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Harrowing footage shows passengers clinging for life in falling cable car

<p dir="ltr">Harrowing new footage has shown the moment 12 people were forced to hold on for dear life inside a falling cable car in Pakistan. </p> <p dir="ltr">The video footage, captured by a <a href="https://www.bbc.com/news/av/world-asia-66597447" target="_blank" rel="noopener"><em>BBC News</em></a> drone, shows the terrified passengers - six children and six adults - clinging on to parts of the cable car as they dangled stranded for 12 hours. </p> <p dir="ltr">The group were travelling to a school in the cable car when a cable broke halfway through their journey high above the remote Allai valley in Pakistan’s Khyber Pakhtunkhwa province.</p> <p dir="ltr">They were more than 300 metres in the air when they became stranded. </p> <p dir="ltr">A daring rescue operation took more than 12 hours to complete, with the use of a military helicopter and several zip wire experts.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/CwS_rAiMksY/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/CwS_rAiMksY/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by BBC News (@bbcnews)</a></p> </div> </blockquote> <p dir="ltr">The children were rescued first, with the adults the last to be plucked free.</p> <p dir="ltr">Some of the passengers told AFP that several times they lost hope in ever being rescued, and had considered leaping from the chairlift.</p> <p dir="ltr">“Some of the children were so frustrated and were considering to jump down, but the elder passengers gave us confidence,” 15-year-old Rizwan Ullah told AFP.</p> <p dir="ltr">“When the cable car was twisting, we were terrified and we started reciting the Koran and gave confidence to each other not to jump down.”</p> <p dir="ltr">Gul Faraz, a 25-year-old shopkeeper who was in the cable car, said they had started to lose hope that they would be rescued. </p> <p dir="ltr">“During the whole process we thought we would die. There were some times when we thought we would not survive,” he said.</p> <p dir="ltr">On Twitter, now known as X, Caretaker Prime Minister Anwaar-ul-Haq Kak said he was “relieved” after the safe rescue.</p> <p dir="ltr">“Great team work by the military, rescue departments, district administration as well as the local people.”</p> <p dir="ltr">The owner of the cable car company in Khyber Pakhtunkhwa province was later arrested by police on multiple charges including negligence and endangering valuable lives.</p> <p dir="ltr"><em>Image credits: BBC News</em></p>

Travel Trouble

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“Our children did not deserve this”: Texas school teacher recounts harrowing events

<p dir="ltr">A school teacher from Robb Elementary School has spoken about how the “longest 35 minutes of my life” unfolded during the school shooting that claimed the lives of 19 children and two teachers.</p> <p dir="ltr">The teacher spoke to a reporter from <em><a href="https://www.nbcnews.com/news/us-news/teacher-uvalde-texas-describes-longest-35-minutes-life-rcna30571" target="_blank" rel="noopener">NBC News</a></em> on the condition that she not be named, partly because district administrators asked staff not to speak with reporters, but also because she was terrified.</p> <p dir="ltr">On Wednesday night, 28 hours and 45 minutes after the gunman charged into the school and opened fire, the teacher answered her door with puffy eyes from hours of crying and almost no sleep.</p> <p dir="ltr">“What do you want me to say?” she asked the reporter. “That I can’t eat? That all I hear are their voices screaming? And I can’t help them?”</p> <p dir="ltr">She recalled how her students had been watching a Disney movie that morning as part of their end-of-year celebration.</p> <p dir="ltr">When she heard gunfire from down the hall, she knew exactly what it was, telling her kids to get under their desks and sprinting to lock the door.</p> <p dir="ltr">“They’ve been practising for this day for years,” the teacher said, referring to active shooter drills that have been incorporated into American public education over the years.</p> <p dir="ltr">“They knew this wasn’t a drill. We knew we had to be quiet or else we were going to give ourselves away.”</p> <p dir="ltr">While her students huddled under their desks, staying quiet while hearing their wounded classmates down the hall, the teacher sat in the middle of the room. She said she tried to stay calm and be strong for them.</p> <p dir="ltr">She said what followed was “the longest 35 minutes of my life”.</p> <p dir="ltr">As some of her students began to cry, she motioned for them to come sit with her and held them, whispering for them to pray silently.</p> <p dir="ltr">Without saying a word, she tried to convey to the class: ‘You’re OK. We’re going to be OK.’</p> <p dir="ltr">When the police finally broke the classroom windows, the teacher called for her students to line up as they would every day for recess and lunch before they were helped out of the window.</p> <p dir="ltr">“After the last kid, I turned around to ensure everyone was out,” the teacher said. “I knew I had to go quickly, but I wasn’t leaving until I knew for sure.”</p> <p dir="ltr">She later reunited with her students at another school facility across town and tried to comfort those who were worried about their best friends or cousins down the hall.</p> <p dir="ltr">Then, as the toll of the shooting became clearer, some parents texted her, writing: “Thank you for keeping my baby safe.” </p> <p dir="ltr">“But it’s not just their baby,” the teacher said, sobbing on her front porch. “That’s my baby, too. They are not my students. They are my children.”</p> <p dir="ltr">Before closing her door, she had an important message to share with the reporter.</p> <p dir="ltr">“I want you to say this in your article,” the teacher said. “Our children did not deserve this. They were loved. Not only by their families, but their family at school.”</p> <p><span id="docs-internal-guid-7a22a724-7fff-6177-e8bb-a8eb04de1097"></span></p> <p dir="ltr"><em>Image: Getty Images</em></p>

