All posts by Michael Burge

Journalist, author, artist

Care, incorporated

Waiting for a real helping hand (Photo: Chalmers Butterfield).
WAITING & WATCHING for a real helping hand (Photo: Chalmers Butterfield).

A Writer’s next day job.

BY the time I felt ready to work again after the death of my partner, I was drawn to an industry which seemed at first glance to be all about offering an old-fashioned helping hand. While I took time away from writing, acting and designing, I accepted a job as a carer for older people living in their homes.

Across four years, what I discovered was life enlarging and shocking, and, of course, I eventually wrote about it. This article was published by Australian Ageing Agenda (Intermedia) In their March-April 2010 edition.

Reflections of a carer

Former carer, Michael Burge, highlights the unintended consequences of government-funded community aged care.

Dan* lives alone in a cottage with a stunning garden. To his neighbours he’s like thousands of elderly men, gardening and feeding the birds. But Dan lives with a secret – he’s in the advanced stages of Alzheimer’s disease. That kind young man who used to call in and see him once a day was not his son, but me, when I worked for a church-owned community aged care organisation.

It took a few days to realise Dan has dementia but I guessed after we had the same conversation three times in a row. When I visited Dan, I would make his lunch and prompt him to dress. Apart from weekend visits from his retired daughter, who’d ask me for care tips, Dan was on his own.

I also cleaned for Ken and Betty, a war veteran and his wife. Ken had problems walking and was permanently catheterised, not that you would have known. As Betty was worried about losing him to a nursing home, she tried to hide all outward signs of his conditions from me.

Cameron lived with his son. Fond of telling me how many properties he owned, he bragged about securing maximum care at budget prices, since his son worked in the health system. Despite family support and excellent health, Cameron felt totally entitled.

Beryl had a degenerative joint condition, yet she handled the stairs on our weekly shopping trips with a mountain climber’s courage. I got used to the frowns from passers-by who saw a carer forcing her, rather than a woman choosing to participate in her own rehabilitation.

Klaus lived in squalor on booze and chocolate while his meals-on-wheels dinners went off in the hallway. He refused to get out of bed when I said I wasn’t permitted to take him to the bottle shop. This got him off out books and back into ‘no man’s land’.

WAITING AND WATCHING (Photo: Ahmet Demirel).
WAITING & WATCHING for solutions to home care (Photo: Ahmet Demirel).

Exposing the gaps

Carers are not there to judge, we’re there to do what our clients cannot. Trained in the practice of ‘person centred care’, we won’t do up a client’s buttons if they can still do it for themselves. Interfering might lead to ‘learned helplessness’.

Filled with such euphemisms for an old-fashioned helping hand, home care is touted as the ideal in aged care. Millions of taxpayer and private sector dollars are pumped into this growth industry every year, and the demand is only growing.

Expectations of home care are very high. It looks good on paper – after all, it’s about nurturing people facing one of life’s most challenging periods. But after working in home care for four years, I came to realise it’s just a safety net, and it’s full of holes.

So many older people are estranged from their families, or have outlived them and most of their friends. If you believed everything older Australians say about their baby-boomer children, you’d end up confused over which generation was the more demanding, but it’s clear someone is capitalising on this lack of intergenerational care within families.

Carers are deemed competent in infection control, manual handling and occupational health and safety. After warnings about old vacuum cleaners and hand washing, they do a couple of buddy shifts with experienced carers, then work relatively unsupervised in the field. Nurses are dubious of carer’s skills, yet they are turning away from aged care citing low pay and demanding conditions.

Department of Veteran’s Affairs (DVA) clients get the most support, but they’re coded according to where they (or their spouses) served, in addition to having their needs assessed. This sometimes leaves the impression that some DVA clients are not getting enough care, whereas others seem to receive more than they need.

Experiencing the consequences

There can be few things more important than the care of people, but governments have a habit of throwing money at home care and regulating the system from a distance.

Operating from a charitable, benevolent or customer service standpoint, home care organisations fill the gap by providing broad safety nets in highly populated areas. These nets are stretched between middle and senior management, padded with charitable status tax-breaks and strung out by government funding.

Clients are netted at very vulnerable times. After a traumatic experience, such as a hospital stay because of a broken limb, they are contracted into the system. Many home care organisations eventually stream clients into their own residential care facilities.

I was recruited into a home care organisation at a vulnerable time in my life after the sudden death of my partner. Return-to-work mums were my most common colleagues. We were often full of doubt about our abilities and found it hard to get the promised hours out of our supervisors. They usually gave us just enough to keep us off the unemployment statistics but not enough to pay all our expenses.

After a promotion into the training department, I could see how the supervisor’s hands were tied by a system with a high number of needy, casual staff delivering minimal care hours to the maximum number of clients. It was also obvious that satisfying government regulation drew heavily on available funds.

Carers were commonly sent to new clients without knowing they had dementia and without the appropriate training to provide effective care. Clients were routinely kept in the dark about which day and time their carers were coming, unable to contact their service coordinator. The time supervisors spent with clients was regularly reduced by management, allowing important care needs to be overlooked.

