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If you see some Generation X’s out there in the street, smiling like drunk cats, forgive them their madness - it’s been a long time coming. We are letting our inner lives blend with the polis. We know it might all be fiction but like fiction; it makes us feel less alone inside.
Marsden shows us Hamlet, Horatio and Ophelia as children playing in the forest. They discover a dying badger and agree it needs to be euthanised. Hamlet stalls.
The characters provide a microcosm of Australia as a fledgling federation. Most poignant is the place of the film's sole Aboriginal character, a gifted pugilist who is ultimately subservient to the purposes of the white characters.
Amir returns home to confront the guilt from his childhood. He finds the Taliban is in power, and his home city of Kabul lies in waste. The film's heavy-handed pathos detracts from the political sub-plot.
Adolescent boys of Western Kenya's Bukusu tribe are ushered to the threshold of manhood by participating in rituals in which they must endure all without exhibiting pain. Western society lacks procedures in which boys can transform and emotionally re-emerge, ready to carry the burden of male responsibility.
Karen Kissane’s book on the murder of Julie Ramage by her husband makes us ask ourselves whether the private attitudes that allowed men to claim provocation as a defence for killing their partners have really changed. Do they also need to be overhauled?
Peter Rose on writing Rose Boys.
Peter Steele looks at poetry about the birds and beasts.
George Morgan on the cruelty of punitive attitudes to children.
Guy Rundle reflects on the lives of James McAuley and Harold Stewart.
Kiera Lindsey reviews The Best Australian Stories 2004, edited by Frank Moorhouse, and The Best Australian Essays 2004, edited by Robert Dessaix.
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