Step back in time to the late 19th century as we explore the remarkable story of Louisa Whitley, a woman whose journey from Bradford, England to the rugged landscapes of colonial Australia reveals a tale of resilience, independence, and the untold struggles of women in a restrictive society.
In this exclusive interview, author Gwen Wilson shares the inspiration behind Louisa’s story, the meticulous research that brought history to life, and the powerful themes of faith, friendship, and survival woven throughout the narrative. Join us as we uncover the legacy of a woman who defied the odds and whose story continues to inspire strength and pride across generations
Q.
What inspired you to write Louisa’s story, especially her journey from England to Australia in the late 19th century?
A.
My great-grandmother Louisa Whitley came from a family of ten, all born in Bradford, England. Apart from younger brother George, who was raised at the Crossley School for Orphans and much later moved to Tasmania, she was the only emigrant to Australia. The details of her journey are lost to time, but it is through her line that we trace our roots.
No one in the family knew of Louisa; her daughter Florence never mentioned her, and nothing remains of her – no photos or letters. Discovering that Louisa’s 1854 birth was the last legitimate on my maternal side, and learning about her divorce and its repercussions, explained the intergenerational trauma which reached to me and beyond. At first that inheritance seemed a negative. Deeper insight into her story changed my perspective: Louisa’s resilience in a restrictive society helped me see her legacy as a source of strength and pride. Recognising this as the seed for my own ability to overcome adversity, I was inspired to share Louisa’s story, even if in fictional form.
Q.
How did you research the historical details, such as the ship voyage and the social conditions for women emigrating to Australia?
A.
I am a passionate researcher and was well into family history before the internet. There is so much to explore. A trip to the Bradford archives was in the mix but most research is home sourced. Australia holds a treasure trove of information in various archival repositories, and many newspapers are digitised by the National Library. The Australian Joint Copying Project (AJCP) led to Bradford-based William Cudworth’s 1883 notes of his voyage to Australia, written with plans for a book. Historians Patricia Clark and A. M. Hammerton documented governesses emigrating through the Female Middle Class Emigration Society (FMCES), including one bound for Illabo. Letters back to the society reveal their attitudes to class, and often significant challenges on arrival, requiring much adaptation in lifestyle. Sydney’s Hyde Park Barracks details single female assisted migrants, and the Sydney Maritime Museum holds records on the Leicester Castle, including the passenger list. Shipboard diaries are found in many archives. The challenge isn’t finding sources but knowing when to stop researching, and how much to include in a work of fiction. I had to make significant cuts for focus. I plan to include some of the Leicester Castle’s history, including a crew mutiny, in a future nonfiction work. For the record, while Alice Staples was manifested, Edgar Staples did stowaway, apparently without repercussions.
Q.
Louisa faces many challenges as a governess, domestic servant, and wife. What message do you hope readers will take away about women’s independence during this era?
A.
Louisa lived in a society where women were seen as men’s property, with limited control over their lives. They had little to no parliamentary or legal voice or influence in the 1800s. Laws were made by men, mostly to their benefit. For example, the 1873 introduction of divorce legislation was skewed against women, and 1890s reforms were driven more by economic factors than women’s rights. While Louisa suffered after her divorce, including losing Arthur and Laura forever, Edgar prospered, eventually having a Masonic Funeral with full regalia, and leaving an education bequest in Martha’s name.
Mrs Kentwell’s tragic suicide draws on two consecutive incidents in the Illabo region, as well as newspaper reports of inquests. The fact that two women took their own lives, along with those of their children, powerfully illustrates the immense strain faced by wives of small selectors during the late 1800s.
Tales of women struggling in the early years of colonisation have in the past been drowned out by the heroic male narrative and antiheroic bushranger stories. This novel seeks to offer a more authentic perspective.
Q.
The contrasting characters of Edgar Staples and Sam Creft play pivotal roles in Louisa’s life. How did you develop these relationships and their impact on her journey?
A.
Researching men from this era is generally simpler than researching women; Edgar Staples and John (Sam) Creft left clear records. As I learned more about Edgar – from his stowing away to his involvement with Martha Hudson – my impression of him worsened. Martha, the main debtor in the bankruptcy papers, was present early in Louisa’s marriage, and Edgar turned to her immediately after discovering Louisa with the jockey. The unusually tidy divorce circumstances led me to consult Dr. Hilary Golder, author of Divorce in 19th Century New South Wales, for further insight. My suspicions of a set-up were heightened.
