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Moira, her kids Zara and Rory, her partner Shane and his brother Midge are the kind of people you wouldn't think to look twice at. Living on welfare and on the constant lookout for abandoned houses to either live in or raid, they're known colloquially as 'trants' (short for itinerants). These otherwise overlooked and forgotten people might be parochial, but they're never parodied. They might be uneducated, but they have a voice.
Soprano Deborah Cheetham was in her 30s when she was reunited with her birth mother. It was the beginning of her understanding of herself as a Yorta Yorta woman and member of the Stolen Generations. At the time she was in the throes of composing her opera, Pecan Summer, based on the 1939 protests by Aboriginals from the Cummeragunja Mission. She soon learned that the story was closer to her than she had realised.
Last week I went to the Royal Commission and had a private session, which means, in short, that I am a victim of sexual abuse. That history spanned nearly three decades. My encounters with one perpetrator prepared me for more harrowing experiences during adolescence, and later in a marriage that turned violent. While I commend the Royal Commission process for its sensitivity and professionalism, I would like to offer some alternative thinking.
'Having thrown off the shackles of compulsion endured by pre-Vatican II Catholics, we relish that we come to the table not because we are forced, not because of social expectations, not because of the mindset of the mob, but because we are graciously called and freely responding.' Frank Brennan's Camino Address, Parish of Our Lady of the Way North Sydney, 12 November 2013
'Many Catholics wonder how we can maintain our Christian faith at this time in the wake of the sexual abuse crisis and the many judgmental utterances about sexuality and reproduction. The Church that has spoken longest and loudest about sex in all its modalities seems to be one of the social institutions most needing to get its own house in order.' Frank Brennan's address to the Yarra Institute for Religion and Social Policy, 8 November 2013.
In the years after it began in 1951, the Blake religious art prize was dominated by conventional Christian themes and symbols. More recently its inclusion of images associated with human justice has reflected the increasing multifaith character of religion in Australia together with religious believers' concern for human peace and justice.
'There have been innumerable post-mortems and words of advice as to how the party with new structures, election rules, and policies can pick itself up, dust off, and win the next election. Sadly some of those post-mortems have come with more coatings of spite and loathing. It is no part of my role in the public square as a Catholic priest to offer such advice.' Frank Brennan's address to the Bathurst Panthers Club, 2 November 2013.
Full text from Frank Brennan's lecture 'Law teachers as gatekeepers of law, public morality and human rights: Equipping our students for moral argument in a pluralistic legal environment' at the Australian Law Teachers Association Annual Conference 2013.
Chopper's a racist, self-billed sociopath with acknowledged mental and physical health issues and a highly evolved if bizarre set of moral principles. A raconteur ever-ready to discuss the robbing, bashing, torture, murder and disappearance of various peers and colleagues. Yet he is also a man who recognises the damage done by the spiritual, emotional and physical abuse he took as a child.
Sean Faircloth, a US director of one of the Dawkins Institutes committed to atheism, raised what has already become a hoary old chestnut, the failure of Francis when in Argentina during the Dirty Wars to adequately defend his fellow Jesuits who were detained and tortured by unscrupulous soldiers. Being a Jesuit, I thought I was peculiarly well situated to respond. I confess to having got a little carried away.
Casting a Victorious PM Abbott as a puppet of Pell and Howard, or a fiddler with women's rights, seems risible; Abbott is bound by social restraints after all. Nonetheless, there is something ominous in David Marr's droll observation: 'His values have never stood in his way.'
He appeared in the doorway of my study one day in 1971 and asked if I was the one who was starting a course in Australian literature. His voice was soft and melodic, his accent beautifully Irish. Born in Belfast in 1947, he had grown up amid the horrors of 'The Troubles' and would in later years refer to himself as 'a recovering Catholic'.
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