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Film review: Moffie is a harrowing meditation on white masculinity

<p>In the opening moments of the film <em><a href="https://www.imdb.com/title/tt10699362/">Moffie</a></em>, Nicholas van der Swart is walking away from a family gathering. As he disappears into the darkness, he is wishing that a part of himself will disappear.</p> <p>It’s 1981. The 16-year-old is about to leave for his two years of <a href="http://www.saha.org.za/youth/the_militarisation_of_the_south_african_state.htm">conscription</a> into the South African army. During <a href="https://www.sahistory.org.za/article/history-apartheid-south-africa">apartheid</a> it was compulsory for white men to serve in the military because South Africa was waging wars against liberation forces on its borders and beyond. Nicholas must enlist to fight the <a href="https://www.wilsoncenter.org/sites/default/files/media/documents/publication/CWIHP_SouthAfrica_Final_Web.pdf">“communist threat”</a> at the <a href="https://www.sahistory.org.za/article/angolan-civil-war-1975-2002-brief-history">Angolan border</a>.</p> <p>Nicholas is gay. To the Christian nationalist rulers, he is just as much of a threat as the black resistance fighters who are nameless, faceless enemies to be exterminated in the film. Everything that is not <a href="https://theconversation.com/the-lingering-unspoken-pain-of-white-youth-who-fought-for-apartheid-46218">in service of the apartheid state</a>must be extinguished or repressed.</p> <p><iframe width="560" height="315" src="https://www.youtube.com/embed/rMOycDIbNTg" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen=""></iframe></p> <p>This repression is hammered home for the viewer through the constant verbal assaults that the young men suffer – and mete out – during their military training. In the South Africa portrayed in <em>Moffie</em>, every white character, be it a parent, general, pastor, even a friend, is policing borders and boundaries; there are clear lines that cannot be crossed.</p> <p>Moffie examines the violent persecution of gay men under apartheid.</p> <p><strong>Violence and language</strong></p> <p>The most powerful way that this mental conditioning takes place in the film is through the use of the word <a href="https://dsae.co.za/entry/moffie/e04835">“moffie”</a> (often translated as “faggot”) which those in charge use relentlessly to <a href="https://www.channel24.co.za/Movies/News/watch-marc-lottering-armand-aucamp-pieter-dirk-uys-on-being-called-a-moffie-20200305">insult and control</a> the troops. The scenes of training are often harrowing, and the word comes to be an act of violence on the viewer as well.</p> <p>Its effect is to strip away any resistance, and to associate femininity, diverse sexuality and any emotional range as weakness. To be gay, then, is the ultimate offence against this regime of machismo.</p> <p>The violence of the word is reinforced with physical violence – menial tasks that lead to exhaustion and deprivation – along with other epithets (racist, gender shaming) that destroy any sense of self-worth or individuality. The young recruits are becoming the men that apartheid South Africa needs in order to cling to life: men who are violent, hateful and emotionless.</p> <p><strong>Fear and desire</strong></p> <p>Only in moments of darkness and isolation do the characters feel able to be intimate. In the first scene where Nicholas (Kai Luke Brümmer) is alone with his love interest, Dylan Stassen (Ryan de Villiers), the young men are ordered to spend the night waiting in deep trenches.</p> <p>Their commanding officer, Sergeant Brand (Hilton Pelser), seems to take pleasure in setting a boundary that they cannot cross, to stay in the trenches no matter what, until the sun rises. What Nicholas and Dylan find, trapped in the confines of these limitations on their freedom and movement, is a moment of intimacy, a spark of desire.</p> <p>The fear that Nicholas feels in realising his attraction for Dylan is palpable. He can never be caught, because not only will he be subject to violence, but he will be sent to a mental facility to “cure” him of his desire.</p> <p>These forbidden moments are riddled with anxiety, which seems to rob the boys of the love story which this film might have become.</p> <p><strong>The black body</strong></p> <p>Hermanus is masterful in linking oppressive masculinity to racism in <em>Moffie</em>. I’ve <a href="http://www.scielo.org.za/scielo.php?script=sci_arttext&amp;pid=S1021-14972018000100002">written before</a> about his 2011 film, <a href="https://www.imdb.com/title/tt1922721/"><em>Skoonheid</em> (Beauty)</a>, and how toxic masculinity and racism place limits on intimacy.</p> <p><em>Moffie</em> is in many ways a superior film, with striking cinematography emphasising the bleakness of the surroundings and a punching, unnerving score that points to the conflict and anxiety of the characters.</p> <p>The film is bookended by two moments of violence against black characters. The first is when the young conscripts throw a bag of vomit into the face of a black man, demanding he not sit on a bench at a train station. The second is when Nicholas kills a black soldier in combat. Nicholas looking down at the corpse, in the dark of the night that he had once found refuge in, shows how he can never escape the racist and patriarchal duties that define apartheid.</p> <p>There is a similar consciously political placement of black bodies in <em>Skoonheid</em>. Hermanus – a black man – features black characters in two highly charged moments in a film about the secret gay sex lives of white Afrikaner farmers. The one is before a sex scene and the other is on a university campus as <em>Skoonheid</em>reaches its terrible conclusion.</p> <p><strong>Standout performances</strong></p> <p>The actors in <em>Moffie</em> brilliantly portray these moments of being subject to the assault of toxic masculinity, with a particularly strong performance by Matthew Vey, who plays Nicholas’s best friend, Michael. Another strong performance is from Stefan Vermaak, who plays Oscar, the more willing participant in racist and patriarchal ideology.</p> <p>Brümmer’s powerful performance as the central character shows both subtle resistance and then participation as an agent of the apartheid state.</p> <p>At the end, it is unclear whether the young men are able to escape the encroaching ideology that dictates their lives, and whether the moments of refuge and isolation are enough to free them from the memory of the incessant labelling of “moffie” that defined their youth.</p> <p><em>Moffie</em> is a challenging and deeply affecting film that represents the important, often overlooked realities of living in apartheid for gay men.</p> <p><em>Written by Grant Andrews. Republished with permission of <a href="https://theconversation.com/film-review-moffie-is-a-harrowing-meditation-on-white-masculinity-133182">The Conversation.</a></em></p>

