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I have decided to observe October as a month to observe other people observing things. For me, there was a sense of self crumbling under the weight of being house arrested for the good of all. Gravitas, like gravity, can be crushing; I knew I needed a break from howling at the Moon (16 October is the ‘international observe the Moon night’). So to the calendar I turned.
I have never paid much attention to the Olympics or Paralympics. The games always seemed too patriotic while simultaneously being too individualistic. Plus, I don’t enjoy watching people push themselves so hard for something to the point where they need to throw up. That said, I’m in Melbourne in lockdown, I’m working from home, and living alone and I need to have something on in the background while I work, or I feel too lonely. If I play music, I get distracted. So I decided to tune into the games and have them on in the background, volume low, to see if it helped me focus.
I must have time on my hands. I have been thinking about the difference between atheists and God cancellers. I love my atheist friends, of whom I am blessed with many. I relish the existential grist of our talks, the deep sense of substance and mutual respect. I also love the constant jokes. We keep each other honest. I enjoy a rich engagement with the history of thought and I believe we ennoble each other through the kind of trust that is prepared to talk about things that are off limits to others.
I'm standing before the portrait of a woman with closed eyes, her hands delicately cupping, almost, her tilted head. In her face, in her composure, a flower-like serenity that speaks of care, reverence.
Like the best religious poetry, Dylan’s works resists easy interpretation and remains open to endless meditation. Dylan’s overtly political songs — ‘Hurricane’, ‘Political World’ — and love songs — ‘Idiot Wind’, ‘Tangled up in Blue’ — have often been challenging. It’s the same with his religious output.
But although the Coalition will never admit it, it looks suspiciously like there has been some bipartisan institutional learning about how to manage financial crises. If you want to stimulate an economy in times of crisis put the money directly into the economy, either into people’s pockets or to businesses who then pass it on to workers.
The female is mostly red, a painted nail crimson. The male a fervent green. That the female is gaudier has caused experts experty angst.
The parallels with our own times of the events of Black Friday in 1921, with its movement from a time of heavy social spending and the flowering of social capital to a time of recovery, and the fateful choices that are made at such times, are evident. We await the results of the economic choices being made by government and their effects on community and solidarity.
I flip his collar, air chill, damp, my quick fists burrowing into jacket pockets. I long for an angel with Edie’s face, convent-innocent, unlike mine, who might understand, even share, my boyish dream of making the big time.
The Federal Budget this year coincided with the release of Pope Francis’ Encyclical Fratelli Tutti. Both are preoccupied with the shape that society will take after COVID-19. It is tempting to compare their different approaches.
He came in, sat down, and we talked about Henry Lawson. He was well read in the field, having encountered Lawson not only in a small way at school but especially at home where his mother had given him an anthology of Australian stories and he’d come across ‘The Drover’s Wife’. We hit it off: he was pleasant, engaging and witty and we resolved to continue our talk in the near future.
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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