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It’s been growing like a refrain, like a consensus, these past few months. Almost everyone I talk to tells the same story of feeling overwhelmed, of not quite coping – or nowhere near coping. They’re tired, and everything just feels a bit harder than it should, like the treadmill’s accidentally been set to an incline.
Ozark is, at heart, an unflinching look at evil. I’ve always known I’d come back to each new release of episodes in part because the darkness is made watchable by the likeable faces of Jason Bateman and Laura Linney. They play the couple at the centre of a family amidst sinister violence and corruption. Indeed, the juxtaposition between the content and those faces is a key part of what makes the show so intriguing.
What causes racism? How does it start? Perhaps that’s at the heart of the matter: the difference, and the fear of it. Historically, we have tried to manage the fear via labels and categories: think of the ancient Greeks and their idea that anybody who did not speak Greek was a barbarian because of the bar-bar sounds that they made.
Joined by our son, I dug four feet down, two feet across, into wet, clayish soil. Deep into the darkness. We can see Cinder’s resting place from our bedroom window, not far from a little apple tree we’d planted some weeks before. She would have loved the spot, we think.
How do we know that what we call knowledge is knowledge? How do we know that we know? The two books I have been reading here are both about kinds of knowing. Suzie Sheehy is a particle physicist from my old stamping ground, Melbourne University. Sheehy’s story is of passionate hunters for nothing less than the meaning of everything.
Writers are not only preoccupied, among other things, with the concept of place, but also with the matter of time and its passing. Novelist L.P. Hartley famously wrote that the past is a foreign country: they do things differently there. Cretan Nikos Kazantzakis considered that ‘the face of Greece is a palimpsest bearing twelve successive inscriptions,’ and he went on to list them, from the 1930s, when he wrote these words, to the Stone Age.
Most of us, when pushed, can name a couple of teachers who had a profound influence on our lives. For me, Brian Matthews was one such teacher. I enrolled in English at Flinders University in 1972. On asking the enrolling officer whether anybody was ‘doing anything about Lawson’, I was directed to the office of Brian Matthews, a recent appointment to the English Department. ‘I hear you know something about Lawson,’ I said, leaning in his doorway.
Brian Matthews, academic, award-winning columnist and biographer, and Australia's foremost scholar on Henry Lawson and his mother Louisa, died last Thursday 2 June following complications related to lymphoma, at the age of 86. Brian first wrote for Eureka Street in February, 2002 and continued to contribute his monthly column for 20 years.
It was Christmas morning of... many years ago. I was about eight years old but, despite my advanced age, I remained a dogged believer in Father Christmas. This belief was maintained in the face of cynicism and derision from the youthful toughs I consorted with and despite my own unspoken qualms in moments of inconvenient rationality.
As I was reading the illuminating contributions to Class in Australia I had to confront my attitudes to Marxist analysis, to the claims of sociology, social work and psychology to be sciences, to the relative importance of inequality based on wealth, gender and race, and to any claim that canonises individual choice while claiming to be value free.
It was wrong to expect her to wade through the river of sadness of family obligations / Right person, wrong timing and I turned away / I have sought to explain myself by searching / 15 years later it is seemly to vanquish the letter / Guaranteed, she found someone somewhere better.
At a time when a second baby meant my own choices were fading into the background, I thought a lot about Nora and her life-jumping. What if I’d had kids later? What if I’d finished that degree? What if I’d taken that job? What if, what if, what if… The multiverse casts a web of different lives, all endlessly diverging like branches from a tree.