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Stan Walker shares harrowing new photos of his cancer battle

<p>Stan Walker has shared some harrowing new photos of his time in hospital battling stomach cancer.</p> <p>The 27-year-old recently revealed how tough his cancer battle has been in the documentary <em>Stan Walker: The Fight of His Life</em>, which saw him make the decision to have his stomach removed.</p> <p>Now the singer has given an insight into how much he struggled in the aftermath of the operation, telling fans at one point nothing could pass through his mouth as it could have “killed me”.</p> <p><img width="499" height="265" src="https://oversixtydev.blob.core.windows.net/media/7819088/e4df0e7bf2d4871a51e0717f97196c60_499x265.jpg" alt="E 4df 0e 7bf 2d 4871a 51e 0717f 97196c 60" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p>“Nothing was aloud (sic) in my mouth,” he wrote, over an image of himself being supported by loved ones in the hospital corridor. “Because I had a leak inside that would have killed me if anything had gone in it.”</p> <p>In another image, Stan is lying in bed with a tube going directly into his arm with the nutrients he needs to sustain him.</p> <p><img width="368" height="624" src="https://oversixtydev.blob.core.windows.net/media/7819085/1.png" alt="1 (10)" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p>“That’s the pick (sic) line,” he said. “It was 55cm and went into my arm and then into my heart.”</p> <p>“I was hooked up to a machine 23/7 and it was the only way I could get fed and liquids for two and a half weeks,” he explained, adding he celebrated his 27th birthday in hospital.</p> <p>In another photo, Stan is hooked up to a breathing mask, which he needed when he suffered from a collapsed lung.</p> <p><img width="369" height="626" src="https://oversixtydev.blob.core.windows.net/media/7819086/2.png" alt="2 (4)" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p>“I was on this mother all day,” he wrote across the image. “It was a life-saver but annoying as hell!”</p> <p>The former <strong><span style="text-decoration: underline;"><a href="https://www.oversixty.com.au/health/caring/2018/04/australian-idol-star-stan-walker-reveals-fight-against-stomach-cancer/">Australian Idol star revealed in January</a></span></strong> that he had inherited the rare cancer-causing gene CDH1, a mutation that has caused the deaths of more than 25 members of his family.</p> <p><img width="366" height="625" src="https://oversixtydev.blob.core.windows.net/media/7819087/4.png" alt="4" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p>Despite losing his stomach, Stan is remaining positive and has previously said he will not let the disease “define” him.</p> <p> </p>

