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At the fringes of the legal system, there are areas of work you probably won’t read about in law school career guides. Many of these deal in trauma or poverty. They are substantial, but they aren’t celebrated or pursued by the mainstream of the profession. They generally attract neither money nor prestige, and in many cases the ‘market’ fails to provide paid jobs of any sort, irrespective of need.
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.
Over the weekend in most Australian states, rules requiring people to stay home were relaxed somewhat. The country has commenced its easing of the significant restrictions on venturing out in public. As we begin to reacquaint ourselves with life outside, it is useful to reflect on the new resonance of ‘home’ — but also on its inherent limits.
What turned out to be extraordinary was the familiarity of the subject matter, and the routines that Camus makes the authorities of the plague-ridden Algerian town Oran put in place: the quarantine, the isolation hospitals, the attempts to develop a vaccine, the volunteer health workers, and the way in which funerals were conducted in haste.
I keep going back to a short story, by Carmen Maria Machado in her book Her Body and Other Parties, called ‘Inventory’. In its simplest terms, the story is a narrator’s list of her lovers loved: boyfriends, girlfriends, neighbours, strangers. From this inventory emerges, bit by bit, the story that has made the list necessary: an epidemic is ravaging the world’s population.
On 17 April 2020, the Federal Court ordered that Immigration had failed to comply with procedural fairness for the family. The case is known by the pseudonym XAD. The XAD case relied on significant legal principles going back to the M61 High Court decision of 2011.
I can’t be the only one who has, in recent weeks, found myself reaching for my dog-eared copy of Daniel Defoe’s A Journal of the Plague Year, a fictional re-telling of the 1665 great plague of London.
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.
While family violence and intimate partner violence are spoken about in Australia, there isn’t much general knowledge when it comes to the court process and what happens next.
I circle the huge granite standing stone sunwise three times, as my ancestors did long before the designs of cranes and coins, of theory. ‘Tell me how and what they thought.’ No answer but the wheeling murmuration of a thousand starlings. A stubble field.
It's definitely the flesh and blood you, Thérèse, not the Little Flower of church statues and holy pictures, milky with sanctity. It's the frank-faced-child-in-lace-trimmed-dress-and-sturdy-boots you. It's the fourteen year old, hair-atop-head-in-a-bun-to-look-older-for-the-Bishop-so-he'll-let-you-take-the-veil you.
As I sat I noticed some graffiti: 'What you are seeking after is seeking after you. — Rumi.' A beautiful, soulful verse for the alienated children of late capitalism, right? An invitation to live in expectancy, as if you belong in the world. But underneath, someone had struck through What and written Who, and Rumi and written God.
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