I went to the ‘Student Prince’ in the 1970s, only the once I think. The pub was pretty well packed with students from across the road, befitting its reputation as the unofficial watering hole of Sydney University students in those days (I was probably one of the few people there who were not actually going to USyd).
The interior was dimly-lit, the furniture well-used and the place definitely not decorated in the fashion of Old Heidelberg. I recall music playing however it was not a Mario Lanza record but a scrawny-looking band out the back playing something that wasn’t the “Drinking Song’ from the 1954 movie bearing the hotel’s name.
(Source: G’day Pubs)
The public house changed hands several times in the years before 2001 when it closed its doors for good, having been the perennial refuge for countless undergrads after a day spent in the mental grind of lecture halls and swotting up in Fisher Library. While many former patrons of the pub no doubt fondly recall their time drinking and waxing lyrically about some newly-acquired parcel of esoteric knowledge, other habitués associate the Student Prince with other memories – Russell Crowe for instance confessed to the Twitterati in 2010 that the roof of the pub was where his ten-year-old self first got his nicotine addiction!
The Student Prince after loitering on the market for a protracted period of time was bought by what the Sydney Morning Herald called “a mysterious consortium of Asian businessmen” who spent two years and $11 million turning the old uni student watering hole into an upmarket brothel (‘Sexclusively yours’, SMH, February 17, 2003).
‘Stiletto’ (the name it trades under) was described on the DA (development application) as an “adult entertainment facility”, or translated into street parlance, a “very high class knocking shop”. In 2011 plans to expand Stiletto into a “42-room megaplex” (the “largest short-stay bordello in the world”) ran into a hitch when Westpac the principal financier got cold feet. The establishment went ahead with the new development, but after a moral backlash (‘Sydney sinking into sin’, Daily Telegraph, November 12, 2010), the eventual expansion was appreciably more limited in size than initially proposed by the developers.
(Photo: ANU Open Research)
Footnote: There was an earlier pub dating from the 1880’s on the site at 82 Parramatta Road, Camperdown, called the ‘Captain Cook Hotel’ (‘Former Student Prince Hotel in Camperdown (NSW)’, www.gdaypubs.com.au).
Every age produces its share of literary hoaxes, it’s a practice to deceive that has been around for ‘yonks’. A Irish hack writer back in the 18th century claimed to have discovered (and subsequently published) a ‘lost’ play purportedly penned by Shakespeare. Jonathan Swift dabbled in it in his time, and in recent times we have seen the surfacing of false claims of a ‘lost’ autobiography of Howard Hughes and the emergence of the so-called “Hitler Diaries”.
▲ Pranker J McAuley
The Antipodes’ most celebrated entrant in the canon of great literary hoaxes occurred in 1944. The perpetrators were two nondescript conservative young poets serving in the Australian army, (Lt.) James McAuley and (Cprl.) Harold Stewart (both Fort Street High old boys), who “shared an animus towards modern poetry” (Lehman). The two desk soldiers, intent on “deflat(ing) the egos of the pretentious literary avant-garde“𝟙, honed in on the most conspicuous target, Max Harris, Adelaide publisher of the modernist literary mag Angry Penguins.
▲ Pranker H Stewart
McAuley and Stewart’s prank𝟚 was to write to Harris pretending to be one “Ethel Malley” from Croydon NSW, informing him of unpublished poems written by her brother Ern, a working class soldier whose life had been cut tragically short. Harris, taken in by the fraud lock, stock and barrel, called “Ern’s poems” modernist gems and was only too eager to publish the 18 “Ern Malley” poems in a 1944 volume of Angry Penguins. ⿻ ⿻ ⿻
▲ Cover art by Sidney Nolan
Malley’s “magnum opus“, entitled ‘The Darkening Ecliptic’, according to the hoaxers was written in a single afternoon in a random manner, a pastiche of fragments patched together from widely disparate sources of inspiration – Shakespeare, the classics, a dictionary, a book of quotations, a tome on tropical hygiene, a US Army treatise on mosquito infestation…all mixed in together with snatches of McAuley and Stewart’s own poetry. Consisting of abstruse, flowery, high-sounding verse, to the minds of the hoaxers they were simply creating nonsensical, bad modern poetry:
❝ Though stilled to alabaster
This Ichthys shall swim
From the mind’s disaster
On the volatile hymn. ❞
𓂎𓂎𓂎
❝ The swung torch scatters seeds
In the umbelliferous dark ❞
𓂎𓂎𓂎
❝ I am still
the black swan of trespass on alien waters. ❞
𓂎𓂎𓂎
▲ Max Harris with his Heide Circle friends (Source: literaturelust.com)⿻⿻⿻
After a Sydney tabloid exposed the poems as a hoax and McAuley and Stewart fessed up to the deed, the fallout for Harris was caustic, the publisher was publicly humiliated for being duped so completely. And to add insult to injury, he was charged, tried and convicted on obscenity grounds (“indecent advertisements” the police prosecution charged). The trifecta of misfortune for wunderkind Harris was that his publication Angry Penguins folded within two years of the episode. Harris relocated to Melbourne, becoming a bookseller (fronting the Mary Martin’s chain of bookshops).
