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This period of social distancing and restriction has been called many things, some of them printable. One of the most common has been a time of uncertainty. Uncertainty, however, is not an impediment to life which can be removed by clear and authoritative statements of dates to remove restrictions and get back to work.
For comfortable communitarians among us it is tempting to lament the loss of the solidarity displayed in the first response to coronavirus. That would be a mistake. Solidarity is not a mood to be looked back on with nostalgia, but a commitment to be built and defended.
To date, most of the Morrison government’s economic packages could best be described as ‘economic welfare’. They are measures designed to limit the impact on the economy of the COVID-19 pandemic. The recovery phase will very much need to be about stimulating the Australian economy.
What turned out to be extraordinary was the familiarity of the subject matter, and the routines that Camus makes the authorities of the plague-ridden Algerian town Oran put in place: the quarantine, the isolation hospitals, the attempts to develop a vaccine, the volunteer health workers, and the way in which funerals were conducted in haste.
We have done a lot right as a nation during the pandemic, but on the whole we have not treated foreigners as well as we might have. The inequality of treatment has been in evidence during the twin health and economic crises brought on by COVID-19.
World Mother Earth Day, held on 22nd April, expanded the earlier focus on the natural environment as distinct from human beings by seeing them as dependent on and nurtured by it. It teased out the relationships that placed human beings within the natural world.
Already the ideological die-hards of neoliberalism are working out how the pandemic might be manipulated to lower wages and to snap back to the old economic normal. So now is when collectively we need to take over the framing and the forming of the future. Not to snap back but to spring forward.
Illness, so apparently explicit and ever more obvious as it progresses, in fact defies definition: submitting apparently to scientific and medical description, it escapes into a quality of pain, exquisite loss or appalled helplessness that is often most clearly captured at the heart of great works of art.
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