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There are more than 200 results, only the first 200 are displayed here.
Cherry blossom season in Japan is anticipated all winter long but when it arrives it is nothing more than a tease. It is a kind of new year, a starting over, a washing clean of the slate and beginning afresh. But these blossoms hold in their being the promise of death. 'With cherry blossoms, we start things over,' translates my guide, from a haiku. 'And we find beauty not only in the cherry blossoms but also in how they flutter to the ground.' It's from that fluttering that we derive the most valuable of lessons.
Riding her gondola, a skimpy thing like herself, she sees her balloon ablaze, begins her descent, feathered hat lost, a rushed farewell performance. The house roof's pitch steep, her rigging tangled, fire almost out, burned, broken, she can't hang on, she who once remained aloft all night over Rome.
Some things are invisible until pointed out. Take the water tanks that pepper the rooves of buildings and homes in the West Bank. 'That's how you tell between Palestinian villages and Israeli settlements,' a friend points out. 'The Palestinian homes need water tanks because of restricted water supply from Israel, whereas the settlements don't.' Access to clean water is a fundamental human right, and the water situation in Palestine reveals a cruel privileging of one group over another.
The chimneys of various shapes and sizes on the priest's houses next door, have not spumed since the winter, and in and around St Patrick's things like that might seem symbolic. Will fires ever be lit there again - lest the people speak - the ribbons spliced up and down the wrought iron railings, rattle in the brisk autumn breeze, telling stories of love, suffering and endless disharmony, broken trust, send messages to those in the passing traffic ... better the devil you don't know ...
It seems incredible that there were ten of those summers, consecutive ones when three generations coexisted happily. My siblings and I had an idyllic Ocean Road beach practically all to ourselves, the men went fishing every afternoon, except when, to Grandfather's annoyance, an easterly was blowing, and the women, in time-honoured fashion, kept everybody fed. Of course change was inevitable, although I didn't really believe it, and started with my grandmother's death. I was 19.
Watch the man in his stained shirt barefoot under the palms. Adrift from younger workers he manages a rhythm, a cigarette-dangling-from-the-lip focus. His lined face belies the strength of his forearms, thrusting each coconut onto a metal spike that is his altar. Seven days a week he splits coconuts with the precision required to not sever a wrist in a country with no health insurance. Upriver, in the seamy heat of the Mekong Delta, it could be the 19th century. I don't know where to look.
Echuca is a string of hand held families in the sun, their floppy hats nodding over ice-creams smeared ear to ear. In Bendigo we sit on the bed eating treats from along the road. The Age is our tablecloth. The ghosts of parents past, promenade the High Street, they holidayed closer to home and always travelled with a deck of cards and a bottle in the suitcase ... Hills wrap Castlemaine, the trains have stopped running, the fruit and veg is biodynamic and the sky is scattered wool ...
Curiously, while privacy continues to be valued and sought in the 21st century perhaps more strenuously than ever before, its milieu is once again the furious turmoil of aggressively public revelation, exhortation and threat that distinguished Johan Huizinga's scarifying portrait of the medieval world, in his book The Autumn of The Middle Ages. In our age, 'all things in life' once again have 'about them something glitteringly and cruelly public'. Or to put it another way, we have social media.
'You'd be on the beach with me, dearest, and your favourite birds nearby as if making gifts of themselves to you. Sharing was what we were doing, and there seemed no end to it, though there would be, darkness coming on, no knowing when but not yet, not quite yet.' Poetry by Max Richards, who died after sustaining head injuries in a car accident in Seattle on 21 September.
I read it somewhere in a journal of cardiology. Sometimes I mention it at dinner parties. The use of time, the clenching of the heart that can be no stranger to the beats of a clock, and all that accompanies the emptying and filling of chambers where silence must be an unknown but still love sluices and cleans and restarts as the surgeons did in the old Middlesex.
In January, swathes of ancient forest in Tasmania burned in bushfire. February 2016 was a scorcher - the warmest in 136 years of modern temperature records. By late March I was looking at images of a bleached Great Barrier Reef and feeling similarly blanched. I went for a walk, breathing heavily. It was sunny. Ominously warm. Fifteen minutes later, when I returned to my desk, my mood was buoyant again. I turned off my computer, and threw the report I'd been reading in the recycling bin.
Across the black hole of my solitude, the self-indulgent pit where I lick self-inflicted wounds, lightly step returning refugees. They know why they trek through forest, crossing rivers, day by day, on bruised and lacerated feet, in rain, on clay, on sharp-edged stones. For them there is no other way, and they are going home ... They have no doubt where they belong, the dying and the newly-born, no time to squander on regrets: they are going home ...
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