• THE 1925 seamen’s strike was one of the most significant labour disputes in the maritime industry of the early 20th century. 

    It began in August 1925 when British shipowners proposed a reduction of seamen’s wages by £1 per month, arguing that post-war economic conditions required cost-cutting measures. 

    The move was met with fierce resistance by maritime unions, who viewed the wage cut as an attack on workers’ livelihoods, particularly in an era when the cost of living was still high.

    The strike was not confined to Britain; it quickly spread to ports around the world, including those in Australia. This international solidarity among seafarers was emblematic of the labour movements of the time, which were increasingly organised and interconnected due to the shared struggles of industrial workers across the British Empire.

    The SS Beltana, a British migrant ship, became one of the vessels directly affected by the strike. 

    Built in the early 20th century, the ship was part of a fleet designed to transport migrants from Britain to Australia as part of programs encouraging settlement in the colonies. 

    • The SS Beltana in Fremantle.

    Its 1925 voyage, however, coincided with the height of the strike, leading to significant delays during its journey.

    When the Beltana arrived in Fremantle, it was delayed for eight days due to a coal strike. 

    The coal strike, itself a ripple effect of the seamen’s refusal to work under reduced wages, meant that fuel supplies for ships were disrupted, leaving vessels like the Beltana stranded in port. 

    For the passengers aboard—many of whom were families seeking new opportunities in Australia—the delay added stress and uncertainty to an already arduous journey.

    As WA’s primary port city, Freo was a hub of maritime activity and a focal point for labor disputes. 

    By 1925, the city had a long history of union activity, with wharfies, seamen, and other port labourers playing key roles in advocating for workers’ rights.

    The seamen’s strike in Fremantle was part of a broader wave of labour unrest that affected multiple industries in the region, from mining to transportation.

    The strike’s impact on Fremantle’s economy was significant. 

    Delays in shipping disrupted trade, leading to shortages of goods and economic strain on local businesses dependent on maritime commerce. 

    At the same time, the strike strengthened solidarity among workers, as unions in other industries often lent their support to the seamen’s cause, either through financial contributions or by joining picket lines.

    The delays caused by the strike were not just an inconvenience; they underscored the vulnerability of the shipping industry to organised labour actions. 

    Ships like the Beltana, which served as lifelines for migration and trade, were effectively immobilised, showcasing the power of collective action in disrupting even the most critical supply chains.

    For the Fremantle community, the strike also brought attention to the harsh conditions faced by seamen and port workers. 

    Many in the local population sympathised with the strikers, recognising their demands for fair wages and better working conditions as part of a broader struggle for social justice. 

    This era also saw the rise of socialist and labour-oriented political movements in Australia, which gained momentum from events like the seamen’s strike.

    While the seamen’s strike eventually ended with a compromise, its effects were long-lasting. 

    The delays experienced by ships like the Beltana underscored the necessity for fair labour practices in the shipping industry. For Fremantle, the strike reinforced its reputation as a centre for labour activism and solidarity.

    Just one year later New South Wales introduced compulsory insurance under its Workers Compensation Act, which became the model for state and territory governments around the nation, while the 40-hour week became the norm soon after.

    The SS Beltana itself would continue to serve as a migrant ship until its eventual retirement, but its 1925 voyage remains a poignant example of how global labour disputes could affect individual lives and local economies. 

  • KAILIS or Cicerello’s?

    It’s up there with – Coke or Pepsi, Beatles or The Stones, Trump or Biden, Missionary or…

    Sorry, I took that too far, but it seems that people visiting Fremantle for fish and chips have a favourite eatery and then stick with that place until they’re six feet under.

    The argument often put forward is that Cicerello’s is cheaper and bigger and has superior views (plus lovely aquariums), while Kailis is more upmarket and uses better produce.

    In the past I’ve been a Cicerello’s man, so I thought it was time to cross the Rubicon – well the short walk along the boardwalk – and see what Kailis Fishmarket Cafe had to offer.

    Both eateries are situated in Fishing Boat Harbour, a fun and lively spot with folk promenading and boats coming and going.

    On a gorgeous Friday afternoon, it was chockas with lots of families down for a bite to eat during the school holidays.

    With a dedicated bar, BBQ seafood grill and traditional counter, Kailis is nicely laid out and feels clean and modern inside.

    Plus there seems to be less interference from the pesky gulls at this end of the harbour.