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Afterwards Harris reproached himself for not picking up on the several clues McAuley and Stewart embedded in the text, eg, “It is necessary to understand that a poet may not exist”; (alluding to earlier incongruous stanzas) “these distractions were clues” (Parezanović). Interestingly though, Harris never backtracked from his initial evaluation that the ‘Darkening Ecliptic’ poems were works of genius𝟛. Despite being pilloried by the press he also elicited support from the literary world for his stance, most notably from influential critic Sir Herbert Read who contended that “it was possible to arrive at genuine art by spurious means – even if the motive of the writer was to perpetrate a travesty” (Lehman).
▲ No. 40 Dalmar St Croydon: the Malleys’ supposed address, actually the home of Harold Stewart⿻⿻⿻
Read’s anti-clockwise take on the controversy points to a debate that continues to this day over the merit or otherwise of the “Ern Malley” poems. Critics at home and abroad praised ‘The Darkening Ecliptic’ for its literary merit – including Robert Hughes. American poets John Ashbery and Kenneth Koch both lauded the poems’ surrealist qualities and even taught Ern’s work in their college literature classes (Wertheim). Even a poet of the highest calibre, TS Eliot, had positive words, wiring his support for the poems.
⿻⿻⿻
Ern Malley and the intentional fallacy
The Ern Malley controversy focuses attention on the issue of authorship. Sasha Grishin argues that where an author is “unknowable” and the author’s intentions irretrievable and perhaps irrelevant…once a work of art has been created…it is largely a fruitless task…to try to determine what an author may have intended by it“. Michel Foucault gives credence to this perspective: “we can imagine a culture where discourse would circulate without any need for an author” – a prime example of this is Homer, the unknowable but putative author of western literature’s ur-canon. ⿻⿻⿻ Nolan’s “Ned Kelly” series ▲
Like the poems or loathe them, the Malley hoax continues to fascinate critics and writers. US poet and critic David Lehman calls it “the greatest literary hoax of the 20th century”. Sidney Nolan (who contributed the cover artwork for the Ern Malley volume) credits the phenomenon with giving him the nerve to embark on his iconic “Ned Kelly” series of paintings. Garry Shead is another artist who produced his own idiosyncratic visual take on the Malley poems. In Peter Carey’s My Life as a Fake the Malley hoax influence—along with the influence of Mary Shelley’s Frankenstein— shows itself in the novel’s character ‘Christopher Chubb’.
A cause célèbre with staying power
Undeniably, the creation of the fictitious Ern Malley far surpassed the literary significance of his creators (Grishin). As Lehman noted, “Malley escaped the control of his creators (enjoying) an autonomous existence beyond and at odds with the critical and satirical intentions of McAuley and Stewart”.
◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘
𝟙 Stewart late in life described the deception as “a wonderful jape (which would) absolutely slay Max Harris”
𝟚 some have suggested that the Australian anti-modern poet AD Hope was behind the prank to deceive Harris but Hope vigorously denied any involvement (McCulloch)
𝟛 Stephen Orr suggests that Harris’ eagerness to take the Ern Malley discovery at face value and run with it was in part due to his being on the lookout for something authentic and new to take the place of bush poetry in Angry Penguins, something “modern, anti-Adelaide, anti-Australia-as-a-talcum-scented tea shop”
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
Papers and published pieces consulted:
‘The Ern Malley Poetry Hoax – Introduction’, David Lehman, Jacket, 17 — June 2002, www.jacketmagazine.com
‘The Poet Who Never Was’, David Lehman, Washington Post, 06-Mar-1994, www.washingtonpost.com
‘Garry Shead and the Ern Malley series by Sasha Grishin, 2003’, Gagprojects, www.gagprojects.com
“It is Necessary to Understand That a Poet May Not Exist: The Case of Ern Malley”, Tijana Parezanović, SIC – A Journal of Literature, Culture and Literary Translation, Dec 2012, www.sic-journal.org
‘The Fall and Rise of Ernest Lalor Malley: The Poet who wasn’t’, Christine Wertheim, Cabinet, Issue 33, Spring 2009, www.cabinetmagazine.org
‘In Dialogue with A.D. Hope – Dialogue Three Politics & Poetics of Australian Literature’, Ann McCulloch, Double Dialogues, Issue 5 2003, www.doubledialogues.com
About one kilometre north of Shanghai’s famous riverside Bund, at No. 10 Shajing Road, Hongkou District, is a most unusual building. Grey, monolithic and coldly forbidding in countenance, it is known today as Shanghai 1933 (上海1933老场坊) or “Old Millfun”…here in Shanghai’s former “International Settlement” is what was once “Slaughterhouse No. 1”, the Far East’s largest slaughterhouse.
(Source: Flickr)
The 31,700 sq m circular roof landmark building has been described as an “eerie Gotham-Deco achievement in concrete, glass and steel” (Atlas Obscura). In 2021 it is home to a fashionable collection of boutique shops, offices, restaurants and cafes, and an event venue, though for some wary locals the reputation of its past convinces them it is haunted by bad spirits (‘1933: The Slaughterhouse of Shanghai’, Monica Luau, Culture Trip, 05-Dec-2017, www.theculturetrip.com).
Architecture
The slaughterhouse was designed in the Art Deco style with Beaux-Arts and Bauhaus influences. This was a marked departure from hitherto abattoir designs which had studiously avoided any suggestion of decoration or aesthetics (‘From slaughter to laughter: the renovation of a slaughterhouse in Shanghai by IPPR’, Austin Williams, Architectural Review, 22-Oct-2018, www.architectural-review.com; ‘A Brief History of Shanghai’s Old Slaughterhouse 1933’, Emily Wetzki, that’s Shanghai, 03-Jul-2014, www.thatsmag.com). The primary building material used was poured concrete (Portland cement) imported from Britain.
🔺 “The gigantic parasol” (Photo credit: Architectural Review)
The unorthodox basic form of the Shanghai Slaughterhouse comprises an outer four-storey high square building enclosing a round inner building—with a 24-sided dome roof—the core of which is a central atrium into which light is admitted. The facade consists of iconic lattice windows with circular motifs. The stylised geometry of the lattice windows allows for much-needed ventilation and natural cooling (Williams)
🔺 A multiplicity of interlocking staircases & ramps (Source: Shanghai Art Deco)
The congested and convoluted interior presents a seemingly Byzantine confusion of elements obscuring what was in fact a revolutionary abattoir design. The interior was an Escheresque¶ maze of compartments, winding passages and corridors, scattered rooms, narrow spiral interlocking staircases, bridged walkways (26 sky bridges), twisting ramps, 50cm-thick walls, (300) Gothic columns and (four) verandahs (‘Shanghai’s charmed revealed’, Mu Qian, China Daily, 27-Oct-2011, www.chinadaily.com.cn; Williams).
🔺 Labyrinthine work of MC Escher
The “state-of-the-art” (for its day) slaughterhouse had many advanced features: the latticework exterior circulated air and, along with the extra thick walls, made the building cooler in Shanghai’s summers; safety measures were incorporated into the design – textured floors in the ramp made them slip-proof, and built-in escape niches for workers to jump into in the event of a cattle stampede (‘1933 Shanghai Slaughterhouse’, Hidden Architecture, www.hiddenarchitecture.net).
The abattoir’s design controlled the speed and flow of cattle from one area to the next. The unique multi-storey slaughterhouse made for a rational and hygienic method of working – situating the killing spaces on the highest level “allowed gravity to drain the blood, to lower the carcasses, to drop the waste, collect the hide” below. Such efficiency allowed for more than 1,200 heads of cattle, sheep and pigs to be processed in a single day (producing 130 tons of meat for human consumption) (Williams).
