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What does Christmas mean for you? What does it have in store? Preceding and in the midst of the annual celebration of life and hope that is Christmas, we will always have those, as H L Mencken noted, are obsessed with the ‘haunting fear that someone, somewhere, may be happy’.
There is a common error about economics that, if not corrected, has far reaching consequences. It is the widely held belief that economic growth and consumption are the same. They are not.
These last weeks the possible re-election of Donald Trump has been one of the dark birds that visit many of us in the night. As with other such epochal events, of course, how we might react internally to it is of vastly less weight than its effect on the world. Neither early morning wandering nor anything else we can do will change that. But it might shape our response.
An idea that’s gaining traction, in a pandemic where international travel has stopped and many Australians are losing their jobs, is this notion that the unemployed (aka: everyone on JobSeeker payments) should go out into the regions and help the farmers pick fruit.
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.
Here in Greece, people seem to be smoking less and walking more. Gone are the days when long walks were measured in the time it took to smoke x number of cigarettes, the cigarettes being considered compensation for the walking, for the latter was equated with work and certainly not with pleasure. But the practice of walking can, of course, accomplish great things.
The capacity to story our experience is a powerful tool for reflection and understanding. As adults we learn that no story is pure and we are capable of telling ourselves spin, but the shaping of experience into story is the bread and butter of our lives. Narrative, it has been said, is a primary act of mind.
I have been going back to street photographs I took before coronavirus struck. Hundreds of images taken in London, Liverpool, Bangor, Abuja, Canterbury, Mararaba, Birmingham, Erith, and many other places. With each photograph comes an inevitable urge to reminisce.
While the world is largely focused on COVID-19, a recent report from Global Witness revealed that murders of land and environmental defenders, defined as people who take a stand for land and environment in a peaceful manner, reached a high in 2019.
The streets were packed there were thousands of people there to march in solidarity with us. It was so incredibly heartening. Australia is growing. The only time I have felt this atmosphere was in Sydney in the 1988 march on Australia Day. But this time was different very different it was predominately young people under the age of 30. They get it, they do see it.
As the small-l Liberal who attempted unsuccessfully to stare down the right-wing of the Liberal Party, known to his enemies as ‘Mr Harbourside Mansion’ or as the best Labour Prime Minister to ever lead the Liberal Party (2015-2018), Malcolm Bligh Turnbull was a man who dreamed, spoke and spent big.
I spent the first six or seven years of my life spellbound by my mum’s stories of her childhood in Far North Queensland. Herstory came from warm, outback and subtropical places. She and her sisters wrote on slates at school, played in custard apple trees, kept their own bees.
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