    The BBQ and raw area is particularly nice with fresh fish and seafood displayed on beds of ice.

    The traditional counter had a nice range of fried fish including whiting, cobbler, flathead and sardines, as well as grilled fillets of snapper, WA emperor and the “market special”.

    The menu also had a range of fish burgers and extras including mushy peas and gravy.

    I was keen to try out the BBQ seafood which had a lovely selection including marinated octopus, sashimi, oysters and lobster.

    I ended up going for the mixed grill plate, which at $42 seemed decent value.

    Despite the place overflowing with hungry sunburnt punters, it wasn’t long before my buzzer was buzzing and doing a weird stuttering dance across the table.

    My plate was piled high with seafood, chips and a large mound of creamy coleslaw.

    Perched on top were two whole king prawns, which were nicely cooked with plenty of fleshy meat and a nice chargrilled tang.

    Nestled underneath was the market fish kebab with red capsicum and herbs.

    Again the fish was nicely cooked with charred edges and soft, moist flesh. The capsicum added some sweetness and the subtle marinade was on the money.

    Shark bay cuttlefish can be a chewy fiasco, but this was well cooked and had a firm but pleasant texture. It tasted delicious with a squirt of lemon and some coleslaw.

    The chips were top notch and had a crunchy exterior and weren’t greasy.

    Overall it was a lovely, filling dish that ticked a lot of boxes – BBQ seafood for finesse, chips and coleslaw for comfort.

    My wife and kids are traditionalists and went for the fish and chips.

    The children’s version was very well priced at $11.50 and included a decent-sized fillet and a good serve of chips.

    Portion-wise it was spot on and the quality looked good.

    My wife “Special K” went for the single fried fillet and chips ($17.50). Two fillets was $26.50.

    The fish had a lovely golden crisp batter.

    “It tastes super fresh and the batter is nice and light,” she noted.

    “Two pieces of fish is too much for lunch, so I like how they offer the single.”

    Our lunch at Kailis was very enjoyable and it shattered a few myths about it being too expensive and not having enough space.

    The kids fish and chips was very reasonably priced and there was cheaper items available from the BBQ grill, including daily specials.

    I’m not saying I’ve completely switched from Coke to Pepsi, but from here on in I’ll be flitting between the two.

    Kailis Fishmarket Cafe
    46 Mews Road, Fremantle
    kailisfremantle.com

    by STEPHEN POLLOCK

  • FROM the late 1970s to the mid 1980s, Fremantle was a vibrant and chaotic melting pot of art, music, theatre and political activism.

    For many it’s the city’s golden age, before it hosted the America’s Cup and became a softer, more gentrified affair.

    This tumultuous period is captured brilliantly by the exhibition Desperate Measures, which features photos, posters, t-shirts and art sourced from the local community and City of Fremantle archives from 1977-1985. 

    Highlights include photos of Desperate Measures, the first agitprop street theatre group in Fremantle.

    The group was formed in 1977 by Micko O’Byrne, Duncan Campbell and Ollie Black, who all lived together in a big share house at 18 Ord Street in Freo.

    Mixing entertaining and fun community theatre with political comment, Desperate Measures weren’t scared to take on the controversial issues of the day including racism, Alcoa and bauxite mining, logging of forests in the Southwest, closure of the Fremantle train line by the Liberal Government and Perth’s water crisis.

    • Desperate Measures perform in 1978 at Princess May Park in Fremantle. Courtesy State Library of Western Australia

    They also performed at various anti-nuclear events in Perth and Fremantle and in 1980 held a show called Don’t panic – this is your half-life Uranium Show.

    All this during a period when political activism was deemed antisocial, dangerous and even “evil” by then-WA Premier Sir Charles Court.

    Desperate Measures was also a haven for young women who wanted to explore feminism in performance, with many going on to star in major productions across Australia.

    The theatre group was formed the same year Papa Luigi’s Pizza and Coffee Bar, situated on the corner of Collie St and South Terrace, introduced al fresco dining.

    Owner Nunzio Gumina was a staunch supporter of local artists who lived and worked in affordable studios in the town centre – purchasing their photographs and artworks, commissioning a mural by Sam Abercromby for the cafe, and allowing musos and performers to use his basement (a former gambling den) as rehearsal space.

    One of the musical highlights of the era was Tokyo Rose Women’s Band, a diverse bunch of female performers who fused theatrics and political humour with catchy tunes.

