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The global economy was already teetering on the edge of such a debt crisis before the coronavirus hit. The economic shutdowns have accelerated the damage.
Three people died within ten days of each other in the latter part of September who have gifted great legacies that call for reflection. I find reason to bring them together here in an attempt to highlight the threads that bind them; those of women of influence. Their stories are undoubtedly varied, yet they have all contributed to the broader advancement of women and ultimately, people.
‘You’ve got a bit OCD about all this handwashing, haven’t you?’ People say things like this all the time, to mock others’ habits and the routines they follow a little too closely. Usually, it’s not meant to be offensive. Just harmless teasing. But when I hear someone say something like this, it hurts. Because I actually have OCD.
A common argument is that publicly-funded artists take unnecessarily from the ‘average Australian’. In the current international crisis, this argument fails to recognise that artists and arts workers are just as deeply impacted financially by COVID-19 as the ‘average Australian’ in other industries.
Social media, while a blessing, has also become a curse for survivors in Pakistan. The platforms are widely used by survivors to share their stories of sexual harassment, molestation or rape. It also gives users a chance to comment and provide leeway for the perpetrator.
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.
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.
The response to COVID has invited reflection about the relative value of one human death (and so of one human life) as compared with another. This is a radical question because it makes us ask whether the value of a human life is defined by economic wellbeing and by potential contribution to the economy, or by deeper qualities.
For many people, illness has a narrative: a clear beginning, middle and end. If we’re lucky, the ending is actually a fresh start where the illness is gone and our hero is returned to normal life, changed but stronger because of their ordeals. In the lives of those with chronic illness, however, those lines are blurred; our descent into illness may have been gradual and there might be no end in sight.
The river flooded during the battle, surging so wide, so deep, that two days of eager slaughter were postponed. I won't polish away 80 years of tarnish. The brass cartridge still grips its bullet just the way you found it while walking your dogs. A misfire.
The objections to the legislation focus correctly on the infringement of human rights. That phrase, however, is bloodless. It might suggest that rights form a list to be ticked off. Human rights are better conceived as a way of speaking about the conditions necessary for people to live decent human lives. The proper place from which to reflect on them is the actual lives of the people who are affected.
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