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Like the best religious poetry, Dylan’s works resists easy interpretation and remains open to endless meditation. Dylan’s overtly political songs — ‘Hurricane’, ‘Political World’ — and love songs — ‘Idiot Wind’, ‘Tangled up in Blue’ — have often been challenging. It’s the same with his religious output.
The celebration of Eid Al-Fitr (the feast of breaking the fast) marks the end of Ramadan fasting. And this year, it has been a relief more than anything. It feels ‘normal’ again.
The shepherd wife has one word for her cosmos – isychia: here is isychia, she tells strangers. Without amenities — no water, electricity — her house clings to a small crease in the hills, a tortoise shell; sea forces strips of blue between the planks of outer walls that have no windows to admit the sky, the hills’ harsh beauty.
I was just fifteen years old when I was forced to run for my life. I dreamed of seeking a better education in Australia and becoming a pilot. Instead, I became a refugee in Indonesia, which does not recognize my existence and basic rights. I am even refused an education in this country. I have been in limbo for the last eight years.
Twenty-five years from his death we gather to remember, swapping anecdotes like bank notes weathered in our wallets. The one on how as deputy he’d learn, while pausing in a doorway, the names of all three hundred new Year Sevens in a week. And how when actors failed to show for one of his rehearsals, he’d stride the stage himself.
Approaching the walled and caged building where the sentence was carried out, our young fellows have always been struck by something of a paradox proclaimed in two signs at the door: ‘Bureau of Corrections’ alongside ‘Lethal Injection Chamber’. They were quick to seize upon it. ‘How can you correct and rehabilitate a person after you have killed him?’ they would ask.
In measures now sadly familiar in 2020, theatres were closed once the number of weekly deaths exceeded 30, later 40, but because actors and the theatre world itself were so economically vulnerable, actors, understandably intent on earning a living, soon legally or otherwise cut themselves some slack by taking liberties with the rules governing performances and quarantine — again, a phenomenon that is now, against all previous odds, familiar to people of 2020.
This year has been a ‘unique’ year to study, to say the least. The impacts of COVID-19 on the sector have been not just trying, but simply devastating. I have not set foot in a classroom all year which, I have to admit, is one of the things I have always loved most about studying — the immersion within a learning environment.
Three plover chicks prow Torkina Park, parents at their helm: their heads alert, their eyes sails. If these were waters, the kookaburra in the grevillea branches above would be a shark.
Recent weeks have seen the deaths of former NSW Liberal Premier and federal Finance minister, John Fahey, and former Labor federal minister, Senator Susan Ryan. They were both exemplary public figures who not only made a major contribution to Australian public life but did so in a way that drew praise from all sides of politics.
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.
Nothing in the world is single, as Shelley said, and we have proof of this in the general reaction to COVID-19. That spirit, however, seems to have its limitations. For some politicians are set on dividing people, rather than on uniting them.
61-72 out of 200 results.