Later, I tracked down Edgar’s last remaining grandchild in Oregon USA. As she came into focus on the video screen, the first thing she said to me, in a long drawl, was Edgar was a rat. She then detailed his maltreatment of her mother, Laura. I’d been tussling with why Louisa would have risked all to have an affair with a jockey (who was later killed in a one-punch attack). This granddaughter’s story made up my mind that Edgar was a multi-faceted character.
Conversely, Sam Creft came across as a good guy in the newspaper records. He was highly literate and influential in many circles, as he attested to himself when advertising his calligraphy. Yet there were flaws. Why did he leave his legal wife? Why did he father two children to Louisa but fail to acknowledge paternity, nor live with her consistently through those years?
Q.
How does Louisa’s faith and her father’s words influence her decisions throughout the narrative?
A.
The quote “Be strong and courageous. Do not be afraid; do not be discouraged…” from Joshua 1:9 is left unfinished by Louisa’s father, Squire Whitley. Rather than following with “for the Lord thy God is with thee whithersoever thou goest”, Louisa instead believes it is her father who supports her. Her mother notes that Louisa differs from her sisters, and Louisa sees her father’s words as encouragement for her independent spirit. The family were Baptists, referred to as non-conformists in the 1800s, and Louisa also tended to not conform to social expectations. Despite her religious upbringing, Louisa’s faith fades due to life’s challenges. Yet she returns to these words for support whenever she is wavering emotionally, attributing them to her father rather than the Bible.
Q.
Alice’s story and her tragic fate are very moving. What role does friendship and support play in Louisa’s survival and growth?
A.
Louisa struggles to make friends as a new emigrant, except for Alice, her cabin mate, whose real-life story influenced the writing. By the end, I felt I’d known her. Although their friendship in the book is fictional, it has the sense of being truly possible. Louisa feels the loss of this treasured connection deeply and struggles to fill the gap, except for Ellen Dancey, whom she – unfairly – tends to mock. As Mrs Windermere’s servant, Louisa can’t form a true friendship with her, but gains crucial support when needed. Louisa’s misplaced trust in Martha and other events leave Louisa isolated and wary, until Mrs Whittington, and to a lesser extent Mrs Thomas, reveal themselves as supportive allies. Finally, Louisa has friends she can depend on, who want only the best for her, and are prepared to do what they can to lift her up.
Q.
The depiction of colonial Australia’s society, class distinctions, and hardships is vivid. What themes were most important for you to highlight about life in the colony?
A.
Some encouraged me to write a traditional romance, but I felt it was vital to highlight the real experiences of Louisa and other women of her era – their struggles, resilience, and daily hardships like servitude, poverty, and discrimination. My aim was to show their courage and determination in overcoming societal constraints, contributing to a fuller understanding of Australia’s cultural history and women’s roles in shaping the colony. Ultimately, Louisa’s story guided my choices.
Q.
Without giving away spoilers, can you share any insights about how Louisa’s character evolves by the end of the story?
A.
Louisa is an avid reader who, inspired by novels, develops idealistic expectations that life later challenges. Through setbacks, she grows more realistic and sometimes cynical, often despondent. Motherhood shifts her focus to her children, especially after having a second family, making her more pragmatic. Despite these changes, her instinct to trust others until proven otherwise remains constant. Even after all that life throws at her, demanding that her character must evolve, in the end, there is still a touch of naivety – or perhaps whimsy – to her personality.
As part of the South Coast Writers Centre livestream of the Sydney Writers Festival, Gwen will be appearing at Coledale on Friday, 22 May in conversation with CHRISTINE SYKES, the author of novels Tap Cats of the Sunshine Coast, The Changing Room and the memoir Gough and Me – both of which won the Society of Women Writers (NSW) book awards. Louisa will be officially launched in Wollongong on Friday, 29 May, where Gwen will be in conversation with SUZANNE LEAL, the award-winning author of six novels, including The Watchful Wife and The Deceptions, winner of the Nib People’s Choice Prize.
Louisa is available for order here.