(Photo: Flickr)
Building history
The slaughterhouse continued to function until the 1960s, although between 1937 and 1945 it fell under the control of the occupying Japanese military. After the communist takeover of China in 1949 it officially became “Slaughterhouse # 1”. After the abattoir was closed, the building was converted into a cold storage facility and then a medicine factory.
(Source: Randomwire)
Reborn as a “creative industry zone” Abandoned in 2002, the Old Millfun building was heading for decay and destruction when it was saved in 2008 by a RMB100 million renovation [Architect: IPPR (Shanghai) – Engineering and Design Research Institute] and eventually transformation into a trendy entertainment❂ and shopping hub (Mu).
Architect: Balfours Master Architects (UK). Some sources attribute the building design to CH Stableford, Shanghai Municipal Council architect at the time (construction by Yu Hong Ki Construction Co).
________________________
✥ China before 1933 used the unit of weight, the tael applied to silver, as the unit of currency. A tael was usually equivalent to 1.3 ounces of silver
¶ bringing to mind the intricate, implausibly dense lithographic prints and drawings of Dutch graphic artist MC Escher
❂ among its upmarket tenants is the Ferrari Owners’ Club of China
Say the word ‘Prohibition’ and people think of those years in the early 20th century when America went dry with a blanket ban on hard liquor consumption, but much less well known is its connexion to that most popular of frozen desserts, ice cream.
(Source: Flickr)
The Volstead Act in 1920 outlawed the manufacture and sale of alcohol in the United States. The 18th Amendment to the Constitution invalidated the licences of brewers, distillers, vintners and sellers of alcoholic beverages✴. The anti-alcohol legislation had its roots in the formation of the Anti-Saloon League (1893) supported by et al the Woman’s Christian Temperance Union, sharing its alarm at the growing prevalence of hard drinking and the development of a culture of drink. These like-minded groups coalesced into a national movement which successfully lobbied Washington for the desired reform (‘Why Prohibition?’, Temperance & Prohibition, Ohio State University, www.ose.edu)❂.
(Source: Flickr)
Nature (and business opportunism) abhors a vacuum
Into the void left by plummeting alcohol consumption (in the early 1920s consumption of beverage alcohol was around 30% of the pre-prohibition level (‘Why Prohibition?’), came ice-cream, marketed partially as a “comfort food” for those committed drinkers bereft of the booze. The advent of Prohibition was thus a boost to the ice cream business. Americans didn’t simply stop drinking beer, wine and spirits and take up iced confectioneries…over the nine years from 1916 ice cream consumption increased 55%, against a population increase of only 15% (‘Thanks, Prohibition! How the Eighteenth Amendment Furled America’s Taste For Ice Creams’, Rachel Van Bokkem, AHA Perspectives on History, 08-Aug-2016, www.historians.org).
(Image: Omaha World Herald, CooksInfo Food Encyclopedia)
Even before Prohibition the ice cream business surge started, due to improvements in technology which boosted ice cream’s popularity. Improved methods led to mass production of ice cream; improved refrigeration preserved the product better. Other recent innovations in the industry enhanced ice cream’s appeal to the public, eg, the development of single-serve products (the chocolate ice cream bar, the Popsicle, the Dixie Cup), notably the Eskimo Pie (marketed initially as the “I-Scream-Bar”) by Christian Nelson; Harry Burt’s “Good Humor Bar” which added a wooden stick to the frozen confectionery…a further advance by Burt was the introduction of a mobile service (trucks with freezers bringing the bars to the neighbourhoods) (Van Bokkem). Another factor was the spike in the number of soda fountains in American drugstores (the New York Times estimated that there were over 100,000 soda fountains in 1922, generating $1B in sales (‘Why Ice Cream Soared in Population During Prohibition’, Farrell Evans, History, 28-Jan-2021, www.history.com).
Coors Porcelain Co (Source: coortek.com)
Breweries’ strategies responding to Prohibition
When the bans were enforced, the bulk of breweries went to the wall. Research by Maureen Ogle indicates that of the 71,300 American brewers in 1915, no more than 100 survived Prohibition (Ambitious Brew: The Story of American Beer, 2007). The big names in US brewing stood more chance of surviving, but only by diversifying. This they did by branching into the manufacture of everything from ceramics (Coors) to dyes to farm equipment to police vans. Beer giants Anheuser-Busch and Yuengling followed the trend into ice cream production (as did Stroh Brewing), contributing to the estimated 40% growth in consumption in the 1920s (Evans). Pabst Brewing went into making cheese (“Pabst-ett” spread), which was sold to Kraft after Prohibition ended. A number of the brewers made the logical switch to soft drinks, malted milk and malt syrup. Busch also produced frozen eggs, infant formula, carbonated coffee and tea (‘How America’s Iconic Brewers Survived Prohibition’, Christopher Klein, History, 16-Jan-2019, www.history.com).
