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This past weekend, I visited my grandparents in their residential aged care home. As usual, it was both lovely and utterly heartbreaking. Lovely, because I feel so lucky to be able to spend time with them, that they are still alive, their home is accepting visitors, and they still remember who I am. But, also, heartbreaking, because aging is tough, and living in residential aged care is tougher still, and this year, well, this year has made it all so much harder.
Stories of volunteers who went to help in foreign crises used to focus on the impact on the people helped. Today they explore how both parties are changed through the experience. That was also true in Jesuit Refugee Service (JRS) whose 40th anniversary occurred last week.
Aden was a first and a trailblazer for a group of people who before her were long ignored in the mainstream fashion industry. She has many regrets and admits she made mistakes, but for a fresh-faced teenager who was given this huge responsibility, she says, she did good. I say different, she did bloody brilliant.
You are transfixed, steering your car but so captive to the bird’s powerful flight that you could readily follow it as it breaks away and lifts above the forest into the setting sun. Sometimes you do not want it to end. The eagle soars into the light. Away and up into the sky. And here is the corner, down towards the dirt road leading home. You are there.
Since the pandemic started to show its teeth on our shores in March, there’s been a trend to wave away any other matter other than COVID-19 with an examination of, ‘Just one crisis at a time — we’ll get to climate change after we’ve got the economy back on its feet.’ The only problem is we don’t have the luxury as a nation to solely focus on one crisis at a time.
An idea that’s gaining traction, in a pandemic where international travel has stopped and many Australians are losing their jobs, is this notion that the unemployed (aka: everyone on JobSeeker payments) should go out into the regions and help the farmers pick fruit.
Social media, while a blessing, has also become a curse for survivors in Pakistan. The platforms are widely used by survivors to share their stories of sexual harassment, molestation or rape. It also gives users a chance to comment and provide leeway for the perpetrator.
He came in, sat down, and we talked about Henry Lawson. He was well read in the field, having encountered Lawson not only in a small way at school but especially at home where his mother had given him an anthology of Australian stories and he’d come across ‘The Drover’s Wife’. We hit it off: he was pleasant, engaging and witty and we resolved to continue our talk in the near future.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
The response to COVID has invited reflection about the relative value of one human death (and so of one human life) as compared with another. This is a radical question because it makes us ask whether the value of a human life is defined by economic wellbeing and by potential contribution to the economy, or by deeper qualities.
Here in Greece, people seem to be smoking less and walking more. Gone are the days when long walks were measured in the time it took to smoke x number of cigarettes, the cigarettes being considered compensation for the walking, for the latter was equated with work and certainly not with pleasure. But the practice of walking can, of course, accomplish great things.