    They went on to perform at the Adelaide Fringe Festival and a documentary about them was made by local WA film director Heather Williams.

    Tokyo Rose played their final concert in 1984, a fundraiser for the Cockburn Sound Women’s Peace Camp, who campaigned for two weeks at the entrance to the HMAS Stirling Naval Base, highlighting that the base made Freo a potential nuclear target.

    From 1983-85 there were lots of non-violent protests about visiting US warships with many of the demonstrations co-ordinated by a group of Freo residents called Project Iceberg.

    The protests culminated in Project Iceberg unveiling an anti-nuclear banner on the visiting US aircraft carrier USS Carl Vinson, which was open to the public at Freo port in 1983. 

    During this time, the anti-nuclear sentiment seeped into the local music and art scene – sculptor and keen sailor Tony Jones created artworks that juxtaposed small yachts with giant US warships, and the artist-run Praxis, based in Pakenham St, held the Show of Presence exhibition about visiting warships in 1983. Desperate Measures also touches on social issues of the day with artworks from 1981-1985 by Shaun Wake-Mazey conveying the fear and confusion surrounding the HIV/AIDS epidemic at the time and the impact it had on gay men. It wasn’t until 1989 that homosexuality was decriminalised in WA.

    Exhibition curator Jo Darbyshire says many of the artists and activists featured in the exhibition went on to enjoy success on the national stage.

    “What really surprised me was the way they all went on to have happy, creative and amazing lives,” she says. “That early period of freedom, spontaneity and camaraderie in Freo enabled them to have the confidence to move out, all over Australia, and influence so many areas of cultural life; circus, performance, art and politics. 

    “So many of the women from Desperate Measures formed circuses in other states, which are still going, and the anti-nuclear activists were able to have elected the first anti-nuclear senator in the world in Jo Vallentine, and that sparked the Green Party in Australia.

    “Forty years on and some of these people are still movers and shakers; still living big lives.”

    There’s still time to catch Desperate Measures: Art, Politics and Performance in Freo 1977-1985 at the Fremantle Arts Centre before it closes on January 27.

    by STEPHEN POLLOCK

  • THE Hanky Code – a 1970’s fad where gay men would use different coloured hankies to indicate what they were into sexually – is the basis for a thought-provoking and funny stand-up show at Fringe World.

    In the show, Sydney comic Jarryd Prain explores what the different colours mean and how they relate to his life and his coming out. Originally there was about 10 colours with a hankie in the left pocket indicating the wearer was top/dominant and a hankie in the right indicating a bottom/submissive role.

    But the range quickly expanded to cover a mind-boggling array of sexual preferences and fetishes including grey (bondage), black (s&m), brown (scat), green (hustler/prostitution) and red (fisting).

    • Stand-up Jarryd Prain created the thought-provoking show The Hanky Code.

    “It was something I was always aware of but I didn’t realise how extensive the list was, over 80 options scanning over different colours, hankies, materials, and sometimes objects (depending on what list you consult),” Prain says.

    “There’s a lot of great resources online that delve into The Hanky Code and it’s history, spanning back to the 1970’s with some queer historians dating it back to the 19th century gold rush era in San Francisco.

    “Luckily, I would say that there’s a lot of the colours that I put some very ‘personal’ research into as well, but we can get into the details later.” 

    In an age where there is an endless range of weird and wacky porn online, Prain was drawn to the more gentile hankies.

    “The most interesting ones for me are the ones that get really specific and actually seem more tame than anything else,” he says.

    “Sure you’ve got your big, hefty kinks that can definitely be a lot to handle, but the mauve hanky is all about belly button sex.

    “Wearing the orange hanky on the right essentially just means ‘no sex right now, thanks’ which does feel almost unnecessary.”

    So has the hanky code been replaced by an online dating profile in 2025 or is sexuality more fluid these days?

    “Yes and no. There is still a lot of shame around the particularities of sex and what I love about the code is that it breaks open the idea of what sex is and what sex can be,” Prain says.

    “Online, generally speaking at least, if you’re happy sharing your face and name upfront, there’s always going to be a drip feed of the more unconventional kinks as the conversation grows if it gets there at all.

    “Traditional gay roles of top/bottom/vers are very public, almost built into character at times, but many of the kinks encapsulated by the hanky code are filled with some level of hesitation to announce.”