Whatever reasons management had for this, the result always pushed the clients further from the centre of the care process, and contributed to an extremely high staff turnover. The hypocrisy of my employer not sharing its broad tax relief with employees was startling and I too eventually resigned.

NOT WAITING
NOT WAITING “Old age ain’t no place for sissies” said Bette Davis (1908-1989) (Photo: Alan Light).

An alternative approach

If the choice was up to me, I’d provide incentives for families to care for their own relatives, and pay Dan’s daughter for the one hour a day he needs. I’d cease planning which care facility I wanted to stream Ken into and I’d support Betty to care for him. I’d means test the system to filter out Cameron. I’d allow Klaus’s carer to take him to the bottle shop. I’d clarify the system which seems to define care needs based on service history for DVA clients. I’d aim for changes to free up resources for people who have limited funds and no family, like Beryl. I’d also make caring a real career option for employees.

Despite the fact that I am a fully trained and there are a plethora of aged care positions in the paper, I’ve chosen to work in a different industry since I left my previous employer. Aged care doesn’t offer an unconditional helping hand anymore. If it could, then the safety net might truly catch people.

*All names have been changed.

© Michael Burge, all rights reserved.

This article appears in Michael’s eBook Creating Waves: Critical takes on culture and politics.

Being Gus

DUMB WAITER
WAITING … WAITING Michael Burge and Andrew Broderick in The Acting Factory’s production of Pinter’s The Dumb Waiter.

I WAS already having a bad year when my partner, Jono, died suddenly a fortnight prior to the opening of a show we were co-producing.

I’d managed to get myself sacked from my job performing a cross-dressed version of King Lear a few weeks earlier, but that’s another story …

In the midst of long, grief-stricken nights at home alone, and the increasingly difficult task of sorting through Jono’s estate while discovering that his mother and brother were denying the existence of our relationship, I got an email out of the blue from Sherreen Hennessy, a director I’d worked with before.

Thankfully devoid of overblown sympathy, except to say she’d heard the news about Jono, and, like most people, couldn’t believe it was true, Sherreen was contacting me with an offer to appear in a production of Harold Pinter’s The Dumb Waiter for fledging theatre company The Acting Factory, at the Q Theatre.

It was a courageous request, considering the timing.

So I purchased a copy of Pinter’s one act masterpiece the day I collected Jono’s ashes from the funeral director.

I instantly fell in love with the role of Gus, one of a pair of hit men holed-up in some random basement.

We had our first read-through during my move back to the Blue Mountains, where I’d accepted good friends’ invitation to board for a while in their enormous house on the bush.

I attacked the read with a broad accent based on Monty Python’s Eric Idle – it seemed to fit with the text – and we (me, Sherreen and Andrew Broderick, playing Ben) agreed we’d stick to the original time period and location of the play, despite the other half to our whole – a production of Pinter’s The Lover (starring Lynne McGranger, Bill Conn, and directed by Fiona Press) – planning to locate in contemporary Australia.

My Mountains stay hit a devastating hiccup when I moved out of my friend’s place after only two nights. My shocking year changed up a gear with the realisation that I’d made one of the worst judgements of character in my life – saying yes to a constantly open door, only to find it slamming in my face, even as I reached the threshold. But that’s another story …

This set a pattern into motion, where I just began to live Gus’s life. Mine had quickly become inhabited by crooks and fakes, intent on denying the detail of my human rights, from my ownership of almost every item Jono and I shared, to my place as his spouse on his death certificate.

Being Gus was just easier than being me across that winter.

There are a thousand ways to play a Pinter character – the writer leaves so much to interpretation, while supporting the actor with strong speech rhythms (including the famous ‘Pinteresque’ pauses), which, once learnt, allowed me to explore to whatever depth I wanted.

Hiding as I was by then in a truer friend’s granny flat, I had Gus as a companion while the world got very, very surreal beyond the high fences.

He was a wonderful distraction: pedantic, freaked-out, faster at expressing his terror than the more powerful Ben. I could have left things at that, but I had the time and the need to go a lot deeper, and created for my Gus some wonderful messy qualities, and some fun contradictions.

The Dumb Waiter opens with stage directions telling us that Gus is unable to tie his shoelaces, but Pinter makes no suggestion when it comes time for him to don his tie. A man who cannot tie his laces is unlikely to be able to work a necktie, so who does it then, Ben? Perhaps, but my Gus could do it, in his own way, given enough time, which of course waiting hit men have plenty of.

GET IT? Michael Burge and Andrew Broderick in The Dumb Waiter.
WHILE YOU’RE WAITING Michael Burge and Andrew Broderick in The Dumb Waiter.

By the time we moved into the theatre the backstage half-light worked its magic.

I am a naturally tidy person, so, as Gus, I became a clean-freak’s nightmare. Every night before the house was open I’d play in Gus’s space and leave lolly wrappers, and other scraps, and I’d mess up his bed.

