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I don't speak Spanish but I knew I had to try to ask someone. It wasn't an appealing idea. The crowds of people roaming here were the bereaved. They were here to visit their loved ones, not help me tick a box on my tourist adventure. However, I had little choice. I stopped a friendly looking middle aged man. 'Victor Jara,' I said. 'Donde?' He smiled and said a lot of things in Spanish while gesturing in a particular direction. I thanked him and headed the way he had pointed.
Though the internet has stretched and expanded the number of people and places we have access to, it has also constrained the range of ideas and opinions to which we're exposed. Research has found that Facebook users tend to read and share information that reinforces their own beliefs. This phenomenon has been particularly noticeable in the past month, with the emotion whipped up by the Brexit campaign, the election, and a spate of shocking, apparently Isis-related killings.
I have often wondered at the likely success of entreaties to compassion for asylum seekers. This is not because I do not personally feel compassion for these people. And it is not because I do not believe that it is morally correct to show compassion, including through government policy. Rather my response is partly a factor of my training as a lawyer. Through my legal eyes, I can see little hope for appeals to politicians to show compassion. My conditioned response instead is to appeal to law.
Socialite and amateur operatic soprano Marguerite cuts an intriguing and tragic figure, devoted to her craft but oblivious to her lack of talent. Yet the joy she gains from believing she is a great singer doesn't depend on the reality or otherwise of that belief. Is it right or wrong for those who care for her to allow her to continue in her delusion? The question echoes the concept of a life-lie, invoked by Henrik Ibsen to argue that human beings are sometimes better off living in at least partial ignorance of reality.
The show's implicit subversiveness runs deep. It is embodied in the fact that its cast consists of mostly Black and Latino performers portraying White characters, using a vernacular and musical styles popularly associated with these cultural groups. It thus stands as a riposte to the history of black/brownface and whitewashing in popular entertainment. Crucially, in a show about 'founding fathers', it is the story's women who not only provide its emotional core but are also the most fundamentally heroic.
As Pope Francis was releasing his long-awaited response to last year's Synod on the Family, my fiancé and I were taking part in a marriage preparation course, where we were told: 'Statistics tell us that one in three of your marriages will end in divorce ... while only a third of you will have a happy marriage.' If love is a type of craftsmanship, as Francis writes, then our hope is that day to day, with small and large acts of love, we can help each other become masters of our craft.
When a remote valley in the north of Iceland is struck by an outbreak of scrapie - a fatal, degenerative disease that affects sheep - Gummi, Kiddi and their farmer neighbours must face the prospect of conducting a mass slaughter. This is very much a communal crisis, and a consideration of the socioeconomic hardships of traditional Icelandic sheep farmers in modern times. But it's also a teasing-out on the personal level of Gummi and Kiddi's emotional and practical responses to this turn of events.
When Alan Alda was 11, he threw a simple inquiry to his teacher. What's a flame? The response he received was less than satisfying. 'All I heard from the teacher was "it's oxidation". That didn't explain anything to me.' It's a neat illustration of a modern problem. Merely presenting over-simplified factoids is no longer sufficient in a world filled with phenomena like climate denial and the anti-vaccination lobby. For science to be communicated effectively, it needs to spark passion and excitement.
It seems not a week goes by that Kanye West isn't in the news. Over the past few weeks alone, West has among other things disparaged Taylor Swift, announced that 'white publications' had no right to write about black music, and tweeted in support of alleged serial rapist Bill Cosby. Depending on your perspective, West is either the gift that just keeps giving or the twit who just keeps tweeting. How has someone like him managed to flourish in a time in which online shaming has become the norm?
Feminist writer Audre Lorde wrote that 'Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.' In medical professions, the term 'self-care' originated in reference to the self-management of illness. Self-care, however, also exists in the context of social justice, extending beyond physical wellness to cater for a holistic approach that includes emotional, mental and spiritual fulfilment. The need for this is rooted in the burden of oppression.
There's a part in Murakami's Norwegian Wood, I told a friend, where a character loses someone, and walks for weeks around Japan until he reaches the beach, where he just stares out to sea. I feel so desolate, I said, that that's what I want to do. I don't know for sure that that's what really happened in the book, or if I was really that desolate ... Maybe that's what reading is for; to build a repertoire of emotional and social situations in order to connect with feelings that don't have words.
Since the first churches offered sanctuary to the refugees facing deportation to Nauru, a steady stream of voices have joined the call for compassion. As a political language, compassion is itself a reclamation of power. Extending safety, resources, or even a mere welcome to people in need proves that we have something to give. Strength is embodied by a capacity to aid and assist, rather than in cruelty. Empathy, care and compassion appeal to us on a level of emotion that runs deeper than mere rhetoric.