Rosaleen Norton: The Life and Times of Kings Cross’ M ost Misunderstood Witch
Misunderstood, Misrepresented, Misjudged
T
he strange, the weird, the lawless, the eclectic, and the scandalous freely roam Sydney’s notorious Kings Cross. Here, a woman misunderstood, misrepresented, and misjudged would rise to the height of her career, gaining recognition through her creative flair. Finally, years of hard work allowed her name to go up in lights, her artwork going up for display in another state; She could show the world her heart and soul. The exhibition drew critics in from far and wide, some more unwanted than others; The police had entered the exhibit, obtaining four art pieces. The offence? The images in her art seemed too “obscene” for moral Australia. The work she made with her heart and soul had been destroyed, and this devastated her. This is how Rosaleen ‘Roie’ Norton lived her life: through the eyes of scrutiny, enduring pain through the acts of others who found it important to intrude in both her public and private life. Out of pocket, out of luck, and living in the outliers of society, Roie lived the life of a bohemian. Although Bohemians were struggling French artists and writers of the Latin Quarter, in the south of Paris1, they still existed through to the 20 th Century 2. It was often attributed to the gypsies, ascribed as non-conformists and even romanticised at times 3 . There was a definite distaste when Bohemia arrived in Australia 4 . With the spawn of new technology, visual artists rapidly grew in number. Images were being reproduced at volumes from the late 1870’s 5. By 1906, Bohemia evolved once again into a
modernist form, and at this point, women were starting to enter the field of what used to be a male dominated style6. So it could be understood why Roie could not and did not try to fit in. It was particularly known that ‘being normal’ was a lifestyle Roie did did not not want. When When asked in an interview whether she would would live the ordinary life “like getting married and having children”, her response was “Oh God no, I couldn’t stand it! I’d go mad! 7”. Roie never practised ‘black 8 Satan as many perceived her magic’ or follow Satan to. Simply put, she followed the “Left Hand Path” of Western magic, that is to say, she followed the occult path of the five core values “m’s”: “madya ,mamsa, matsya, mudra, and maithuna ” or “wine, flesh, fish, parched grain, and intercourse ” 9 . While they seem like harmless interests today, moral Australia had seen it as taboo and against the moral conducts of citizen and society, regardless if enjoyed privately. What is known of Roie was that she was an intelligent woman and philosophical in thought 10, and by following the Left-Hand Path of magic, she would hold true to her beliefs by following a “strong emphasis on individualism and/or self- deification”, living” against the grain to mainstream, society” 11. It is easy to see why her beliefs would be an affront to society, perceiving her as a demon-worshipping witch based on her beliefs and artwork. Perception of Roie in the media was never positive, and it was only those around her, or those who have met her without prejudice, that are the tellers of her true story.
Roie’s life woul d always be hounded by the media where they constantly intruded and interrupted her private life.
2|Page Cover Page Feature: Rosaleen Feature: Rosaleen Norton – Norton – 1 1 [image], (20 Dec. 1956), >, accessed 19 Sep. 2016. Also featured in Homage to Pan as: Pan as: ‘Norton at the ritual altar, 1956’ in Nevill Drury,Homage Drury, Homage to Pan: The Life, Art and Sex-Magic of (UK: Creation Oneiros, 2009), 44. Rosaleen Norton (UK:
Double, Double Toil and Trouble n the 2 nd of October at 4 o’clock in the morning, began drawing them at the age of three and a half. a violent storm struck Dunedin, New Zealand; It She would describe that she also had protectors who was the perfect ingredient for Rosaleen Norton Norton to be would keep the hostilities at bay, which she called “Nothing Beasts and Flippers 17 ”. After moving to born as a child of the storm; later in life she expressed Australia, Roie would draw draw “strange drawings for her a love storms and the night 12. As a child, Rosaleen would become a constant handful to both her classmates” and along with her “ecc entric and disruptive behaviour”, she was ultimately expelled at mother and teachers, yet she was beloved and spoiled 18 by her two older sisters Cecily and Phyllis 13. Roie’s fourteen from Chatswood Girls’ Grammar19. father, a captain of a vessel, was often out at Roiecould never fit in and she did not like sea. The ship would be stationed in other children, she figured she was Melbourne and thought it better to different at an early stage 20. With her move the family closer, moving to pointed ears, small blue markings 14 Sydney in June 1925 . Cecily and above her knee, she knew these were Rosaleen would often describe their not normal; She would later find out home as a happy one, though in later that they were markings of a witch 21. years, Roie would often note that From childhood to adulthood, Roie her mother was a difficult woman to found trouble wherever she went. Or live with15. Their childhood was filled rather, trouble found her. Life was with many animals, and Roie found a never peaceful, having been interrupted A curly-haired, 5 year-old Roie particular fondness towards a spider and intruded throughout her life as she 16 which she named Horatio . Early on, Roie would tried to live it her own way. have encounters with hostile, invisible presences and 22
