'Through The Panama' is one of my favourite works by Malc. The story is based on the sea voyage made by the Lowrys from Vancouver to Rotterdam in November 1947 aboard the S.S. Brest en route to a short tour of Europe. Malc calls the S.S. Brest the S.S. Diderot in 'Through The Panama' after the French writer. Diderot was of interest to Malc and there are allusions to Diderot's work in Hear Us O Lord from Heaven Thy Dwelling Place which contains the short story.
The S.S. Brest was formerly the Liberty ship S.S. John Mac Lean.
Liberty ships were cargo ships built in the United States during World War II. Though British in conception, they were adapted by the U.S. as they were cheap and quick to build, and came to symbolize U.S. wartime industrial output. Based on vessels ordered by Britain to replace ships torpedoed by German U-boats, they were purchased for the U.S. fleet and for lend-lease provision to Britain. Eighteen American shipyards built 2,751 Libertys between 1941 and 1945, easily the largest number of ships produced to a single design.
The production of these vessels mirrored, on a much larger scale, the manufacture of the Hog Islander ship and similar standardized types during World War I. The immense effort to build Liberty ships, the sheer number of ships built, and the fact that some of the ships survived far longer than the original design life of five years, make them the subject of much study.Read more on Wikipedia
Brest (liberty-ship) 1947 - 1949 hull material : ................... previous name(s) of ship : ........John Mac Lean detailed type : ...................liberty-ship type of propulsion : ..............1 propeller building year of ship : ...........1942 name of shipyard : ................Permanente Metals Corp. place of construction : ...........Richmond year of entering the fleet : ......1947 length (in meters) : ..............126,79 width (in meters) : ...............17,37 gross tonnage (in tons) : .........7176 deadweight (in tons) : ............10900 type of engine : ..................inverted, triple expansion 3 cylinders engine power (in HP) : ............2500 nominal speed (in Knots) : ........11
11 cargo liners of the liberty-ship type were entrusted with management to « Compagnie Générale Transatlantique » before the conclusion of the Blum-Byrnes agreements of May 26, 1946. Following these agreements, the French government acquired 75 liberty-ships, of which 21 in their turn were entrusted to management with Transat, which amounts their total to 32. The deliveries spread out until 1947. These ships were used, according to the needs, on the lines of the North Atlantic, of the West Indies, of the North Pacific or the South Pacific. Between 1957 and 1960, thirteen of them were especially equipped for the transport of the Renault cars in the United States and were chartered by the « Compagnie d’Affrêtement et de Transport » (CAT), then subsidiary company of Régie Renault. The first liberty-ship to leave the fleet of « Compagnie Générale Transatlantique » after the accident of the GRANDCAMP in 1947 was SAINT VALERY in May 1948 and the last DOMFRONT and BAYEUX in 1965. The last of the liberty-ships "ex-Transat" to disappear was the ARGENTAN, demolished in 1973. Built in 1942 under the name of JOHN MAC LEAN on behalf of the U.S. Shipping War Administration. Delivered to the French government in 1947. Renamed BREST and entrusted with management to « Compagnie Générale Transatlantique ». In July 1949, is transferred to the Messageries Maritimes company. Retains her name. In 1956, takes share in expedition of Suez. From 1958, is used to transport Renault cars to the United States. In 1961, is sold to a Panamanian Shipping company and renamed GALAXY. Is resold in 1969 and is renamed ELIOS. Demolished in 1970 in Kaoshiung, Taiwan.French Lines
It seemed to him now that it was as though, by some perverse grace, out of total inundation of some Pacific Northwestern city had been preserved....a broken statue of Bobbie Burns....Present Estate of Pompeii
The statue is located in Stanley Park, Vancouver, British Columbia.
The rededication plaque reads:
"This statue of Robert Burns, Scotland's National Bard, was unveiled by J. Ramsay MacDonald , a Prime Minister of Britain, on 25th August, 1928. Robert Burns's sincere desire for friendship and brotherhood among all peoples is clearly shown in his many poems and songs. His poetry and letters, both serious and humorous are worthy of study by those who value liberty and freedom. This memorial was rededicated on the 200th Anniversary of the Bard's death by the Burns Club of Vancouver. 21 July 1996:
Then let us pray that come it may (as come it will for a' that)... that man to man, the world o'er shall birthers be for a' that"
The "Fishermen's Hymn" held some importance to Lowry as it provided the source of the title of his posthumously published collection of short stories - Hear us O Lord from heaven thy dwelling place. A facsimile of the hymn is included in front of the short story "The Bravest Boat". Why this hymn had significance for Lowry remains a mystery. He may have heard or sung it as youth though the hymn is from the Methodist tradition not Wesleyan which was Lowry's religious upbringing. He may have heard it whilst on holiday on the Isle of Man as the song is known as "Manx Fishermen's Hymn" or he may have heard the song and its tradition from his Dollarton neighbour and friend Jimmy Craige himself a Manxman.
