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A house bursts into flames as it’s submerged in floodwaters. A doctor tells a cameraman filming a dying Ukrainian child to send the footage to Putin. A newspaper delves into the murder of a young woman. It’s like a fever dream: a pandemic bleeds into the edges of a global war. The news presents information, and it has no moral duty to tell us how we should feel about it or help us untangle the knot of feelings which emerge.
I was invited to read the poetry at Eureka Street by Morag Fraser, sometime in the mists. She shouted me coffee at the Chinese place across Victoria Street from the magazine’s Richmond offices. That was nearly twenty years ago. As we crunched on fortune cookies, she popped the question. I’ve been editing poetry at Eureka Street ever since and have only chosen to let go of the job this summer.
I’m not sure that my Greek grandchildren know the word antediluvian or whether they have heard of Methuselah, but they certainly consider me an ancient relic who occasionally tells tall tales and true from the legendary past, and from another land. Of course they are unable to conceive of life or domestic space without screens: even my youngest grandchild, who has just had her first birthday, knows when a Skype call is imminent, and coos accordingly.
I own my proclivities and short comings / I own the transgressions of those which have inflicted wounds some unhealed / I own the sublime moments of subjective joy / I own little but I am rich in compassion / I own not the land it owns me
Into the sky, black and blue visitation by which we are blessed, or warned. Screaming like lovers en route, regal, snapping for nuts and dominance in the clattering trees.
It is no coincidence that white ‘settler’ theology in this country has barely begun to engage with Indigenous people. Arguably, it has only begun to do so because the Indigenous citizens of the churches have begun to cast off the imaginative shackles made for us by our white gubbas and find our own voice.
Twenty-five years from his death we gather to remember, swapping anecdotes like bank notes weathered in our wallets. The one on how as deputy he’d learn, while pausing in a doorway, the names of all three hundred new Year Sevens in a week. And how when actors failed to show for one of his rehearsals, he’d stride the stage himself.
The river flooded during the battle, surging so wide, so deep, that two days of eager slaughter were postponed. I won't polish away 80 years of tarnish. The brass cartridge still grips its bullet just the way you found it while walking your dogs. A misfire.
The capacity to story our experience is a powerful tool for reflection and understanding. As adults we learn that no story is pure and we are capable of telling ourselves spin, but the shaping of experience into story is the bread and butter of our lives. Narrative, it has been said, is a primary act of mind.
While the world is largely focused on COVID-19, a recent report from Global Witness revealed that murders of land and environmental defenders, defined as people who take a stand for land and environment in a peaceful manner, reached a high in 2019.
Identifying the true nature of things, and capturing their horror or charm? Let’s give it a crack. I recognised and recognise still that there are few humans who will ever approach Les Murray's heights of linguistic mastery and vision of life. But one thing I felt I had in common with Les, apart from our shared rustic heritage, was anger.
I am now more than ever re-thinking borders and my relationship to them. The word seema in Hindi means border or limit. I learnt this as I often ask the meaning of someone’s name when I meet them. It is a way to start a perhaps unlikely conversation and learn language simultaneously; a way of challenging personal borders.
13-24 out of 200 results.