    With the rise of camera phones and social media, Prain says it’s harder for someone to lead a double life – indulging a secret fetish on the weekend before returning to their mundane office job on Monday morning.

    “I think due to so much of the world being online now, it’s harder to lean into a sexual community without it being something that is linked to your character,” he says.

    “Back in the 70’s you could go to a filthy little dungeon covered in latex and leather and go to work a few hours later and those two worlds could be kept separate.

    “It’s harder to do that now, which I do believe turns people away from really leaning into the hot sexy world they want to live in, periodically.”

    While Prain finds some of the hankies “reprehensible” (the ones that indicate a borderline illegal activity) he says the code was literally about wearing your heart on your jeans and being upfront about your sexuality.

    “Generally I think that we should have so much less shame in what our sex looks like,” he says.

    “I’m not saying that you should jump up on stage and tell everyone you’re into piss (unless you want to), but sex can exist outside of the confines of just penetration, and it can truly be fun.

    “Wearing your passions on your body like they did back in the 1970’s really did seem like the most honest we have been as a society. No shame, just a sexy little fashion statement.” 

    Nominated for Best Comedy Show at Sydney Fringe, The Hanky Code is at Ground Floor Comedy, The Terrarium (entrance via Howard Street) in Perth from Jan 28 – Feb 1. Tix at fringeworld.com.au.

    by STEPHEN POLLOCK

  • A MINI film festival that champions the resilience and self-determination of Aboriginal and Torres Strait Islander people will be held at Fremantle Arts Centre next weekend.

    Part of the City of Fremantle’s Truth Telling program, three feature-length documentaries and one short film will be shown over two nights.

    Two of the films – Dhakiyarr Vs The King and The Skin of Others – were directed or co-directed by Tom Murray, a guest speaker at the event.

    For the past 25 years, prof Murray has been making documentaries that acknowledge the history of colonialism and Indigenous culture.

    • A scene from Dhakiyarr vs the King

    He’s also the founding director of the Creative Documentary Research Centre at Macquarie University, and was awarded the Max Crawford Medal, the highest accolade for early career humanities scholars in Australia.

    “Making these films with First Nations leaders and elders in their own Country has reinforced to me that our most important current nation-building task is to come to a reasonable and fair-minded understanding of our national history,” Prof Murray says.

    “Without this we can’t move forward with any real and abiding national pride. We need to understand how Australia was colonised and we need to understand what the implications of colonisation have been (and continue to be) for Aboriginal people. After this, our next task is to act on this knowledge in a way that facilitates the dreams and aspirations of Indigenous people and communities, alongside those of settler communities.” 

    • Director Tom Murray with Tom E. Lewis in 2018

    The award-winning Dhakiyarr Vs The King explores the controversial murder trial of the great Yolngu leader Dhakiyarr Wirrpanda. 70 years later, descendants tell the story of two laws, two cultures and two families coming to terms with the past.

    “As a filmmaker I witnessed some incredible moments making these films,” Prof Murray says.

    “In Dhakiyarr vs the King we see a ‘makarrata’ ceremony (a restorative justice process that is designed to facilitate healing after law-breaking trauma).

    “There is also a public conciliation ceremony that reminds us what grace looks like when leaders and communities come together to acknowledge the truths of our past.” 

    The Skin of Others is a story of modern Australia – its violent past and its future potential – told through the extraordinary life of Aboriginal WW I soldier Douglas Grant (1885-1951). Featuring acclaimed Indigenous actor Balang Tom E. Lewis in his final performance as Grant, and guest appearances from Max Cullen and Archie Roach, this film movingly interweaves the lives of Grant and Lewis: two truly remarkable men.

    “In The Skin of Others the wonderful and very much missed Uncle Archie Roach talks about his dream that we can all meet together on the intercultural bridge of our Australian future – and once there we can develop ‘a new story for this country … one that we are all authors of.’

    “These were profound things to have been involved in, and will stay with me forever.”

    • Ron Bradfield Jnr.

    Also on the bill is Wee War – Fireteller Film and Story (a short film about Weewar, the first Nyungar man to be tried under white law in the WA colony in 1840) and Whispering in our hearts, which follows a modern-day Aboriginal community coming to terms with the execution of family members at Mowla Bluff in 1916 by police and local pastoralists.

    They return to the area where the killings took place to ceremonially put to rest the spirits of their dead.

