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Corruption in society is a sign that respect for human dignity has been eroded. If we identify the value of human beings with their ability to compete, we are easily led to treat other people and groups in society as instruments to be used for our own gain. The result is that the integrity of public institutions and people’s trust in them are eaten away.
These weekday mornings all is quiet. / I stroll across the highway, / a piddle of cars in the outbound lane, / a puddle at the distant lights. / Along the parkland trail / cowled figures walk alone, / measuring their distance. / From the rise above the railway cutting / Macedon stands burly in the smoke-free air.
It took 438 desperate human beings upon the overladen wooden fishing boat, the KM Palapa, to present Australia’s Howard government in August 2001 with an electoral opportunity. At first, there was feigned ignorance from Canberra about any signs of desperation. The vessel, lacking power, lay some 100km off Christmas Island. Despite a coast guard plane noting men jumping up and down on the roof in a frenzy, nothing was initially done.
Deterrence has an inner logic that we can see in Australian treatment of people who seek protection. In the first place it tends to become increasingly brutal. Each breach of policy must be met with a more effective deterrent.
A wry satisfaction to be enjoyed in reading histories of events of your youth is that it uncovers your prejudices at that time. It reassures you that you have grown wiser but also makes you wonder whether your present attitudes will need revisiting. Save Our Sons, Carolyn Collins’ detailed and even-handed study of women’s campaign against conscription during the Vietnam War, offered such pleasures.
Any government decision can cause hurt to some groups in society. There is a difference, however, between decisions that are only painful and those that are vindictive. The former may be regretted, but vindictiveness implies a satisfaction in causing pain that does not arise out of need. The reason for it must be sought in the minds and hearts and culture of those who devise the policies.
Many refugees in Australia live in conditions that the rest of the population would find unacceptable. Most of the 192 refugees who were transferred to Australia under the Medevac legislation between February and December 2019 are currently held at hotels in Melbourne and Brisbane, known as ‘alternative places of detention’ (APOD), where they have had no access to the outdoors or fresh air for more than 12 months.
With all the congratulations that have been going around following Melbourne achieving zero COVID-19 cases there is one group that has been entirely overlooked. These particular people remain in a prolonged form of hotel quarantine, unable to mix with the general public. They are refugees and asylum seekers brought to Australia under the now defunct Medevac legislation from Nauru and Manus Island.
If society were a mine, refugees would be the canaries in it. Their condition reveals whether the currents of public air are pure or toxic. By that standard the present currents in Australia are noxious. They mark a change from the first generous response to the coronavirus to the meaner reconstruction of the economy.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
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