Caring

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The harrowing true story of the Suitcase Baby

<p>The suitcase washed up on the North Shore in the early hours of Saturday morning, 17 November 1923. The tidal waters of Port Jackson pushed it onto the small and gentle curve of Athol Beach, Mosman, only a short distance across the harbour from Sydney’s busy metropolis. Greasy and stained from the seawater, the beaten-up case seemed out of place against the neatly clipped backdrop of Ashton Park.</p> <p>At around 9.45 a.m., a large Sunday school group from the north-west suburb of Gladesville began arriving at Athol. Some of the children scattered across the beach, while others began playing in the bushland and gardens.</p> <p>William Lodder, a young schoolboy from Drummoyne, was playing near the water when he spied the silhouette of an upright suitcase at the other end of the beach. The boy was drawn to it. Guided by the age-old childhood rule of finders keepers, he claimed the prize. He unfastened the clips on the case and swung its lid open. The odd dank smell intrigued him more.</p> <p>Inside the case, an object shaped like a pork loin was wrapped in a towel and secured with a piece of string. Although seaweed and sand had been tossed about within the case, the parcel remained secure, chocked by a block of wood.</p> <p>William lifted the parcel out of the case for closer inspection, holding it up by the piece of string. Pulled taut by the wet weight of the parcel, the string promptly snapped and the parcel dropped onto the sand. The thud made William feel more uneasy, and he later described to police an ‘unsettling smell’. He poked at the parcel with his toe. It felt strangely soft. His courage crumbled. Something seemed wrong.</p> <p>Reluctant to touch the parcel again and too timid to look at it more closely, William raced up the beach. He urged a group of boys to follow him, hoping he could lead a party back for a more forensic examination of the fascinating and mysterious object. But the boys ignored William’s boasting and dismissed the object as swimming trunks wrapped in a towel. He quickly forgot about it.</p> <p>About an hour later, Eunice Clare, a twelve-year-old schoolgirl also attending the church picnic, made her way down the beach flanked by a small posse of friends. Eunice was less hesitant than William: on sight of the parcel, she walked directly to it and commenced a systematic examination. She picked it up thinking it was ‘what appeared to be costumes rolled in a towel’. The parcel had now been exposed to the air for some time and the dank smell had dispersed a little. Eunice knelt on the soft sand. She began to unwrap the towelling, hoping some treasure might be inside – perhaps a forgotten piece of jewellery stashed carefully by a wealthy Mosman lady during a beach swim or, even better, money. Within moments Eunice stumbled back in fright as a baby’s head flopped loose from the wrappings.</p> <p>Eunice was swift in sounding the alarm. Followed by her band of young cronies, she ran up the beach until they located the nearest adult – a man working near the wharf.</p> <p>Athol Beach was only a short distance away from Mosman Police Station on Bradleys Head Road, so it did not take long for local police to arrive. At around 12.30 p.m., William O’Reilly, sergeant of the Mosman unit, walked the length of the beach starting at the wharf end. He easily found the suitcase, still resting near the high-water mark with a parcel alongside it; a baby’s head was clearly visible at one end. The string remained tightly wrapped around the towel coiled over the torso and legs of the child’s body. The scene was jarring. The child was clearly dead, but not repugnant: the small face was cherubic and uninjured. The child had been carefully swaddled, as if put to sleep, and then gently set afloat. The sight before Sergeant O’Reilly seemed somehow sacred: a baby Moses consigned to the Nile with only a basket of reeds for protection.</p> <p>The police typed up statements of the children’s observations at the scene. At the bottom of these pages, small handwritten signatures reflect the two very different personalities of the young beachcombers whose discovery would launch the highest-profile child murder case in Sydney’s history.</p> <p>Eunice’s signature, ‘E. C. Clare’, is indistinguishable from that of a well-educated adult of the time. Her cursive is perfectly formed and justified neatly to the right of the page. Each initial is expertly spaced with a full stop. In her sworn statement, Eunice is careful to note the presence of other possible witnesses and calmly explains her inability to recall more detail: ‘I picked up the parcel and saw a child’s head in it. When I saw that I put the parcel down again. A lot of other children were there and saw what I saw… I did not notice whether the towel was wet or dry as I was upset at finding the baby.’</p> <p>In contrast to Eunice’s clinical notes, William Lodder’s statement reveals the true horror of what had occurred on Athol Beach: a young child had discovered the dead body of an even younger child. Despite him being almost exactly the same age as Eunice, the immaturity and innocence of William Lodder’s words is undeniable. His signature provides a clear reminder of how traumatic this discovery must have been for all of the Sunday school group. ‘W Lodder’ is written erratically, inconsistently. The oversized loops skip down the page in an impulsive way, much like William on his fateful skip down the beach.