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The military police were waiting for us in Gallipoli and they were not happy. Approaching in darkness, when we rolled to a stop we were immediately surrounded by uniformed figures. A group of men playing cards outside a café watched this drama unfold and one shouted something which made them all laugh. The military police, however, did not laugh.
We will go to the laundry and finish coffee in time for the clothes to finish the wash cycle. This is called catching up with my father. He would say you don’t do this — you just don’t do that — talk about your dirty laundry in public.
The young in Myanmar have no personal memory of those events of 1988 and 2007. They are Generation Z, raised on the internet and with new ways of communicating. Their emotions overcome fear. Gen Z meets the deadly threat with humour and creative protest.
Jesuit Communications Australia (Jescom) is pleased to announce the appointment of David Halliday as the Editor of Eureka Street.
The border-obsessed times we live in reminded me of some really tough borders I encountered in years past. It is October 1961, the place: rural Turkey. Where you would have expected to roll on down the deserted dusty road, there is a boom gate and four sentries. This can’t be a border, however.
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.
January 26 is one day out of 365. But no other date conjures up so much passionate debate amidst a cacophony of divided views. Each year there is the predictable commentary about Australia Day.
With all the congratulations that have been going around following Melbourne achieving zero COVID-19 cases there is one group that has been entirely overlooked. These particular people remain in a prolonged form of hotel quarantine, unable to mix with the general public. They are refugees and asylum seekers brought to Australia under the now defunct Medevac legislation from Nauru and Manus Island.
In measures now sadly familiar in 2020, theatres were closed once the number of weekly deaths exceeded 30, later 40, but because actors and the theatre world itself were so economically vulnerable, actors, understandably intent on earning a living, soon legally or otherwise cut themselves some slack by taking liberties with the rules governing performances and quarantine — again, a phenomenon that is now, against all previous odds, familiar to people of 2020.
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.
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.
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