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So far it hasn’t been easy to find a review in Australia from someone who has actually read the sixth and latest book in Rowling/Galbraith’s Cormoran Strike crime series, The Ink Black Heart. l wonder if it is too much to ask for people to simply read books (any books) before holding opinions about them.
History is on my mind at the moment, all because of yet another awful Austen adaptation. The latest cinematic mud-pie thrown at her in the new Persuasion movie may even be the worst one yet, which is something, because there’s a lot of competition. Who can forget Gwyneth Paltrow in the 1995 Emma driving a carriage in a yellow ball gown as though she were doing the time trial in Top Gear?
The rights and wrongs of what has happened in recent years regarding the experience and sufferings of transgender people have ended up as a polarised and difficult area of discourse, affecting women’s lives and rights far more than men’s. In the current situation, Raymond is a clear voice about the erosion of women’s rights and safety in what should be the safest, most pluralistic arena of all: academia.
American novelist Jonathan Franzen has in his last three fictional works taken words that loom large in the collective consciousness and built worlds around them. First, it was Freedom (2010), then Purity (2015), and now Crossroads (2021). The latter title, of course, refers to a literal and figurative decision-making moment, but also the mythic locale where blues singers, notably Robert Johnson, made their pacts with the devil.
It should be troubling for anyone, religious, secular or agnostic, to be told that a human being wields anything approximating to ‘God like’ powers. That very suggestion implies a power unreviewable, unaccountable and at odds with the earthly rule of law.
Broken first aired on BBC1 in England in 2017. Four years to make it to Australia, but it was worth it. The series is a profound and powerful study of Christianity and what priesthood means, whether for the man holding up the bread at the altar, or that ‘priesthood of all believers’ to which Christianity’s adherents are said to belong.
On Thursday, three Bills were introduced to the House of Representatives: the Religious Discrimination Bill 2021, the Religious Discrimination (Consequential Amendments) Bill 2021, and the Human Rights Legislation Amendment Bill 2021. Collectively, these bills constitute the Morrison Government’s response to the Ruddock Religious Freedom Review provided to government in May 2018.
Well before the pandemic, the future for poetry’s slim volumes was looking far from healthy. Last November, the threatened closure of UWA Press, one of the largest publishers of poetry in Australia, drew attention to the narrowing opportunities for emerging poets to make their mark.
It is refreshing to find a work that is exploratory and invites its readers into a world more complex than they had imagined. Such a work is a recent book by Peter Dowling, Fatal Contact: How Epidemics Nearly Wiped Out Australia’s First Peoples.
With the average length of detention in Australia now at an historic high, it is timely to review how immigration detention is used. It should be a last resort that is used for the shortest practicable time so that people who pose little risk to the community are not unnecessarily deprived of their liberty, and that they are able to contribute to the community.
If we want to renew religious language and images we must begin with attention to the words we currently use, noticing their resonance as well as their meaning. It is then important for the language of prayer and reflection to be grounded in deep contemporary experience.
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.
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