Wicked Witch of the South itchcraft and magic is not quite the same as how the Harry Potter films portray it to be. Witches in the past and present practised a more peaceful magic. Nature is at the very heart of their soul and spirit, worshiping either nature itself, or deities they identify strongest with23. Witches follow the Pagan structure, and with Australia still entrenched with imperialist and Christian values, decency and morals were very much involved in the law, and inevitably, the lives of those practising witchcraft. While Paganism was practised by a small number of people in the UK, it was followed by fewer people here. As Rosaleen Norton was openly called a witch, she did not shy away from it, rather, she embraced it. Roie’s belief in witchcraft was rather different: she 3|Page
The Hecate altar
The Pan altar
Rosaleen wearing a ritual mask
believed and practiced ‘sex magic’. This most likely terrified the a predominantly monotheistic society with the idea of witchcraft “linked to medieval and early moder n Western Christian demonology 24”. For this, she became widely known as the ‘Witch of the Cross’ and was even called ‘wicked witch’, with the latter not a representation representation 25 of her at all . To understand Roie is to not only understand her life, but also to understand her beliefs. It is known that witchcraft and Paganism have existed throughout history, surviving through different eras. Albeit through many centuries witches would often be put through trials or sentenced to death by religious rulers or leaders 26. Even in the 20th Century witches were punished or prosecuted, although carried out differently without the use of capital punishment, and this was evident with Roie’s treatment. Society never took too kindly to witches or nonconformists, and Roie did not escape this: she would forever be watched by society as someone wicked for practising the craft she did, constantly harassed by the media and authority figures. Irrespective of the outside world, Roie stayed true true to her beliefs beliefs and remained a Pagan Pagan until her very last breath 27.
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rt was Roie’s form of escape and meditation. What was profound was not the meditation itself, but rather her ability to meditate herself into a trance and selfhypnosis, all the while drawing under its influence. inf luence. Roie’s exceptional talent in trance art was practised through experimentation of self-hypnosis 29. Her knowledge of the psychoanalytical was through works of Jung and Freud, and was familiar the realms of unconsciousness30. Her methods of trance and meditations were recorded “in quite explicit terms, combining ritual elements and meditative techniques in order to facilitate an altered state of consciousness 31”. She explains that she is able to enter a state of subconscious, “and, if possible, through and beyond it 32”. As unnatural as this was to the outside world, it became part of Roie ’s normal life. This lead to accusations of DevilRoie sits on the curb of a worshipping and Satanism, presumed through the depictions of her drawings and street, smoking and dressed in men’s clothing. artwork. She would find herself needing to explain to various courts that Pan, ‘the horned god’, was a mythological ancient Greek deity that had no lin ks to the Christian Devil33. Although her art could be assumed to be demons or Satan, they were simply just that of the god Pan. The god Pan was part man and part goat, fond of music and dance; he represented the god of nature, shepherds, and the woods34. He was Roie’s supreme deity, and prominent to her worship, inspiration, and guidance were Hecate, Lilith, and Lucifer 35. “Hecate was the goddess of the night and darkness, and ruler of the hidden aspects of Nature”, she was also associated with birth and death36. These were two most prominent to her worship, creating altars for the two alone., a lone., although Lilith and Lucifer were very much a part of her rituals 37. Roie’s artwork have included ' d ' n s Lucifer, Lilith, and Pan being the most dominant in her i s w l e r n i works. However, Roie was not just an artist, she was also a h s u i c poet, much like her lover Gavin Greenlees. In the W s e n h o t controversial The Art of Rosaleen Norton book, released by f C f o o Walter Glover, alongside Roie’s story A ‘A Vision ’ ’, Gavin g s n i e 38 s c included his own poems to the blend . The book would o i o o V ' ' have implications during publications, leading the book to L being banned. ' i d e m a S n o r a B f o s e t i R
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' r e n n i p S e h T
How Obscene!
