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There's an assumption that writers shouldn’t be writing about groups they don't belong to, as if this couldn’t be done with honesty and insight, respect and restraint. Difficult, yes, but impossible? Whether in fiction or non-fiction, outsiders might misunderstand and misrepresent the people they depict, but sometimes, insiders will too. Sometimes, outsiders will lack insight, but sometimes, when they’re curious, attentive, when they do not overreach, they’ll capture truth.
Despite our differing social and cultural beliefs, we can mostly agree that we live in highly polarised times. But what divides us? ARC Laureate Fellow Prof. Axel Bruns studies social polarisation, and in this discussion we explore the drivers of polarisation, examining the role that digital and social media and broader social and political contexts play in intensifying social conflicts, threatening economic prosperity, undermining public trust, and ultimately destabilising societies.
July marked the tenth anniversary since offshore refugee processing was introduced in Australia, a step that marked a change in Australian policy from an uneasy balance between respect for people in need and the pressure to deter further arrivals. The principle of deterrence is deeply corrupting because it is based on the conviction that it is acceptable to punish one group of people in order to deter others.
Out of the blue I was sent a photograph that is nearly 40 years old. Why did this photograph trigger a wave of nostalgia? For me, nostalgia is not something to be sneered at as a longing to return to a forgotten past, but rather respected for allowing us to reflect on remembered joys.
When more nuanced commentary around the passing of Queen Elizabeth II came to the fore, it was hard to avoid the difficult realities of the British monarchy and an institution that has not, through its history, delighted those conquered in its name. With Elizabeth II, it was notable that she let an opportunity to engage the topic of empire in Britain’s collective memory go begging.
Salman Rushdie is a writer with a most defiant sense of humour. If you want to get to know him, I wouldn’t start with The Satanic Verses (1988), the book that has brought him so much grief. Thirty three years after Ayatollah Khomeni imposed a fatwa on the author, it would seem to have led, on August 12, to a young man called Hadi Matar making an attempt on Rushdie’s life at a public event in New York.
We need to be able to do more than simply give notional assent to the Uluru Statement. We need to be able to contribute to the hard thinking and difficult discussions to be had if the overwhelming majority of our fellow Australians are to be convinced of the need for a Voice in the Constitution.
Five years ago, the beloved and I were in a reality show called Everyone’s a Critic. The show took us all to art galleries, mostly in Melbourne and Sydney, plonked us in front of some artworks, asking us to say what we thought of them. I realised TV norms being what they are, that we could have a ten-minute conversation about artists with whom we were familiar and all that would make it onto the program would be ten seconds of me mentioning my mum.
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