By some serendipitous coincidence Irish historian Brian McKernan found my blog and read one of my very first blogposts: The Lover Archetype and Friend Monkey (I).
I wrote back then that George W. Russell’s (AE) did not reciprocate the romantic feelings of young Pamela and that he failed to make her feel special as a woman, a statement I based on the fact that he wrote to her about his other interests and flings. From that assertion I extrapolated that his attitude reaffirmed Pamela’s childhood experience of not being lovable enough, and then, I concluded that the relationship remained platonic because AE was emotionally unavailable.
My assumption about AE’s emotional unavailability as the primary reason for the platonic nature of the relationship between him and young Pamela prompted McKernan, who has spent the last couple of years researching AE’s life, to reach out and offer a different perspective. The ensuing correspondence gave nuance to my understanding of their relationship. But, before I offer you some snippets from our correspondence, a word about McKernan’s work.
McKernan’s initial goal was to read about AE “to build up a basic story about him so that his birthplace-Lurgan, could hear his story.” It appears that AE despite his numerous contributions to the Irish society has been largely forgotten by the public.
AE EXIBITION, Rushmere Shopping Centre, Septembre 2019, Curated by Brian and Michael McKernan
McKernan hopes that the memory of AE’s life and achievements will inspire the younger generations and maybe even reverse the sad reality of Lurgan. Today, says McKernan, Lurgan is “socially divided (Catholic/Protestant, Nationalist/Unionist) and the suicide rate locally among young people is so high, the place needs a role model, a hero they can all celebrate together, and which tells them their town has some greatness in its DNA.” An honorable mission.
After spending considerable amount of time immersed in the world of AE, McKernan developed a true appreciation of his genius. His admiration grew as he realised that AE “acted differently from most men” because of his spiritual beliefs and visions which made him experience life on a different level than most men.
McKernan explains that AE considered ordinary human love to be of an ephemeral nature. He aspired to a higher, more lasting spiritual connection:
AE understood, as we all generally do, about romance, lust and temptation, but he believed so much in a higher love, where two people’s spirits meet, that he forced himself to hold back from the lower base human lust. He wrote a poem ‘The Spell’ in which he directly addresses the opportunities coming his way (sex, lust, romance) and how feeling that he is too old for this is pretty annoying. He regretted letting Pam (P.L. Travers) down. He regretted letting others down. Sometimes he wished he could just let himself succumb to temptation.
Now as I lean to whisper
To earth the last farewells,
The sly witch lays upon me
The subtlest of her spells:
Beauty that was not for me,
The love that was denied,
Their high disdainful sweetness
Now melted from their pride:
They run to me in vision,
All promise in their gaze,
All earth’s heart-choking magic,
Madness of nights and days.
These gifts are in my treasure,
Though fleeting be the breath;
Here only to wild giving
Is love made fire by death.
This spell I put upon thee
Must, in thy being burn,
Till from the Heavenly City
To me thou shalt return.
About AE writing to Pamela about his other crushes, McKernarn writes:
As for his ‘other flings’ and writing about them, that was not something he did a lot, but with Leah Bernstein, Simone Tery and Pamela he enjoyed their attention, like forbidden fruit, and they enjoyed this little bit of nonsense and fun too.
There was nothing false about the relationship says McKernan. “AE was simply reluctant to romance the outer Pamela and preferred the more lasting spiritual bond to Pamela’s inner self. And Pamela was reluctant to “jump all over him for a brief breaking down of a slightly awkward and hindering barrier”. The bond between Pamela and AE was strengthen by their shared similarities. “Pamela shared so many similarities with AE – like her sharp wit, innate intelligence, deep and sincere spiritual outlook.”
Anyhow, one thing is certain, AE’s influence was transformative and tributary for setting the course of Pamela L. Travers’s life as a writer and for the creation of Mary Poppins. McKernan writes:
He (AE) completely welcomed her into his world and circle of friends – something she needed. Before this transformative friendship began, she was floating quite aimlessly, with no sense of place. He gave her full acceptance and status.
In her essay The Death of AE: Irish Hero and Mystic, Pamela writes about her relationship with AE. “I do not know in which role he saw me, as a daughter, acolyte, apprentice, or as all three…” “Was he intentionally educating me, I wondered! No matter: it was being done, with or without intent.”
Despite the initial infatuation, the relationship evolved into one between a teacher and his student and lasted until AE’s death ten years later. Their bond extended to AE’s son Diarmuid Russell who became Pamela’s literary agent and then to Diarmuid Russell’s daughter Pamela, who was named after her.
All this indicates that AE appreciated young Pamela enough to resist the initial temptation. He was wise enough and aware enough of his personal situation, age, his marriage to his ailing wife and, of course the fact that Pamela wanted a life he couldn’t give her. It is possible then that he wrote to her about his ‘other flings’ precisely because he wanted to maintain a certain distance in order to preserve a lasting relationship. He played the role he knew he could fulfill, that of the guiding mentor.
Pamela wanted to be a poet and it was through poetry that she met AE. However, McKernan notes, it was AE who finally moved her from poetry to prose, “just like he moved his friend William Butler Yeats from Art (painting) to poetry”. If it was not for AE, McKernan believes, there would be no Mary Poppins for us.
He helped her to develop the characters, plots and stories which became the Mary Poppins’ books. Although he had never accepted any financial gain for helping his protégés, he did accept a share of her first Mary Poppins’ royalties in 1934 as he had been so involved in the process.
In my next blogpost I will tell you more about the connections between AE and Mary Poppins as revealed by McKernan.
Hope you’ll come back to read more about Pamela L. Travers and her Mary Poppins.