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Commentary

In the allegory of the cave, Plato hypothesised the birth of the philosopher as one who emerged from the darkness of illusion into the light of truth. In the dark days of the Covid-19 pandemic, philosophers are finding a platform, mostly in the press, indicative perhaps that we need an interpretation of what is happening around us beyond that offered by the media and daily conferences. As with Plato’s philosopher, what they have brought back is not necessarily what we wanted to hear, and some have been threatened with pariah-like status for views that sometimes run counter to the prescribed consensus. This was certainly the case with Italian political philosopher Giorgio Agamben.

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Because my background is academic (and in English studies), certain disciplinary conventions still find their way into my review writing. In fact, it’s hard for me to think of my reviewing as reviewing rather than as criticism in that more university-bound sense: that is, as having something to do with the art of interpretation. It may help that most of the books I review – works of contemporary poetry and literary criticism – are considered ‘hard’ or at least esoteric, and thus in need of a little explaining. The persona I hear most recognisably in my journalistic prose is that of my former lecturer-self (a good lecture, like a good review, strikes the right balance between granular analysis and makeshift generalisation). I suppose I still think of the primary goal of my reviewing as teaching something about how to read.

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In early September, the High Court of Australia handed down its decision in Fairfax Media Publications v Voller. The case attracted significant public attention in Australia due to the high profile of the plaintiff. It also attracted not only national but international attention, due to the nature of the central issue: are media outlets liable for the comments posted on their public Facebook pages by third parties?

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Surely it wasn’t meant to be like this. In early September, Prime Minister Scott Morrison was set to attend a lavish ceremony in Washington to mark the seventieth anniversary of the signing of the ANZUS Treaty. On the same trip, he was due to sit down in person for the first time with his US, Indian, and Japanese counterparts, fellow members of the ‘Quadrilateral Security Dialogue’, or ‘Quad’, a gathering primed to be a regional counterweight to China.

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The real estate agent told me not to bother cleaning the house. All the serious buyers would be developers, he said: they’d only knock it down. They’d cut down the row of feijoas and the Japanese maple and build all the way to the fence on three sides. And they’d go up, of course, to take advantage of the views. A corner block on the highest hill in the inner east? Tell your dad he’s laughing.

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In her 1976 essay ‘The Space Crone’, Ursula K. Le Guin imagines the highly advanced aliens of Altair landing on Earth. Politely, they seek a human being to accompany them on their long journey home so that they may ‘learn from an exemplary person the nature of the race’. As a palliative care doctor, I often ponder what constitutes an exemplary life, so my choice of Space Crone may not be a conventional one.

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I receive my first dose of the Pfizer vaccine in May, in the small town of Meaux, mostly notable for producing a luxurious variety of brie. I travel forty minutes from Paris by regional train, watching the city become the banlieue and the banlieue become the countryside, speeding towards something that for five months had felt like an impossibility. Friends in Europe had flown to New York and Kentucky to get their shots while France fumbled its way through the first months of its vaccination campaign. It would probably be quicker for me to fly back to Australia, go through hotel quarantine and get vaccinated there, I thought at the start of the year. I was very wrong.

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In the conference room the conversation is, like the clothes, ‘business casual’. For my benefit, everyone has switched from Arabic to English. Despite the linguistic shift, my new colleagues converse as fluently as before. I have arrived in Eastern Turkey with an aid organisation to support the humanitarian response in north-west Syria.

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In early 2021, the Victorian government announced the creation of the Yoo-rrook Justice Commission to investigate the harms done to Aboriginal people through colonisation. Named after the word for truth in the Wemba Wemba/Wamba Wamba langauge, Yoo-rrook will be the first exercise of its kind in an Australian jurisdiction and one of the most significant responses yet offered to the call for Voice, Treaty and Truth issued by the Aboriginal peoples of Australia in the ‘Uluru Statement from the Heart’.

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For much of her career, Gwen Harwood (1920–95) was best known for her hoaxes, pseudonyms, and literary tricks. Most notorious was the so-called Bulletin hoax in 1961, but over the years she orchestrated a number of other raids on literary targets, mainly aimed at challenging the power of poetry editors and gatekeepers. For L’Affaire Bulletin (as she sometimes called it), she submitted to that august magazine, under the pseudonym Walter Lehmann, a pair of seemingly unexceptionable sonnets on the theme of Abelard and Eloisa. Only after the poems were published did the Bulletin discover that they were acrostics; read vertically, one spelled out ‘So long Bulletin’, and the other, ‘Fuck all editors’. 

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