The alcohol drought prompted the big brewers to fall back on their substantial real estate property holdings to stay afloat and generate ongoing income. Miller resorted to selling off its chain of saloons when things got tight. Some enterprising ice cream parlours bought the disused equipment and facilities of liquor businesses (Van Bokkem).
Ice cream mania…a health food?
US newspapers got in on the public’s ice cream craze, ascribing purported but unspecified health benefits to be had from eating the product. Some dietitians also sought to give the frozen confectionery validity with claims that ice cream was one of the best foods for children’s physical development (Van Bokkem). The Anti-Saloon League added its endorsement to the dairy industry’s marketing campaign for its sweet frozen cream and milk treat, declaring it a “refreshing and palatable food” (Evans).
At its peak during Prohibition New Yorkers were consuming 300 million gallons of ice cream a year by themselves. Among those businesses seeking to cash in, a number of confectionery and butter factories starting manufacturing ice cream as a by-product (Van Bokkem).
Cotton Club, NYC’s premier speakeasy
Speakeasies, drugstores and “Near beer”
For the aficionado or the hardened drinker there were ways, illegal and legal, to get round Prohibition’s national ban on liquor. With the ingredients still obtainable for backyard stills moonshiners and bootleggers benefitted from an upsurge in demand for the home-brewed stuff. As formerly legal saloons were closed down in 1920, the void was filled by the mushrooming of ‘speakeasies’ (unlicensed bar rooms) selling ‘hooch’. These operations were commonly run by city gangsters, organised crime ‘luminaries’ such as Al Capone and his lucrative Chicago racket.
Brewers like Pabst, Busch and Miller were able to exploit a small window of opportunity—beverages containing less than 0.5% alcohol were legal—to produce a concoction described as “near beer” (Miller’s equivalent brand was called ‘Vivo’). Busch manufactured a non-alcoholic malt cereal beverage, ‘Bevo’, which apparently tasted much like actual beer. Genuinely serious drinkers ultimately rejected “near beer”, opting for real beer which could be procured from Speakeasies and bootleggers (Klein).
(Source. vinepair.com)
Another, legal avenue for sourcing alcohol were drugstores. Licensed druggists were allowed to sell liquor for “medicinal purposes” – or to clergymen for “religious reasons”, eg, “Kosher Wine” was available to rabbis for “sacramental purposes” (‘Speakeasies Were Prohibition’s Worst-Kept Secrets’, Prohibition, www.prohibitionthemob.org).
In 1933 Prohibition was repealed and brewers and drinkers went back to doing what came naturally, although the taste for ice cream was by then “permanently engrained in US culture” (Van Bokkem). As it remains today with Americans, who per capita consume 20.8 litres of ice cream a year, second only to sweet-toothed New Zealanders.
(Photo: US Naval Institute)
End-note: The Navy jettisons liquor
The US Navy was the first arm of the government to move against the “demon drink”, banning alcohol from its ships and ports in 1914 (Secretary for the Navy Josephus Daniels was a fervent supporter of the Temperance Movement). Later on the Navy replaced it with ice cream – building two floating ice cream factories on concrete barges during WWII (‘How Ice Cream Became America’s Native Treat Because of Prohibition’, Cleveland Whiskey, 16-Jan-2019, www.clevelandwhiskey.com).
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✴ Prohibition legislation did not ban the consumption of alcohol, just its production and distribution. Nor were the ingredients for making beer prohibited
❂ there were prior American moves, initiated by Temperance activists, to outlaw alcohol at state-level, the earliest to succeed was in Maine (1846)
The interior was dimly-lit, the furniture well-used and the place definitely not decorated in the fashion of Old Heidelberg. I recall music playing however it was not a Mario Lanza record but a scrawny-looking band out the back playing something that wasn’t the “Drinking Song’ from the 1954 movie bearing the hotel’s name.
⿻ ⿻ ⿻
Nolan’s “Ned Kelly” series ▲ 
(Image: Omaha World Herald, CooksInfo Food Encyclopedia)
