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China will continue to become the dominant global player, perhaps joined by the USA if it retreats from its new isolationism. However, outbursts from President Trump, obfuscations from President Xi, threats of economic boycotts from China’s Ambassador to Australia and the recent muddied messaging from Australian political figures show that widespread uncertainty exists as to how to shape the relationship.
The COVID-19 pandemic is starting to ease, but the economic and financial fall out has just begun. It is not as if the world economy was in good shape before economic activity was slashed and entire industries were shut down. Those fault lines are only going to worsen, and the consequences might be very dark.
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.
This behaviour did not come out of nowhere. It has been carefully cultivated through over 40 years of neoliberal economic policies that have made it blatantly clear to people that they are on their own and will absolutely be left to fall if they don’t scramble their way to the top of the heap — supported, if necessary, by their own accumulated rolls of toilet paper.
The stockpiling has left many facing empty aisles and lacking basic necessities. But this doomsday practice extends beyond not being able to buy pasta shells or running out of toilet paper — it also leaves vulnerable populations at risk.
From just up here, on the lip of mountain mileage, that pooling river mouth below, half salt but also hill-fresh, could seem a lagoon. On its low point, surmounting asphalt and breaking waters, sits the verandaed pub, a focus once of holiday shorescape.
Last year, two documentaries regarding the Adam Goodes booing fiasco were released mere weeks apart: Shark Island Productions’ The Final Quarter and Madman Films’ The Australian Dream, anchored by Stan Grant. Given the topic and timing of both of the films, I couldn’t help but compare the two films as an Aboriginal viewer who spends a lot of time dissecting Australia’s racism in her own analysis. As I watched both of them, my reaction to each was markedly different.
The Australian Federal Police raid on the 5th of June last year shook the Fourth Estate and, according to managing director David Anderson, ‘was seen for exactly what it was: an attempt to intimidate journalists for doing their jobs.’ It saw an unprecedented closing of ranks between journalists across the political spectrum, pursuing a campaign that came to be known as The Right to Know. Convincing the courts about this principle would prove to be something else.
It's definitely the flesh and blood you, Thérèse, not the Little Flower of church statues and holy pictures, milky with sanctity. It's the frank-faced-child-in-lace-trimmed-dress-and-sturdy-boots you. It's the fourteen year old, hair-atop-head-in-a-bun-to-look-older-for-the-Bishop-so-he'll-let-you-take-the-veil you.
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