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out and the New South Wales Police “referred the book to a number stipendiary magistrates and the Crown Solicitor for advice 43”. Two of the drawings were found to be “obscene and offensive to chastity and delicacy-44”. One of these drawings represented a “nude male… with a goat’s head, clutching an egg in one hand and balancing a swastika in the other 45”, the other image was “a nude male with a serpent on his head and a small figure moving toward him with a sword in his hand 46 ”. The book was banned through the Post Office and was also banned by Customs in New South Wales, with sample copies sent to America getting seized through their Customs, not being allowed to enter the country 47. These books were later returned to Australia and were seized by Australian customs who refused to readmit them back into the country, the books became stateless and were presumed to be burnt 48. Unfortunately, it was during this time that Roie had some of her artwork seized from from an exhibition in Melbourne, and burnt by police under the obscenity laws.
id-20th Century Australia was a moderate, conservative era. It is quite easy to imagine how Roie’s art was received during this time. Today, it is a whole different story with critics seeing her as a woman ahead of her time. Australia had tough censorship with obscenity laws in place since the 1880’s; The laws regulated content in literature and text. The first raid occurred in July 1889 where 162 French Novels were seized by Victorian Customs officers, sparking a 70-year controversy over censorship of literature 40 . Although Australia has come a long way with obscenity laws almost disappearing today, it was not the case by Roie’s time. t ime. The Art of Rosaleen Norton, a book that featured her art and a few poems by Gavin Greenlees, her younger lover, was targeted for a ban by the Post Office in 1952. However, they were not motivated by concern for the youth, as they were not able to afford the book for purchase purchase 41 . Rather, the the book was deemed “too obscene or blasphemous without further qualification 42”. As unfair and unprecedented as it may seem, this was the common reception for such works mid-20th Century, and it was unusual to see the images that Roie created. The ban was carried 49
50
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1950’s Kings Cross: The stree t continuously
bustled with people, cars, buses, and trams
'Fohat': One One of Roie's drawings seized by Police
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52
53
‘Police Say Woman’s Art Work is Obscene’ Mirror , 6 Aug. 1949, in Trove [online database], accessed 19 Sep. 2016. ‘Norton Acquitte d on Obscenity Charge’ Barrier Daily Truth , 20 Aug. 1949, in Trove [online database], accessed 19 Sep. 2016.
When asked whether she would live an ordinary life, she would say: “Oh God no, I couldn’t stand it! I’d go mad!!” 54
‘The Only Girl in Hostel for Men’ Truth, ‘Truth’s Court Reports’, 11 Mar. 1951, in Trove Trove online datab database ase , accessed accessed 19 Se . 2016.
The Witch Trials
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scape was never a possibility with Roie when her name was constantly found in newspapers year after year. There seemed to be every excuse to write her into public eye; privacy was never a luxury for the struggling artist. Roie was always caught up in controversy and scandal, one was her involvement with a famous music conductor, Sir Eugene Goossens 55. His involvement with her would hurt him and his career in a way that that could never be repaired. It was noted that Eugene Goossens’ involvement with Roie was of a sexual nature, with Eugene often visiting Roie and Gavin to join in their rituals. His visits were se cretive, but it was his return trip to Australia from England that exposed his private affairs; he was detained at the airport where he was revealed to 6|Page
carry ‘prohibited goods’. Under Australia’s obscenity laws, Eugene found himself in a lot of trouble. He was found to have possessed ‘prohibited goods’ containing “indecent containing “indecent works and articles, namely a number of books, prints and photographs, and a quantity of film 56”. What gained the media’s attention to Eugene’s controversy was “the collection of some 1,166 pornographic photographs 57”. This was the end of his career and Eugene was stripped from his contract with the Australian Broadcasting Commission, no longer being able to conduct with the Sydney Symphony Orchestra 58. He then returned to England soon afterwards as a broken and disgraced man 59.
This was one of of many many controversies controversies that involved Roie, this this included included the the ban of the book book The Art of Rosaleen Norton and the artworks seized in during the exhibit in Melbourne. Although the charges for the book were dropped through ongoing court cases 60. Among the larger scandals the smaller ones would surface. Her sex magic rituals were common in the newspapers, newspapers, and even a case where Roie was found found to stay in a hostel whom only men were 61 allowed to stay . She was never able to catch a break, no matter what she did, her life was constantly under scrutiny of the media.