</p> <p>That morning, Sergeant O’Reilly had handled the suitcase baby gently, reacting with a protective instinct that he couldn’t explain. He placed the child’s body back in the suitcase and proceeded directly to Mosman Wharf to catch a ferry to the city morgue. Like an ancient ferryman carrying a soul to the underworld, O’Reilly solemnly crossed the harbour. A police sergeant carrying a well-beaten port in his hand as if on holiday, but in full uniform, must have been a curious sight for his fellow travellers. He disembarked at Circular Quay and walked the short distance to the city morgue, located right near the water’s edge on George Street, where the metropolis of Sydney empties into the harbour.</p> <p>Sergeant O’Reilly and Charles Broomfield, keeper of the morgue, began preparations for the formal medical examination. Both men were highly experienced and not likely to be shaken by the grim undertaking before them. O’Reilly was an officer of long standing, having risen to a senior supervisory position on the North Shore. Charles Broomfield was a second-generation morgue keeper, closely apprenticed by his father, with over twenty years’ experience in the job.</p> <p>O’Reilly placed the child’s body face up on the examination table. He freed the legs and lower body from the towel. It was a baby girl. Her size indicated that she could be newborn. Both men suspected her body had spent a good deal of time floating in the harbour, given the quantity of seaweed and sand inside the case. It had definitely emerged from the water and had not been abandoned by someone trudging along the beach.</p> <p>This fact added another level of strangeness to the discovery. Sydney Harbour beaches are rough, hazardous, and known for their aggressive and destructive rips that typically smash anything washed ashore. And the harbour is deep, capable of safely accommodating large-scale steamships and cargo vessels with the biggest hulls ever created. Should a parcel successfully sink, it is unlikely to surface again. The harbour does not usually surrender its captives so easily. To this day, its floor is a junkyard of wrecked vessels, motor vehicle bodies, and industrial debris from two hundred years of European settlement.</p> <p>Yet the harbour had somehow been kind to this child’s body, and the mysterious suitcase raft had proved to be a more-than-adequate vessel. The body’s exposure to the sea had also afforded it a level of preservation and protection from the insect infestations commonly found in bodies left exposed on land, especially in the warmer months of a Sydney spring. There was no evidence of adipocere: the crumbly white particles, known as grave wax, that form through saponification – the same process used to make soap – when a body is stored in moisture-rich environments that lack oxygen. Against all odds, the unusual coffin had drifted atop the water and safely landed on a stretch of sand less than 100 metres long, located on one of the least hazardous beaches in all of Sydney Harbour.</p> <p>Given their combined amount of experience, Broomfield and O’Reilly would have most likely conjectured back and forth about the child’s age. However, before the autopsy took place and medical expertise was brought to bear on the matter, it would have been difficult to estimate the bracket of hours, days, weeks or months.</p> <p>It was Broomfield’s job, grim and methodical task that it was, to enter the baby’s particulars in the heavy-bound and oversized tome known officially as the morgue book. His formal entries resemble a macabre parody of a cherished mothercraft tradition of growth milestones in a family keepsake album. The morgue keeper, not the baby’s mother, recorded the weight, height and key measurements.</p> <p>The body was 21.5 inches (over 54 centimetres) long, using the perinatal convention of measuring from the top of the head to the heel. Her weight was recorded to be a healthy and ‘well nourished’ 7 pounds 2 ounces (3.2 kilograms).</p> <p>In addition to those of the body, details of all other items – including the condition of the suitcase and noteworthy observations of its characteristics and contents – were carefully recorded. In the presence of Broomfield, who also acted as a witness, O’Reilly examined everything again, more closely. He now had time to be more attentive, sheltered from the hot mid-November Sydney sun by the cool, contemplative stone environment.</p> <p>While it would be the medical practitioner’s job to perform an internal examination of the body and thereby officially determine the cause of death, it was obvious to both officers that they were looking upon the result of something wicked and violent. A string was tied tightly around the body’s neck, the string still attached, a length of it dangling slack and twisted. The tip of a pretty and delicate piece of mauve stitching protruded from the mouth. Both officers recognised the design as one common to the decorative border of a woman’s handkerchief.</p> <p>The body was dressed in basic and commonplace items of baby apparel for the late nineteenth century and early twentieth century. A napkin. A garment known as a baby binder or corset, made of flannel, which wrapped around the torso and remained laced in the front. It was a slightly old-fashioned item as binders were not used by all mothers at the time, but investigators did not see the item as particularly significant. A loose flannel undershirt hung over the corset.</p> <p>A small number of items remained in the suitcase. A block of wood. An empty gin bottle. Part of a cigarette packet. There was also a photograph – an eerie echo of the scene on the morgue slab: the baby girl lay alone, with no carer in sight, as if sleeping.</p> <p>At 2.15 p.m. that day, the medical practitioner, Stratford Sheldon, commenced the autopsy. Sheldon was the closest thing that Sydney had to medical royalty. He came from a dynasty of doctors. His father, William Sheldon, was a popular North Sydney doctor. Both Stratford and his brother had become doctors with thriving independent practices in the city centre and in the burgeoning suburb of Granville in the west.