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In a stilted, modest Queenslander in Cumming Street we lived. Pets, organic alimentation and perishable bartering. Egg producing Cackling Rhode Island Reds, Leghorns and Bantams. Freedom to explore the countryside without fear or anxiety. Long conversations over low fences.
Come the next set of lights, you won't remember what I look like. You'll all go back to your lives thinking about your wives, girlfriends, kids, parents, brothers, sisters, lovers, friends, husbands, boyfriends, whoever, not me. But I needed a night out in the city and the city spoke back to me when I had no one else to spend the night with.
What does Christmas mean for you? What does it have in store? Preceding and in the midst of the annual celebration of life and hope that is Christmas, we will always have those, as H L Mencken noted, are obsessed with the ‘haunting fear that someone, somewhere, may be happy’.
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 have stared at this photograph of me and Dad for more than five months. The picture was found in Mum’s drawer. After some calculations and contemplations, Mum said I was three years old in the photo. How much can I remember from age three? How far back in time can I go? What I could only do was stare, imagine, and ask questions.
Precipitation before thunder/anticipation in the dusty wings/ premonition & catalyst/excavation site unseen/the poem poised to be written/a treble clef before dancing notes/the dapple around the whisper/a story unbirthed & untold.
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.
You are transfixed, steering your car but so captive to the bird’s powerful flight that you could readily follow it as it breaks away and lifts above the forest into the setting sun. Sometimes you do not want it to end. The eagle soars into the light. Away and up into the sky. And here is the corner, down towards the dirt road leading home. You are there.
Real power never changes hands. And yet like a spell, we cast our votes in a ballot box for the same corrupt government.
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.
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.
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.
145-156 out of 200 results.