Seeing into the Future ast forward into today, Rosaleen is starting to remerge in books and news articles, but not quite cast in the negative light as she once was. Her artwork is now seen as a proper art form, explored and admired. Witchcraft and Paganism is now more accepted in society, with quite a large following in mainly Western societies, more commonly known as the Wicca ‘Wicca’ tradition. Although it isn ’t completely known, Wicca 62 is known as the simplest form of witchcraft to mainstream society 63. Unfortunately, it has come a little too late for Rosaleen. Her artwork is now owned privately by Jack Parker as a collection of her pieces64. A Supplement to the Art Art of Rosaleen Norton Norton , 66
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is a publication of the art reproduced by Roie, which had featured at the University of Melbourne exhibit of her art 65 . It features photographs of her art in colour form, becoming the highlight of the book for its reproduction value. As her art continues to resurface today, the witch who has been forgotten through time re-emerges as a prominent figure for artists and women. Roie was truly ahead of her time, and were she around today, her reception would have been welcoming, beloved by Australian culture as an icon. Written by Third Year University University Student: Sawsan Susan Alhabsyi ‘
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Bibliography Primary Sources ‘Norton Acquitted on Obscenity Charge’ Barrier Daily Truth , 20 Aug. 1949, in Trove [online database], accessed 19 Sep. 2016. ‘The Only Girl in Hostel for Men’ Truth , ‘Truth’s Court Reports’, 11 Mar. 1951, in Trove [online database], accessed 19 Sep. 2016.
Low, David (narrator), The Glittering Mile (Channel Nine, 1964), < https://www.youtube.com/watch?v=poHeQ5p0_k >, >, accessed 19 Sep. 2016. ‘Police Say Woman’s Art Work is Obscene’ Mirror Obscene’ Mirror , 6 Aug. 1949, in Trove [online database], accessed 19 Sep. 2016.
Secondary Sources Coleman, Peter, Obscenity, Blasphemy, Sedition: Censorship in Australia (Brisbane: (Brisbane: The Jacaranda Press, 1928). Nevill, ‘Rosaleen Drury, Norton's Kings Cross Coven’, Nevill Drury [website], , >, accessed 19 Sep. 2016.
(2014)
Drury, Nevill, Homage to Pan: The Life, Art and Sex-Magic of Rosaleen Norton (UK: (UK: Creation Oneiros, 2009). Drury, Nevill, Pan’s Daughter: The Strange World of Rosaleen Norton (Sydney: (Sydney: Collins Australia, 1988). Ezzy, Douglas, Practising the Witch ’ ’s Craft: Real Magic Under a Southern Sky (NSW: (NSW: Griffin Press, 2003). Hume, Lynne and Drury, Nevill, The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic (USA: ABC-CLIO, 2013). Hume, Lynne, Witchcraft and Paganism in Australia (Carlton (Carlton South, Victoria: Melbourne University Press, 1997). Johnson, Margueritte, ‘The Witch of Kings Cross: Rosaleen Norton and the Australian Media’, Symbiosis: Institute (13 Apr. 2010) for Comparative Studies in Science, Myth, Magic & Folklore, Folklore, , >, accessed 19 Sep. 2016.
Nowra, Louis, Kings Cross , (Sydney: NewSouth, 2013).
Images ‘Norton at the ritual altar, 1956’ in Nevill Drury, Homage to Pan : The Life, Art and Sex-Magic of Rosaleen Norton (UK: Creation Oneiros, 2009), 44.
Clytemnestra, [image], (14 Rosaleen Norton Plaque, Sydney , >, accessed 19 Sep. 2016.
Dec.
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Drury, Nevill, Rosaleen Norton in Kings Cross 1950s [image], [image], (1950s) , articles-rosaleen-norton-2.htm >, accessed 19 Sep. 2016. Drury, Nevill, Rosaleen Norton with her ritual masks, photographed in 1955 [image], , >, accessed 19 Sep. 2016.
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Drury, Nevill, The Pan altar at 179 Brougham Street, photographed by a detective , norton-2.htm >, accessed 19 Sep. 2016. Drury, Nevill, The smaller Hecate altar, also photographed in October 1955 [image], , >, accessed 19 Sep. 2016.
