Lucinda was moved by something much more simple-grief that such a lovely thing could vanish like a pricked balloon. But her feelings were not unlayered and there was, mixed with that hard slap of disappointment, a deeper, more nourishing emotion: wonder.
It was very more-ish.
It was her mother who provided the second Prince Rupert's drop. This did not arrive unexpectedly, but was sought out by advertisement. The cynical interpretation of this was that Elizabeth Leplastrier, although careful with pennies, would not be denied what her husband and little girl had experienced. The more generous explanation is that the little girl had not stopped talking about it and her mother decided she should have one for her ninth birthday. It turned out to be a great extravagance, and Abel sulked and made the cynical interpretation.
Glassworks
They "let it off" on the steps of their hut. It was early, with the sun just slanting through the crisscrossed needles of the casuarinas which lined the creek. There was dew on the grass and their boots were wet from it. The larme batavique caught the light and gathered it in like molten metal straight from a glassworks' glory-hole. It withstood her father's hammer and her mother's axe. And then Lucinda-it was her birthday, after all-took the needle-nosed pliers and snapped-it took a grunt to manage it-the tail.
Fireworks made of glass. An explosion of dew. Crescendo. Diminuendo. Silence. There are drugs that work the same, and while I am not suggesting that our founder purchased the glassworks to get more drops, it is clear that she had the seed planted, not once, but twice, and knew already the lovely contradictory nature of glass and she did not have to be told, on the day she saw the works at Darling Harbour, that glass is a thing in disguise, an actor, is not solid at all, but a liquid, that an old sheet of glass will not only take on a royal and purplish tinge but will reveal its true liquid nature by having grown fatter at the bottom and thinner at the top, and that even while it is as frail as the ice on a Parramatta puddle, it is stronger under compression than Sydney sandstone, that it is invisible, solid, in short, a joyous and paradoxical thing, as good a material as any to build a life from.
33
Glassworks
The glassworks at Lanson's Wharf in Darling Harbour were the first in Sydney. There was nothing pretty about them, no suggestion of the molten mysteries which took place within, no light from the glory-hole, just a smudge of black smoke against the cold chalky
Oscar and Lucinda
sky. It would have been easy for Lucinda to have missed them, easy for any number of reasons. The first is that Lanson's Wharf was behind the Market Street Wharf, and had the latter not been crowded with a tangle of punts, barges, and a steamboat (the cockney pilot of which was taking picturesque exception to a Chinaman moored in a dinghy) Sol Myer would have brought his load of pale-stemmed cauliflowers alongside and Lucinda would never have travelled the extra distance up into the throat of Darling Harbour where the glassworks lay waiting. And even then it would have been so easy for her to have ignored them. There was nothing in their architecture to separate them from their neighbours.
The little steamer shuddered, cleared its throat of a clot of smoke, and pushed past the tangle at Market Street. The sun was low but had not yet been blocked by Pyrmont. It bathed the eastern bank of Darling Harbour which is also-for those of you not familiar with Sydney-the backyard of the city. Where there was white it shone. Where there was sandstone it turned a soft and lovely pink. But for the most part there was no white or sandstone showing, only coal and rust and these drank the light like sand takes water.
Sol wiped his engine's copper piping with an oily rag and made the rag steam. Lucinda picked at a cauliflower. She did not much like the look of Sydney. A wine bottle floated in water that rippled with a rather satanic beauty: mother-of-pearl; spilled oil from a steamer. There was a stink, like tallow rendering, but perhaps this was only Sol's rag on the hot copper pipe. Sol rubbed the glass of his pressure gauge with another filthy rag which was different only in that it came from a nail high on the right, now low on the left. He was not satisfied with the result and used his elbow. He looked over his shoulder-a Chinaman was being fetched out of the water. He thanked God for Chinamen. It was a bitter joke he could make only with himself. He continued up into the pinch of Darling Harbour.
They passed the jumbled mud-smeared logs of Walter O'Brien's Colonial Timber Mill just as the sun dropped beneath Pyrmont. They passed beneath the peeling walls of MacArthur's Flour Mill; it was a grey weatherboard structure, tall and thin, and leaning sideways at an angle. The waterfront seemed clogged with logs, iron, sheets of corrugated roofing, abused timber with giant bolts rusting in it.
111
Glassworks
Lucinda was afraid. She felt very small. She wished Sol Myer would suddenly demand that she act her age and return to Parramatta.
Her arms, beneath her cape, were goose-pimpling. She wound a cotton scarf around her face and blew into her hands. Sol swung the wheel and, as the boat came about, she saw these words: Prince Rupert's Glassworks. The board that bore the words was weathered and faded-lime green against a poison blue.
The works were all in shadow, like a stranger's face under a hat, and not any more inviting because of it. You could not see what it was, how it was made, how it was put together. There were sheds, a chimney with black smoke. It could have been a blacksmith's, were it not for the crates of bottles.
These glassworks were for sale. There was a sign that said so, not a new sign, but more recent than the one that said Prince Rupert's. They looked intimidating, almost evil. Very well, she thought, if that is what it is to be. She made this decision without understanding that there existed, within this city, places with trees and grass and flowers.
Sol brought his craft into the wharf, sliding it gently through the smaller craft, like a careful hand amongst bobbing apples. Lucinda stood up. The crinoline cage swayed. She moved along the edge of the boat self-consciously. She felt all the wharf looking at her, but she was wrong. She took her own case down from the cabin roof. It was heavy with books. The case banged against her thigh and bruised it. She did not know anything about Sydney. She did not know how to engage an omnibus or a hansom cab, what they cost, where they went or how they were stopped. She paid Mr Myer sixpence for the journey. He gave her a cauliflower and then, in a bristly rush, a kiss on her cold cheek. He delivered her on to the wharf amongst hessian bags and steelwheeled trolleys. Two Chinamen, one wet, one dry, were slinging heavy parcels on to long cane poles. Lucinda walked like someone unused to shoes. She struggled up the hill from the wharf with her suitcase banging against her right side, a cauliflower clutched in her left hand. The suitcase put her skirt cage violently off centre. This is how she arrived at Petty's Hotel. At first they thought her at the wrong address. She placed her cauliflower on the desk and asked them, blushing brightly, if there was a reliable library close
to the hotel. She had decided to study glass.
34
After Whitsunday
The Reverend Dennis Hasset, vicar of All Saints in Woollahra, was pleased, having received the letter to invite L. Leplastrier to discuss his queries on the "physical properties and manufacture of glass." Not Lavoisier, Leplastrier, but a Frenchman doubtless. Lavoisier was a scientist famous for gases. Lavoisier, anyway, was dead. Dennis Hasset was flattered none the less. It was the day after the Whitsunday baptisms-fourteen babes-inarms and the father of Morton the grocer. He had planned an idle day and this interview was an indulgence. He readied himself for it with a self-consciousness he found amusing. He placed around his study those learned magazines in which his work had appeared, did it in such a careful way (a self-mocking way, too, but that is not the point) that the wandering eye of a guest could not help but fall upon them. He could thus display himself like a case of Tasmanian Lepidoptera, with polished pins through his nose and earlobes. He could lay down the journals like a manservant lays out vestments, and even while he laughed at himself for doing something so childish, still approached the matter with the utmost particularity.