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In our culture, Easter celebrates the benignity of the ordinary. It is a time for getting together with family, for going away to bush or beach, and in southern states a time of mild weather ideal for watching big football matches and other sport. The important question raised now by Easter is whether the meanings of Australian Easter, and indeed those available to our secular society, have the depth needed to handle our present predicaments.
The children have been busy. On matters of environmental justice, Australia has witnessed much legal activity from youthful citizens who, despite in some cases not being old enough to vote, have stirred politics. In 2021, five lodged complaints with the United Nations over the failure of the Australian government to cut, in a meaningful way, greenhouse gas emissions by 2030.
Palm Sunday alternates between March and April. When, as this year, it is celebrated in April it keeps company with a number of days that provoke us to ask what and who matter, what and whom can you trust. If it is a cruel month, it is so because it tests, even mocks, our comfortable assumptions. In a year overshadowed by manifestations of climate change, of persistence of Covid and of the horrors of war, it is not a bad month to endure an election.
People who understand more about international affairs than I do tell me that the Ukrainian/Russian matter is complex, but to me the matter seems simple enough, involving the obsessions of a powerful man, and the suffering of an innocent population. As usual, it is the women and the children who are bearing the brunt of the conflict, while President Putin remains supremely indifferent to their fate. And, as so often, I wonder what makes him tick.
By attending to the faces of people who are seen as props to the election campaign, and developing an interest in the background of social change in different parts of Australia, we gain a deeper understanding of Australia and its needs. At one level election campaigns are all showbiz and make believe, but at another the humanity that they can never quite stifle also punctures the images that the contesting partners project of Australia.
While we have been (barely) coping with a pandemic and natural disasters, the death of a larger-than-life figure like Shane Warne — an ordinary-bloke-cum-sporting-legend, an ever-present companion to Australian audiences, and seemly untouchable — has really brought home the fragility of life. It has drastically reminded us of our mortality: that we don’t live forever.
Even as he sustains the papacy’s now traditional opposition to all forms of war and its emphasis on the extreme suffering war brings, especially to the innocent, Pope Francis has, in recent weeks, taken a different, more partisan approach which he and others must feel is justified.
In the face of the horrors of invasion it is natural to be fascinated by the destructiveness of war and to immerse ourselves in military and political strategies. It is also natural to feel helpless and angry at the destruction of human lives, of cities and freedoms, and from a distance to barrack for one side and against the other. We attribute blame and praise, weigh causes and justifications, and divide the world into friends and enemies.
It was once said of T. E. Lawrence that he had a tendency to back into the limelight. With the late Shane Warne, arguably the finest slow bowler cricket has ever produced, it edged towards him. His debut appearance against India in the 1991-2 home series in Australia was not auspicious. Paunchy, exuding a vernacular Australian coarseness, and initially wayward, he received an object lesson from India’s Ravi Shastri and the youthful Sachin Tendulkar at the Sydney Cricket Ground. But there were already those incipient signs: the slovenly look, the ear piercings, the peroxide hair.
At a time when the Catholic Church is being invited to greater humility by the Plenary Council and greater synodality by Pope Francis it may be prudent to acknowledge both the richness and limitations of human knowing, especially when it comes to matters concerning ultimate reality.
American novelist Jonathan Franzen has in his last three fictional works taken words that loom large in the collective consciousness and built worlds around them. First, it was Freedom (2010), then Purity (2015), and now Crossroads (2021). The latter title, of course, refers to a literal and figurative decision-making moment, but also the mythic locale where blues singers, notably Robert Johnson, made their pacts with the devil.
My ambivalence about philosophy came from my placing a high value on reason and its desire to test its own limits, but simultaneously being inherently suspicious of reasons. They are the stuff out of which the tin-soldiers of isms are created and so often used to patrol the fence that separates acceptable from unacceptable thought.
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