(1955)
Norton, Rosaleen, ‘Fohat’, in Nevill Drury, Homage Drury, Homage to Pan: The Life, Art and Sex-Magic of Rosaleen Norton (UK: Creation Oneiros, 2009). Norton, Rosaleen, ‘Loosing of the Whirlwind’, in Nevill Drury, Homage to Pan: The Life, Art and Sex-Magic of Rosaleen (UK: Creation Oneiros, 2009). Norton (UK: Norton, Rosaleen, ‘Rites of Baron Samedi’, in Nevill Drury, Homage to Pan: The Life, Art and Sex-Magic of Rosaleen (UK: Creation Oneiros, 2009). Norton (UK: Norton, Rosaleen, ‘The Spinner’, in Nevi ll Drury, Homage to Pan: The Life, Art and Sex-Magic of Rosaleen Norton (UK: (UK: Creation Oneiros, 2009). Norton, Rosaleen, ‘Voices of Consciousness’, in Nevill Drury, Pan’s Daughter: The Strange World of Rosaleen Norton (Sydney: Collins Australia, 1988).
[image], (20 Dec. Rosaleen Norton – 1 , >, accessed 19 Sep. 2016.
1956),
Sydney Reference Collection, 1957. Kings Cross . [Postcard]. Sydney Reference Collection, 000/000268. Intersection of (L-R) William St, Victoria St, Darlinghurst Rd, Bayswater Rd: City of Sydney Archives.
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Endnotes 1
Moore, Tony, Dancing with Empty Pockets: Australia’s Bohemians Since 1860 (Australia: Murder Books Australia, 2012), 1. 2 The term was first coined by Henri Murger, “a struggling Parisian journalist” who serialised stories about the “unconventional and impoverished artists” in the Quarter. The term had evolved to describe “any nomadic or vagabond character, character, with strong strong hints of poverty poverty and criminality criminality ”. Ibid. 3 Ibid. 4 Henri Murger’s novel, Scénes de la vie de Bohème , arrived on Australian shores in an English translation, hitting a revival in the 1800’s and 90’s . Ibid, 46. 5 Ibid, 53. 6 Ibid, 67-68. 7 David Narrator (narrator), The Glittering Mile (Channel Nine, 1964), < https://www.youtube.com/watch?v=poHeQ5p0_k >, >, accessed 19 Sep. 2016, 42:47-43:00. 8 Image featured in: Nevill Drury, ‘ Rosaleen Norton: Remembering Roie… the Witch of Kings Cross’, Nevill Cross’, Nevill Drury [website], (2014) , >, accessed 19 Sep. 2016. 9 Lynne Hume and Nevill Drury, The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic (USA: ABC-CLIO, 2013), 131. 10 Margueritte Johnson, ‘The Witch of Kings Cross: Rosaleen Norton and the Australian Media’, Symbiosis: Institute (13 Apr. 2010) for Comparative Studies in Science, Myth, Magic & Folklore, Folklore, , >, para. 2, accessed 19 Sep. 2016. 11 Lynne Hume and Nevill Drury, op. cit, 135. 12 Nevill Drury, Pa n’s (Sydney: Collins Australia, 1988), 5. n’s Daughter (Sydney: 13 Ibid, 3-5. 14 Ibid, 5. 15 Roie thought of her as “a very difficult woman, hysterical, emotional and possessive”. Ibid. 16 The family owned a myriad of animals. Among them were “an assortment of cats, lizards, mice, guinea pigs, a possum, an echidna, a goat, tortoises, dogs, and various toads”. Ibid, 7. 17 Ibid, 8. 18 ‘Roie as a 5-year old, with twinkling eyes’. Ibid, 4. 19 Ibid, 9. 20 Ibid, 8-9. 21 Ibid, 9. 22 Images are drawn from Nevill Drury’s web article. Nevi ll Drury, ‘Rosaleen Norton's Kings Cross Coven ’, Nevill ’, Nevill [website], (2014) , >, accessed 19 Drury [website], Sep. 2016. 23 Douglas Ezzy, Practising the Witch ’ ’s Craft: Real Magic Under a Southern Sky (NSW: (NSW: Griffin Press, 2003), 2-3. 24 Nevill Drury, Homage to Pan: The Life, Art and Sex-Magic of Rosaleen Norton (UK: (UK: Creation Oneiros, 2009), 8. 25 Ibid, 7. 26 Lynne Hume, Witchcraft and Paganism in Australia (Carlton (Carlton South, Victoria: Melbourne University Press, 1997), 16. 