</p> <p>Sheldon was one of the best in his field, and his set of specialisations was directly relevant to the examination of a suitcase baby. He had a rare knowledge of deaths in Sydney Harbour and experience in undertaking post-mortems of watery deaths. In 1921 he had conducted the autopsy of Isabel Lippe, a Victorian woman involved in a complex and high-profile case. Lippe’s body had been found at the bottom of The Gap, a cliff edge on South Head with a reputation for both fatal accidents and suicide jumps from its 21-metre drop into the Tasman Sea.</p> <p>Everyone in law enforcement wanted Lippe’s death to be ruled as murder. She had been pursued and deceived by a well-known con man, Charles MacAlister, and the police wanted a reason to arrest him. But Sheldon held firm in the face of immense pressure. After a long and complex inquest, he argued that by analysing multiple sources of evidence – the number and placement of broken bones, estimated time in the water and position of the body on impact – only one scientific conclusion was possible. Suicide. His post-mortem report ruined the case that police had been building against MacAlister. Sheldon’s opinion was respected but he wasn’t always liked by Sydney’s metropolitan police.</p> <p>Sheldon looked first at the suitcase baby’s clothing, seeing that it comprised only the most basic of necessities. The empty gin bottle found inside the suitcase also suggested to Sheldon that indigence had played some role in the death. Gin was popular with the inner-city underclass because it was cheap. Its easy availability meant that gin had become a home remedy for common ailments from cradle to grave. The elderly used it to treat arthritis, while mothers used it as a sedative and tonic for restless and colicky babies.</p> <p>As a legally qualified medical practitioner engaged to undertake work for the morgue, Sheldon was under instruction to determine the cause of death, and this meant performing an internal examination. Though the making of social commentaries did not fall within Sheldon’s immediate brief, he knew, before he even started his examination, that he was looking at the body of a child born into poverty. In his daily comings and goings as a city doctor, Sheldon would rarely if ever have encountered a baby so common, but in the morgue there was no social hierarchy. In this cold and damp place, the lowest and the highest of society assembled to participate in the ritual of the post-mortem. The perverse logic of the social welfare system in 1923 meant that while the suitcase baby had most likely not received any professional medical care in life, her body was being subjected to the best post-mortem that money could buy.</p> <p>Sheldon estimated the baby to have been between three and four weeks old. On the umbilicus there remained a small amount of ‘dry epithelial string’. This meant the umbilical cord stump had healed, but only recently, because new tissue was visible.</p> <p>Sheldon repositioned the baby’s body on the slab, elevating the torso to ensure the chest and abdomen could be sliced open cleanly and the ribs sawn through neatly. An internal examination found all of the organs to be healthy. The heart showed no signs of a common and potentially serious vulnerability such as a hole. The foramen ovale, a hole between the two halves of the heart which remains open before birth, had closed, as it should, shortly after birth. Sheldon was looking down on the body of what had been, at one time at least, a perfectly healthy baby.</p> <p>While the general condition of the body indicated that the baby had been fed and cared for, the stomach was empty at the time of death. The baby had been dead when the suitcase was put in Port Jackson as there was no evidence of water in the lungs – a hallmark of drowning.</p> <p>Using a magnifying glass and drawing the lamp as close to the body as possible, Sheldon leaned in to examine the lungs. In his final sworn statement, lodged with the Central Criminal Court, he said that he had found unequivocal evidence of death due to suffocation. Petechial haemorrhages were dappled on the tissue of the lungs; these red marks appear when blood leaks from ruptured vessels. Sheldon was methodical, noting the significance of this observation by drawing on other contextual evidence. As petechial haemorrhages can also occur as a result of cardiac arrest, Sheldon examined the heart closely to see if it exhibited signs of rupturing. It was unspotted and perfectly formed. Sheldon’s conclusion: death had occurred as a result of strangulation, with the airways purposefully obstructed by some external source.</p> <p>The string was still tied so tightly around the neck that it told a story of the force and determination in the perpetrator’s mind. A white muslin handkerchief, decorated with the mauve stitching, was stuffed deeply into the mouth. It was as if the baby was frozen in time, trapped in a silent theatre of her last struggles for breath.</p> <p>Sheldon’s summary of the post-mortem evidence concluded: ‘Either the string around the neck or the handkerchief in its mouth would have been sufficient to cause death.’ The murderer had not hesitated and had fully committed to the undertaking. There was no doubt the suitcase baby had suffered a horrible death. Not only had her body been discovered twice, but in a manner of speaking she had also died twice.</p> <p>The Suitcase Bab<em>y by Tanya Bretherton, $32.99, published by Hachette Australia is available now.</em></p> <p><img width="155" height="237" src="https://oversixtydev.blob.core.windows.net/media/7815930/suitcase-baby-cover_155x237.jpg" alt="Suitcase Baby Cover" style="float: right;"/></p> <p><em>Image credit: NSW Police Forensic Photography Archive.</em></p>