Andrew responded beautifully by making Ben fastidious. We never spoke about it, but whenever I’d come near Ben’s bed I’d be pulling at his blanket, strewing my stuff all over it and messing it up. Ben, meanwhile, would be straightening and trying to keep Gus at bay.

In the simplest way we found the actors’ game that is behind every scene in every play ever written for the stage.

What clinched my performance was swapping the plastic prop guns for the real thing, under a weapons wrangler’s instruction. I can still recall my first whiff of Gus’s gun. It reminded me of childhood fears around farm rifles, a primal, dirty, dangerous scent.

I put a question to the weapons guy: how would a lazy person ‘cock’ his weapon? He answered by just flicking the pistol hard to the right, clicking the barrel into place, like they did in the wild west.

In that moment I found the one thing Gus could do well and without fuss. Somewhere in there was the little boy who’d become the hit man. I was ready.

NICE ACT Lynne McGranger led the cast of The Acting Factory's Pinter double bill.
NICE ACT Lynne McGranger led the cast of The Acting Factory’s Pinter double bill.

On opening night, Lynne came into our dressing room and remarked on Jono’s photo sitting at my mirror. Bill and Andrew joined-in her brief, generous acknowledgement that my mainstay was missing on this night of nights. Jono’s rehearsal room death had by then become something whispered about amongst the showbusiness crowd.

Bill and Lynne worked the crucial live sound effects for Andrew and me, as we opened each night. Andrew and I were stage hands for Bill and Lynne when they followed, and Andrew went on as the Milkman in The Lover.

It was a supportive, well-received run and we got great notices for a tiny theatre company on the edge of the city.

Handling a gun nightly gave me a sense of power, when I was rendered powerless in the real world; speaking while people listened gave me a sense of being heard, while I was silenced in the real world; and being a single hit man on the job gave me a sense of freedom, when my whole world had collapsed.

I will possibly never be more ably equipped as an actor.

© Michael Burge, all rights reserved

Rewriting rites

CRITICAL EYE Virginia Woolf (1882-1941) edited and published her novels independently (Photo: George Charels Beresford).
CRITICAL EYE Virginia Woolf (1882-1941) edited and published novels independently (Photo: George Charles Beresford).

ONCE I finish the first draft of a book, and I’ve left it alone for at least a month or two while spending time reminding myself what makes a great plot, there’s no more excuses: it’s time for me to read my own work for the first time.

I take great comfort and inspiration from writers like Virginia Woolf, who edited and published most of her idiosyncratic and enduring novels independently.

Embarking on the first edit of a manuscript could be seen as an insurmountable problem, or it could be seen as an inspiring fact-finding mission.

Read your manuscript like a reader would

I sit and read my work as though it was created by someone else. If I’m bored with the writing, I’ll acknowledge it, and find out why. This is crucial in the first twenty pages or so. If I’m engaged, I’ll analyse what sparked my interest.

Don’t over-read just yet

I’m going to be working on this manuscript for months to come, so I don’t want to get bored with it too soon. I’ll leave some of the alterations until another edit and just enjoy the fruits of my labour. I’ll also seek to understand the structure of my work before I decide anything needs fundamental alteration.

Keep tabs on your characters

Have I been consistent? Did I just use inserted names, like “A Policeman” when I didn’t want to upset my writing flow by looking-up the name I’d given this character earlier in the book? Have my characters evolved across my first draft so that certain things need to be altered? I jot these issues down in another place for addressing later, or adjust them as I read through.

How is the plotting?

This is the big one at this early stage. Usually, I’m afraid to embark on my first edit because I am worried I may have either stuck too closely to ‘the rules’ or lost touch with them altogether. What I am looking for is whether I’ve got a decent exposition that will benefit from some cutting down the track, several serviceable and intriguing rising actions, a great climax, and a battle between my protagonist and antagonist. I also looking to see if I’ve bent the plotting ‘rules’ in ways that stand to make my work different to others.

Rewrite when it’s easy to do so

I resist getting bogged down in major structural changes – I don’t know my work well enough yet to make those kinds of calls. However, when something quick and obvious comes up, such as a small set of paragraphs that can successfully bridge a missing plot point, I just write them in and will polish during another draft.

Check the blows are landing

When things happen to my characters, do they express the impact to other characters, or to me, the reader? This is a big one for scriptwriting especially. The blows must land, be felt, and registered, otherwise it’s like nothing’s really happening.

The final act is the hardest to get right

Just about every piece of writing advice I have come across maintains that most writers can write great set-ups and climaxes, but our plotting often falls over in the third act. I recognise this and will always read my dénouement anyway, right through, before I decide if I’ve got it wrong.

Practice good housekeeping

WRITE REGARDLESSI never delete original work, or rewrite over my original computer files. Sometimes things need only be moved, not cut. Design yourself a filing system for all your subsequent drafts, archive them, and back them up onto a memory stick. I’ve done this ever since I wrote an entire film script and accidentally deleted the only copy!

An extract from Write, Regardless!

© Michael Burge, all rights reserved.