27 Although Roie passed away in a Roman Catholic hospital, she died a devout Pagan. She was known to have uttered to a friend before her passing, “I came into the world bravely; I’ll go out bravely”. She died from colon cancer on the 5 th of December, 1979. Nevill Drury, Pan’s Daughter , Ibid, 102. 28 Nevill Drury, Rosaleen Norton in Kings Cross 1950s [image], [image], (1950s) , articles-rosaleen-norton-2.htm >, accessed 19 Sep. 2016. 29 Nevill Drury, Homage to Pan , op. cit, 128. 30 Ibid, 118, 141, 202. 31 Ibid, 129. 32 As recorded by Rosaleen Norton. Ibid. 33 Ibid, 221. 10 | P a g e
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Ibid, 114. Ibid, 117. 36 Ibid. 37 Ibid, 117-119. 38 Ibid, 34. 39 The following images have been extracted from Nevill Drury’s web articles. Nevill Drury, ‘Rosaleen ’, Nevill Drury [website], Norton's Kings Cross Coven’, Nevill [website], (2014) , accessed 19 Sep. 2016. Nevill Drury, ‘ Rosaleen Norton: Remembering Roie… the Witch of Kings Cross ’, Nevill Drury [website], (2014) , norton-1.htm >, accessed 19 Sep. 2016. With their respective titles from: Nevill Drury, Pan’s Da ughter: ughter: The Strange (Sydney: Collins Australia, 1988), 75. Nevill Drury, Homage to Pan: The Life, Art and Sex- World of Rosaleen Norton (Sydney: (UK: Creation Oneiros, 2009), 136, 169, 191. Magic of Rosaleen Rosaleen Norton Norton (UK: 40 Peter Coleman, Obscenity, Blasphemy, Sedition: Censorship in Australia (Brisbane: (Brisbane: The Jacaranda Press, 1928), 3. 41 Ibid, 58. 42 Ibid. 43 Ibid. 44 Ibid. 45 Ibid. 46 Ibid. 47 Ibid, 58-59. 48 Ibid, 59. 49 Drawing by Rosaleen as featured in Nevill Drury’s book Homage to Pan . Rosaleen Norton, ‘Fohat’, in Nevill Drury, Homage to Pan: The Life, Art and Sex-Magic of Rosaleen Norton (UK: (UK: Creation Oneiros, 2009), 37. 50 Sydney Reference Collection, 1957. Kings Cross . [Postcard]. Sydney Reference Collection, 000/000268. Intersection of (L-R) William St, Victoria St, Darlinghurst Rd, Bayswater R d: City of Sydney Archives. 51 ‘Police Say Woman’s Art Work is Obscene’ Mirror , 6 Aug. 1949, in Trove [online database], accessed 19 Sep. 2016. 52 ‘The Only Girl in Hostel for Men’ Truth , ‘Truth’s Court Reports’, 11 Mar. 1951, in Trove [o nline database], accessed 19 Sep. 2016. 53 ‘Norton Acquitted on Obscenity Charge’ Barrier Daily Truth , 20 Aug. 1949, in Trove [online database], accessed 19 Sep. 2016. 54 David Narrator (narrator), The Glittering Mile (Channel (Channel Nine, 1964), < https://www.youtube.com/watch?v=poHeQ5p0_k >, >, accessed 19 Sep. 2016, 42:47-43:00. 55 Gavin also noted the collection of ceremonial masks seized, intended for their use in occult rituals. Op, cit, Drury, Pan’s Daughter , 85. 56 Ibid, 86. 57 Ibid. 58 Ibid, 88. 59 Ibid, 86. 60 ‘Norton Acquitted on Obscenity Charge’ Barrier Daily Truth , 20 Aug. 1949, in Trove [online database], accessed 19 Sep. 2016. 61 ‘The Only Girl in Hostel for Men’ Truth , ‘Truth’s Court Reports’, 11 Mar. 1951, in Trove [online da tabase], accessed 19 Sep. 2016. 62 Douglas Ezzy, op. cit, 11. 63 Lynne Hume, Witchcraft and Paganism in Australia (Carlton (Carlton South, Victoria: Melbourne University Press, 1997), 110. 64 Nevill Drury, Pan ’ ’s Daughter , op. cit, 104. 65 Ibid. 66 Rosaleen’s plaque now featured in Darlinghurst Road of Kings Cross, society recognising her as a prominent member of society. Clytemnestra, Rosaleen Norton Plaque, Sydney [image], (14 Dec. 2009) , >, accessed 19 Sep. 2016. 35
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