Welcome to Eureka Street
Looking for thought provoking articles?Subscribe to Eureka Street and join the conversation.
Passwords must be at least 8 characters, contain upper and lower case letters, and a numeric value.
Eureka Street uses the Stripe payment gateway to process payments. The terms and conditions upon which Stripe processes payments and their privacy policy are available here.
Please note: The 40-day free-trial subscription is a limited time offer and expires 31/3/24. Subscribers will have 40 days of free access to Eureka Street content from the date they subscribe. You can cancel your subscription within that 40-day period without charge. After the 40-day free trial subscription period is over, you will be debited the $90 annual subscription amount. Our terms and conditions of membership still apply.
There are more than 200 results, only the first 200 are displayed here.
We might have learned that we can no longer feed on the leaves at the tops of the crowns, but need to bend our long necks, which we carry on our small body and relatively short legs, and we have retrained ourselves to consume the leaves on the lower limbs.
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.
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.
When watching a news clip recently I was taken by a young woman’s attitude to the coronavirus restrictions. When asked how they had affected her, she said simply, ‘It is what it is’. The answer suggested an impressive acceptance far from the outrage, frustration and resentment that in the circumstances would not have been surprising.
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.
Identifying the true nature of things, and capturing their horror or charm? Let’s give it a crack. I recognised and recognise still that there are few humans who will ever approach Les Murray's heights of linguistic mastery and vision of life. But one thing I felt I had in common with Les, apart from our shared rustic heritage, was anger.
Ideology is a powerful presence in our lives. It works its way into our consciousness through the dominant discourses of government, media, institutional religion, legal frameworks, popular culture, advertising, all the means at the disposal of the powerful. Once we learn to recognise it we see it everywhere. If it feels like we were born into it, it is because we were.
In recovering from catastrophic events, we need to look beyond the simple defining of problems, finding solutions that match them and naming agencies responsible to fix them. We need to be curious about the persons involved, their interlocking relationships which have contributed to the trauma and the possibilities for healing within those relationships.
We are at the end of the beginning. ‘If you feel you have coronavirus…’ I tune out emotionally and daydream as the public service announcement plays over and over in empty trams and trains, and in deserted shopping centres.
In Christian churches the celebration of Easter this year will look more like Lent or Passion week. All Australians, too, will be without football, concerts, interstate and international travel and family gatherings. The atmosphere, too, will be one of constraint, not freedom. Instead of celebrating the present, we may be weighed down by fear and anxiety about the future. We are all captive to COVID-19.
Illness, so apparently explicit and ever more obvious as it progresses, in fact defies definition: submitting apparently to scientific and medical description, it escapes into a quality of pain, exquisite loss or appalled helplessness that is often most clearly captured at the heart of great works of art.
I've been watching Stateless, the ABC drama about Australia’s immigration detention system, with some reluctance. Not because it is poor, but because it is so powerful.
73-84 out of 200 results.