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Through exploring the work of nine Catholic American authors — with special focus on Flannery O’Connor, Toni Morrison, Cormac McCarthy and Don DeLillo — Longing for an Absent God boldly attempts to discover what it is about faith and the desire for transcendence that exerts such influence over the popular imagination.
Most of us, when pushed, can name a couple of teachers who had a profound influence on our lives. For me, Brian Matthews was one such teacher. I enrolled in English at Flinders University in 1972. On asking the enrolling officer whether anybody was ‘doing anything about Lawson’, I was directed to the office of Brian Matthews, a recent appointment to the English Department. ‘I hear you know something about Lawson,’ I said, leaning in his doorway.
Election campaigns can be defined by all sorts of things. Gaffes, negative ads, international incidents, public policy. It is trite but no less true to say that this federal election campaign has been much more about the first three rather than the last. The policy discussion has been edged into the election mix most seriously by various interest groups and by some of the macro party and independent candidates seeking election.
The quality of Niall’s writing is evident in An Accidental Career, though easily unnoticed. It lies in the clarity of her thought, her exact choice of words, the alternation of anecdote and reflection and the self-effacement that creates a direct link between the reader and the work itself. Her writing has the rare gift of simplicity. The precision of the title is characteristic of the book as a whole.
Daddy Cool is a thoroughly absorbing biography, witty, astonishing, often intensely moving, effortlessly in charge of a crowded and potentially confusing canvas (readers of a certain age will recognise names like Jack Davey, Roy Rene, Dick Bentley, Willie Fennell).
Moment by moment the numbers are rising, tables of the infected and the dead on websites updated every five minutes, the relentless clicking over of lives, like so many fallen leaves in this country.
In Friends and Rivals Brenda Niall brings together four significant Australian women writers. Between them they published works from the 1890s to the 1950s. Ethel Turner and Barbara Baynton were from NSW. Nettie Palmer and Henry Handel Richardson were from Victoria, both schooled at Presbyterian Ladies College.
Lately Lucky has death on his mind, and these and other various acquaintances serve as stars by which he navigates his close-held fears of impending oblivion.
Last Tuesday night in Mexico City I headed to a bar with some press colleagues. It was late and the bar was lit with candles for mood lighting. As we sat down to order drinks my friend Joan took the candle in front of her and said, 'I'll hold onto this for the next journalist to be murdered.' We had been at a vigil to mourn the murder of journalist Javier Valdez and to protest the ever-escalating number of journalist murders in the country in a legal and political climate of almost total impunity.
Sister Barbara taught me in my fifth and sixth years. She had a large multi-grade class, yet she found time to realise I wasn't 'a bit slow' but was actually half-blind, partially deaf and bored witless. She ensured I was placed close to the front where I could hear, and arranged my first eye examination. Sister Barbara also sent away for high school English books just for me and that year this supposedly 'slow' child came first in class. These acts changed the course of my life.
Initial silence from Dylan after the announcement of his Nobel Prize led one of the Scandinavian officials to complain he was being 'impolite and arrogant'. This prompted even more vitriolic opinion online on all sides, from fans, litterateurs, Dylanologists, and other armchair grenadiers. Just as things were getting completely tangled up in blue Dylan himself broke the silence to explain that news of the award had left him speechless. We shouldn't be surprised. Speechless is a normal state for a poet.
War Dogs is the latest in a string of films from the past few years that are custom made for our cynical times; deeply ironic black comedies and dramas featuring antiheroes who profit to the point of excess off the misery of others. Where those films dealt with the finance industry and gained relevance from the backdrop of the Global Financial Crisis, this one shifts focus to the grimier world of arms dealing, in the context of Bush era conflict in Iraq and Afghanistan.