The picture below is taken from Agnes Herbert's Isle of Man c1909 called Off Douglas Head painted by Donald Maxwell.
John Telford's Methodist Hymn-Book Illustrated 1909 Edition gives the following information about the hymn:
Hymn 947. Hear us, O Lord, from heaven, Thy dwelling-place.
William Henry Gill.
Mr. Gill was born on October 24, 1839, f Manx parents, at Marsala, Sicily, and educated at King William's College. He served for forty years in the Civil Service, and is a composer, painter, and writer. He rescued the Manx music from oblivion, and published Manx National Songs, 1896. One of these long-lost melodies suggested the harmonies and inspired the words of his hymn, ' The harvest of the sea.' The rhyme between the first and fourth lines and the second and third is a feature of Manx music, and Mr. Gill was thus led to put his verses into this form. The old custom of the Manx fishermen to ask God's blessing before they cast their nets gave Mr. Gill his idea. It suits well the character of the Manx fishermen, who are a devout race, and keen lovers of music. The hymn has established its place as a favourite in all the Manx Churches.
The petition in the Litany of the Manx Church, in its Book of Common Prayer, was especially in his mind : ' That it may please Thee to give and preserve to our use the kindly fruits of the earth, and to restore and continue to us the blessings of the sea, so as in due time we may enjoy them.'
"Before shooting the nets, at a sign from the master of the boat, every man, upon his knees and with uncovered head, implores for a minute the blessing and protection of the Almighty." Manx Society's Publications, vol. xvi.
Last year, the Firminists conducted a day long psychogeographical event entitled "The Voyage That Never Ends" in which we sang the hymn at a New Brighton Church. You can read about the event in the first issue of The Firminist magazine.
Bryan Biggs also included the song on his playlist, for the accompanying music to the first night of the Lowry Lounge, by The Lon Dhoo & Lon Vane Choirs. Lon Dhoo Male Voice Choir was formed in 1937 with a membership of 30 men drawn from all over the Island. They perform in venues large and small around the Island, supporting community groups, charities and the tourist industry and have undertaken numerous tours in UK and Ireland and as far away as Canada. Lon Vane Ladies Choir was founded in 1946 by Douglas (Dougie) Buxton, affectionately known as DB, and continued under his direction as Musical Director until 1980. The hymn was issued on Parlophone R4467 in 1958 as MANY FISHERMENS EVENING HYMN/OUR LAND OF OUR BIRTH.
I set this blog up to mark the centenary of Malcolm Lowry's birth in July 2009.
I want to use the blog to publish my on-going research into Lowry's Wirral and to document my psychogeographical wanderings around Wirral and Liverpool in search of Lowry's spirit.
I will also use the blog to document the various themes that run through Lowry's work such as his love of cinema and jazz which I share with him.
Draw up a stool and join Malc and me at the bar in the clubhouse and enjoy the night!
Colin Dilnot
colin.dilnot@gmail.com
The photograph shows the original Caldy Golf Clubhouse, Wirral (not actually the 19th hole because the course was only 9 holes when first developed!) circa 1910.
You can see Caldy in the background which was just being developed by David Benno Rappart.
The clubhouse would have looked like this when Malcolm Lowry as a youth used the course which was near to his home at Inglewood in Caldy.
The clubhouse was located to the west of the Hooton to West Kirby Railway line near a bridge crossing what is now Shore Road. The building still stands and has been converted to residential accommodation though the landscape has changed considerably in a 100 years.
I will be sharing more information and photographs detailing Lowry's Wirral both on the blog.
An essay detailing some of my research is now published in a book called Malcolm Lowry: From the Mersey to the world.
I am currently working on a bigger project entitled 'Gutted Arcades of the Past' detailing Lowry's early life and works.
Malcolm Lowry: From the Mersey to the World Biggs, Bryan & Tookey, Helen (eds)
Malcolm Lowry described Liverpool as ‘that terrible city whose main street is the ocean’. Born on the Wirral side of the river Mersey, Lowry’s relationship to the Merseyside of his youth informs all of his writing and Liverpool itself continued to hold tremendous significance for him, even though he never returned. Published in conjunction with a festival and exhibition at Liverpool’s Bluecoat arts centre celebrating Lowry’s centenary, this beautifully produced book showcases a variety of creative and critical approaches to Lowry and his work, and includes twelve specially commissioned pieces of new writing. There is a particular focus on place and on journeys; contributors write from the UK, Europe, Canada and Mexico, and reflect both on Lowry’s ‘voyage that never ends’ and on their own journeys with and through Lowry’s work. The book also demonstrates the richness of Lowry’s influence on contemporary visual artists and includes full-colour illustrations throughout. It will be an indispensable companion for anyone interested in the creative legacy of Malcolm Lowry’s life and work.
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