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Since its release, audiences, critics and philosophers have grappled with Groundhog Day’s take on time and eternity. Like all great art, Groundhog Day resists easy categorisation and is a story that, in a wonderful irony, we can go to again and again.
In contrast to the United States, we in Australia ‘don’t do God’, and we rarely acknowledge the religious dimension of our national identity. In an age of declining adherence to the Christian faith, has Australia found a new civil religion? And will it serve us well?
The town celebrated Guy Fawkes day and burned an effigy of the man who tried to blow up the Houses of Parliament centuries before. For days beforehand, even as the holy women left the churches where they had prayed for the release of souls from punishment, children would be dragging carts and prams around with Guy Fawkes dummies they’d made, stuffed with straw and newspaper like scarecrows, easy to burn.
Mark Twain is reported to have said ‘history does not repeat, it rhymes.’ Watching a US helicopter evacuating people from the US Embassy in Kabul, that was rhyming. Many have seen this picture before, 30 April 1975, but then it was Saigon. The massive confusion, mixed messages, terrified people, lack of human rights protection happened in 1975, and still happens in 2021.
Many refugees in Australia live in conditions that the rest of the population would find unacceptable. Most of the 192 refugees who were transferred to Australia under the Medevac legislation between February and December 2019 are currently held at hotels in Melbourne and Brisbane, known as ‘alternative places of detention’ (APOD), where they have had no access to the outdoors or fresh air for more than 12 months.
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.
Obituarists sharpened their quills in 2014 when word had it the death of Clive James was imminent. Since then we have witnessed a late flowering of poetry, reviews and articles tinged with mortality that revealed to the last his Twainian flair for journalistic self-promotion, albeit in the internet age. Now the quills are out in earnest.
The Five Quintets is a long, conversational poem of almost 350 pages. In an age that focuses on detail, its topic is vast: the nature of Western modernity and its future. In a secular age its perspective is unobtrusively but deeply religious. It is therefore unlikely to make the best-sellers list. But it is an important and rewarding work.
Australia’s income support system and employment services have shifted to an ever harsher regime of compliance and penalty, while failing to find work for hundreds of thousands of people.
Amid the shock and grief for Anthony Bourdain's death, one blue-tick Twitterer attempted to capture five minutes of shameful fame, declaring that religious people believe hell or purgatory is his afterworld destination. While all the great religious traditions generally proscribe suicide, they also contain nuanced views of the suicide's fate.
British student Hanna Yusuf declared her hijab to be not an instrument of oppression but rather a feminist statement: 'In a world where a woman’s value is often reduced to her sexual allure, what could be more empowering than rejecting that notion?' But reducing a woman to her sexual allure is precisely what the hijab does.
Punter is a bloke's bloke, 'brung up' in a limited but nurturing suburbia of cricket, cricket, golf and cricket. I was genuinely touched by his acknowledgement of the role his wife, Rianna, and their daughters have played in his maturation. Yet while life experiences invariably expanded young Ponting's mind, it's fair to say that there remains something of the awkward teen in the man.