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It's a no eye contact sport, when I see a girl I like. She's putting lip balm on her lips, as the morning scenery slips by like a young child getting out of his pyjamas. I stare at everyone but her, because her face is like a burning sun ... It's only as I go to get off she looks up and smiles. I smile back, I've done a few miles with these smiles. I'd like to peel the pastry off and eat the sweet thing underneath. I catch my breath like a butterfly in a net. She's another stranger I'll never know the destination of.
Brian's work was notable for its firm yet subtle control, the great tumbling yet disciplined lists of adjectives, the elevation of the quotidian, the appreciation of the natural world and its creatures, the sheer love of life. Re-reading one recent piece I find the references to the 'lovely bride' and 'the house wolf' almost unbearably touching. One reader wrote he was not initiated into Brian's 'grand mysteries', but that the joy and awe conveyed rang out with love and goodwill. How very true.
Political response has been ambivalent at best, and ambivalence sounds a death knell for mainstream engagement by a tentative public. Turnbull pointed out that any claim must be acceptable to the general public to succeed. In the next breath he discussed the success of the 1967 Referendum. This was disingenuous given the political reality of 67, where there was no case presented for a no vote. After the Uluru Statement, it is now not possible to ignore substantive constitutional reform, or treaty.
Brian Doyle was the editor of Portland Magazine at the University of Portland, the author most recently of the essay collection Grace Notes, and a long time contributor to Eureka Street. Brian died early Saturday morning 27 May 2017 following complications related to a cancerous brain tumour, at the age of 60. Here we present a collection of some of Brian's best pieces from the past 12 years.
Cars will be turned into flutes; sheep graze in public parks. Trams will be lined with books; prisons, wisteria-walled. Politicians will sing in choirs; accountants taught to tango. The old will have honour and cake and a licence for practical jokes. The middle-aged will lie on grass and watch the procession of clouds. The young will be loved and learn that to live is to be slowly born.
The reconciliation of this vertical relationship is possible only through the mediation of Jesus who embodies, lives and dies the reality of this reconciliation. He puts us right with our God and thereby establishes the basis for right relationship with each other. In many countries such as Australia, Timor Leste and South Africa, the public rhetoric and programs for reconciliation have, at least in part, been informed and underpinned by this theological perspective.
Following the passing of the Australian comedian and social commentator, John Clarke, his co-presenter Bryan Dawe talked about being on a tram in Melbourne with people nodding compassionately and knowingly at him. Bryan recalled that an old man had once commented to John, 'You know what you two do? It's a secret between you and the audience.' These are not the sorts of things we expect to hear when someone is still alive. Once they are dead, those who love and admire them recall all sorts of details about their life, finding new meaning and new depth even in the everyday things.
The power of Jones' film comes from bringing us the faces and voices of the victims in the present day; to hear in their words and see in their manner the ongoing trauma of those experiences. It is a timely and illuminating exploration of the impacts of child abuse, arriving during a period when many of our Australian institutions, religious and otherwise, have been facing the probing spotlight of a royal commission for behaviour that was at times equally as secretive, and traumatic.
So true angels never travel. On canning and winding roads I was the road of patience, humility and love, with so much glamour at the end. But in the language of angels I hear the light and the end, took too long to light up.
Make no mistake, our church leaders are not yet out of the blaze of the headlights. They don't have all the answers, not even in relation to matters peculiarly within their jurisdiction. Despite being put on notice, our most senior bishops could not even agree on the limits of the seal of the confessional and on what a priest should do if abuse were reported in the confessional by a child. It's not just our past leaders who needed help. Our present leaders also do.
The chimneys of various shapes and sizes on the priest's houses next door, have not spumed since the winter, and in and around St Patrick's things like that might seem symbolic. Will fires ever be lit there again - lest the people speak - the ribbons spliced up and down the wrought iron railings, rattle in the brisk autumn breeze, telling stories of love, suffering and endless disharmony, broken trust, send messages to those in the passing traffic ... better the devil you don't know ...
The Academy, it seems, has listened. After the #whiteoscars furore of past years, three of this year's Oscar nominees for Best Picture, Moonlight, Fences, and Hidden Figures, are films with predominantly (if not entirely) Black casts, and focused on the experiences of Black characters. Cast and crewmembers from all three have been nominated in various categories. To be fair, all three films would have demanded attention, with or without the recent controversy around awards season racial bias.
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