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Terrified mum issues harrowing warning about taking children to IKEA

<p>A mother in the US has issued a terrifying warning after narrowly escaping child traffickers during a recent trip to her local IKEA store. Diandra Toyos was visiting the furniture retailer with her mother and three children when her instincts kicked in and she got the feeling something was wrong.</p> <p>“After a few minutes, I noticed a well-dressed, middle aged man circling the area, getting closer to me and the kids,” she wrote in <a href="https://www.facebook.com/diandra.toyos/posts/1399781156755663" target="_blank"><strong><span style="text-decoration: underline;">a post to Facebook</span></strong></a>. “My mum noticed as well and mentioned that we need to keep an eye on him.”</p> <p>Diandra, who had her 7-week-old bub strapped to her front, kept her 1- and 4-year-old close by, but noticed the man (later joined by a second) stalking the family. “At one point he came right up to me and the boys, and instinctively I put myself between he and my mobile son,” she said. “These men weren't shopping.”</p> <p>In an effort to shake the two men, Diandra and her mother decided to sit in one of the display rooms – where they remained for almost half an hour. But it wasn’t enough. “They sat too. They sat down on one of the couches on the display floor that faced us.”</p> <p>This back-and-forth around the store lasted for close to an hour, until Diandra’s mother decided she’d had enough and put her foot down. “She made eye contact, very clearly letting them know that we saw them,” Diandra explained. They managed to get rid of the men and quickly alerted IKEA security to the situation.</p> <p>After the terrifying experience, the mum-of-three reflected on the trip and came to a startling conclusion. “I am almost sure that we were the targets of human trafficking.”</p> <p>In the post, which has since gone viral, Diandra warns other parents, grandparents and guardians to keep a close eye on children at all times. “When you're in a public place with your kids, please be aware and present so that you don't become a victim,” she wrote. “This is not meant to scare you […] Live your life. Take your kids places. But be aware. And be attentive.”</p>

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