    “As a person making these films and living in communities, it has taught me a lot about how the whole of Australia is criss-crossed with dreamings and stories and knowledge and skills that have made living here for over 60,000 years both rich and possible,” Prof Murray says.

    “And I’ve learnt that whatever First Australians want to share about this heritage should be cherished. There are songs in this country that are reliably over 10,000 years old. 

    “Australia is an amazing and wonderful country and we are lucky to live here. And it’s in our collective interest that we cherish and honour what we have – and properly acknowledge our history, so that we can move forward together with dignity.” 

    Held under the stars in the atmospheric front garden at Fremantle Arts Centre, Focus – First Nation Films is on Jan 25 and 26.

    The event will be hosted by the charismatic Ron Bradfield Jnr, who runs Yarns R Us, and the Sunday night screening takes place after free afternoon music from the Kiwirrkurra Band. For more info see fac.org.au.

    by STEPHEN POLLOCK

  • ATTENTION all millionaires.

    There’s a superblock for sale and it’s a real whopper – 2501sqm of prime riverside land on the Applecross peninsula.

    It’s the first time in 32 years it’s come up for sale and with 25m frontages and a zoning of R12.5 it’s sure to attract a lot of attention.

    You could build your dream luxury house, three separate dwellings (subject to council approval) or land-bank as a long-term investment.

    An added bonus is the existing five bedroom three bathroom character home – move in straight away, rent it out or use as a base to renovate or build your Xanadu.

    Situated at 27 Melville Beach Road, you are close to all the great shops, restaurants and small bars in Applecross, are in the catchment for Applecross Primary and Applecross Senior High Schools, and Perth CBD and Fremantle are a short drive away.

    27 Melville Beach Road, Applecross
    Hartanto Properties 9364 2788
    Eric Hartanto  0421 272 152

  • Perth’s very own Fringe artist collective The Hairy Godmothers, this 2025 FRINGE WORLD season, are presenting… the long-awaited sequel to ‘Dizney in Drag: Once Upon a Parody’!

    ‘Villains: A Dizney in Drag Parody’ premiered at Adelaide Fringe 2024 and toured the UK to Brighton and Edinburgh fringe festivals. Now, the infamous Hairy Godmothers carry out their evil plan to finally show off the villainous masterwork to hometown fans and newcomers alike. “Perth deserves only the most DELICIOUS debauchery! ‘Villains’ toured the world first so our beloved and favourite fringe on the planet gets the polished show it deserves. We can’t wait… It’s going to be wickedly fun. Mwuhahaha!” says Emma, member of  The Hairy Godmothers.

    The Hairy Godmothers toured the world’s Fringe Festivals – and beyond – and can’t wait to stage this new creation in their hometown, for the first time. After full seasons at Edinburgh Fringe the past two years, their new material is sure to impress their fans and newcomers alike. Plus, the original ‘Dizney in Drag: Once Upon a Parody’ will be on show at Perth Town Hall for four nights only, alongside WET; their all-female super cabaret at Planet Royale in Northbridge!

    Self-determined and wildly ambitious touring (of all three shows) has taken them to the UK, Prague, Vienna, Berlin, Amsterdam, and Iceland’s Raykjavik Fringe Festival, not to mention Adelaide, Melbourne, Sydney, Bunbury and Kalgoorlie. Their first international performance garnered a standing ovation at Brighton Fringe Festival in 2023. Which was backed up by standing ovations in every European city played in that year. Plus, the right to say they’re ‘Big in Iceland’, earning two awards from Reykjavik Fringe; the ‘Notice Me Award’ and the ‘Audience Choice Award’.

  • ENVIRONMENTAL protestors have turned their sights towards convincing the Cook government to reinstate a wetland in plans for the Perth Cultural Centre redevelopment.

    Contractors started draining and removing the existing wetlands on Monday this week, which the local government, sport and cultural industries department says has an un-repairable leak (“Last push to save cultural centre wetlands,” Voice, December 21, 2024) and a $50 million revamp of the precinct is an opportunity to remove it.

    • Sunday’s vigil at the wetlands. Photo by Donna Chapman

    That prompted around 60 protestors to hold a candlelight vigil last Sunday, still hopeful of saving it, but now that’s no longer possible they want the department to revisit a 2022 masterplan showing a replacement wetland linking the centre and Beaufort Street.

