike recreations of native life. Mathinna notices a spear, “decorated with a distinctive pattern of ochre and red” (92), and recognizes it as her father Towterer’s. Lady Jane promises to donate all the artifacts to the museum one day. Waluka’s presence in Mathinna’s basket surprises her, but she allows Mathinna to keep him. However, she is most pleased to see the three shell necklaces made by Mathinna’s mother and asks to have them. Though Mathinna objects, Lady Jane believes they will be a “worthy addition to [her] collection” (94) and takes them anyway.
As Mathinna lies in bed that night petting Waluka, she cries as she thinks of her mother’s necklaces. She misses her mother, her stepfather, and all of the life she once lived on Flinders Island. She closes her eyes and tries to live vicariously through her memories.
The opening quote from these Mathinna chapters presents the entire theme of this part of her story: “The Government must remove the natives—if not, they will be hunted down like wild beasts and destroyed” (71). Through flashbacks, British actions reveal their desire to overcome the native people in pursuit of the land that will further the British Empire. Brief mentions of control—of Mathinna’s sister who was taken as a child and Timeo, the previous conquest of the Franklins who did not make it—show that this process has become part and parcel of British existence in Australia: Those in control believe that they have full rights to all aspects of native live, including the natives themselves.
However, the differences between the Palawa and the Europeans are quite distinct. Unlike the British, who seem out of place and unable to survive, the Palawa live comfortably off the land because they understand the natural give and take of survival. The only reason the British take control is because they abuse the land, changing it to fit their needs. Even the Aborigine gods differ from what readers saw of religion in the previous Evangeline chapters—the native gods are loving and supportive, not condemnatory and judgmental. The orders from the British government to destroy all of the Palawa bring an end to their way of life but accelerate British control. The capture of Mathinna—and the subsequent stripping of Mathinna of any remembrance of her old life—seeks to finalize this element of control. The Palawa are mere amusements for the British; they are kept captive like circus animals, and their relics kept alongside animal skins in a visible attempt at dehumanization.
When Lady Jane orders the windows in Mathinna’s room boarded up, she effectively cuts off Mathinna’s vision to the old world. Her body has been captured—now the goal is to control her mind. Only then can Mathinna, as a representative of the old way of life, be completely at the mercy of the Franklins. Lady Jane’s proclamation that this, along with the taking of Mathinna’s necklaces, is merely a way to exert “the influence of civilization” (94) on the girl proves just how ironic the concept of civilization is.
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By Christina Baker Kline
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