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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.
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.
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.
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.
‘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.
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 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.
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.
In Australia, we have long boasted of our unparalleled prosperity and strong economic growth. We have championed home ownership and the quarter acre block — after all our home is meant to be our castle. But for too many, the basic human right of having a place to call home remains out of reach.
During times of crisis concepts such as power and liberty are often brought into the light and re-examined, and it is a sad fact that during those same times, people in power often try to chip away at liberty, at democracy’s most basic freedoms: several current world leaders immediately spring to mind.
He enters a university library at thirty-five feeling like an imposter, rougher-hewn from suffering than most students, wrapped in an aura he thinks religious pilgrims experience shuffling along echoing naves of Gothic cathedrals, sombre, joyous.
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