    Supporters say the wetland is a “beacon of hope” in a “concrete landscape”, an important home to birds, frogs, fish, reptiles and other wildlife, a heritage link for Noongar people and a much-loved outdoor playground and classroom to connect children with nature.

    “This tiny wetland ecosystem has been a beacon of hope in a city swallowed up by more concrete and bitumen each day and gives an insight into what Perth once looked like,” environmental campaigner Paddy Cullen said.

    • The 2022 masterplan for the Perth Cultural Centre showed a new waterway linking its central courtyard to Beaufort Street.

    “Perth has lost more than 80 per cent of its wetlands and we need to turn this around.

    “The government should return to the original plan to incorporate a wetland and bring some joy and life back into the area.”

    Fellow wetlander Linda Rawlings would like to see something similar incorporated into a children’s playground shown in the current designs.

    “Children need more green time and less screen time,” Ms Rawlings said.

    “Money could be diverted from the proposed electronic billboard to create a wetland – a living legacy for the kids.

    “This wetland has been a community effort, with hundreds of children helping to create it. 

    “We would love to see the wetland survive and thrive for future generations.”

  • LOCAL Tafes have benefited from what the Cook government says is the largest capital works program in the system’s history.

    The East Perth Tafe was the biggest winner, scoring $1.28 million for 20 global navigation satellite systems and 20 robotic stations used by students to collect spacial data.

    It also received $474,000 for a reverse osmosis unit and other equipment used in water treatment processes, and nearly $300,000 for industrial robotic arms that can select, sort, reorient and place items in a production line.

    Dental students at Leederville Tafe will be smiling over their $119,000, which helped buy a milling unit, scanner and printer that can help them learn how to give others a perfect smile.

    Mt Lawley’s campus picked up a $268,500 automated operating theatre used to teach anaesthetic technology students in a simulated working environment so they’re ready when they hit the hospital.

    And Perth Tafe got a $117,000 multicolour LED television studio lighting system to teach camera and film lighting as part of video content creation.

    The equipment and associated software was part of a $25 million modernisation program.

    Training and workforce development minister Simone McGurk said the cutting-edge technology would help prepare today’s students for the jobs of the future.

    “Our investment in modern equipment ensures students at TAFE campuses across the state are trained using equipment and technologies that reflect what is being used in industry,” Ms McGurk said.

    “Our investment is having an increasingly crucial role as our state prepares for future workforce needs.

    “Increasing the number of apprentices, particularly in trades such as electricians, engineers, motor mechanics, metal fitters and machinists will be vital to ensure we have the skills needed for WA to reach its target of net zero by 2050.

    “With affordable training courses and hundreds of millions of dollars in new facilities, equipment and technologies, there has never been a better time to take up opportunities to train at WA Tafes.”

  • FORMER US Navy submarine nuclear reactor operator and columnist Jon C Gabriel has published his first novel Sink the Rising Sun, inspired by American submarines secretly stationed in Fremantle and Albany during WWII.

    Combining his unique naval experience with deep research, it is a rare and humourous historical novel about a US submarine officer at the beginning of the war.

    “There are many American books and films about the war in Europe, but precious few about the epic battles in the Pacific,” Gabriel said. 

    “The few that do focus on the Pacific theatre rarely mention Australia’s leading role. Through historical fiction, I hope to correct this American blind spot.”

    In Sink the Rising Sun, Lt Benjamin Holt is stationed far from home in WA, finding himself on the frontlines with nothing but a decades-old sub and a rusty crew. 

    The untested 25 year old is ordered to stop imperial Japan’s bloody expansion across the Pacific any way he can. 

    Between each nerve-wracking war patrol, he’s further challenged by Navy politics, faulty equipment, and his lost love back home, all while adjusting to his new life Down Under.

    “When Japan shattered the American fleet at Pearl Harbor, it fell to a few aircraft carriers and the tiny Submarine Force to fight back. 

    “Subs made up less than 2 per cent of the US Navy but sank nearly 60 per cent of all Japanese shipping,” Gabriel said.

    “For this, they paid a heavy price. One in five submariners gave their lives, the highest casualty rate of all American forces in the Second World War.

    “Think Master and Commander, but underwater and a century later,” Gabriel adds.

    The book, his first, is now available at amazon.com.au, in Kindle and paperback formats.

    For more information, visit joncgabriel.com.