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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 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.
He came in, sat down, and we talked about Henry Lawson. He was well read in the field, having encountered Lawson not only in a small way at school but especially at home where his mother had given him an anthology of Australian stories and he’d come across ‘The Drover’s Wife’. We hit it off: he was pleasant, engaging and witty and we resolved to continue our talk in the near future.
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.
An everyday exercise in planning and humility is gardening. For amateur gardeners, at least, planning, planting, pruning, watering and placing all have their place. But ultimately the plants make their way and take their individual shape.
I stare out the bus window, my eyes chasing raindrops down the glass. They jiggle in unison as we jolt over speed bumps. I imagine they’re dancing along with the songs belting through my tangled earphones. A Carla Geneve lyric catches my attention: It's raining on Tuesday, got my Doc Martens wet. I glance down and smile at my soggy docs.
I have been thinking for several months about fathering and wisdom. To my surprise, I found some of Marcus Aurelius’ truisms to be reflected, if erratically, by the pronouncements of my own pater familias, Kenneth Hugh Gittins.
With all its good intentions and charming participants, Love on the Spectrum is for the neurotypical eye. Just like The Undateables, a similar show from the UK, it takes the inner machinations of disabled lives and creates entertainment for non-disabled viewers. Autistic representation on television is rare, which makes it all the more alienating when these few depictions exist purely for everyone else’s warm-n-fuzzies.
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.
Possibly the thing I have missed the most is Melbourne's live music scene. The removal of being able to go to a venue and admire the sheer volume of talent this city produces — not to mention the talent we also get in from other states and territories — has hit me hard.
In Friends and Rivals Brenda Niall brings together four significant Australian women writers. Between them they published works from the 1890s to the 1950s. Ethel Turner and Barbara Baynton were from NSW. Nettie Palmer and Henry Handel Richardson were from Victoria, both schooled at Presbyterian Ladies College.
The arts and entertainment industry requires a sector-specific bailout created in consultation with a broad cross-section of arts professionals that considers measures for both the shut down and rebuilding. The reality is it cannot simply start up again once lockdown measures lift without support.
109-120 out of 200 results.