Featured in
- Published 20241105
- ISBN: 978-1-923213-01-2
- Extent: 196 pp
- Paperback, ebook, PDF
Already a subscriber? Sign in here
If you are an educator or student wishing to access content for study purposes please contact us at griffithreview@griffith.edu.au
Share article
About the author
Tom Doig
Tom Doig is a non-fiction author and a lecturer in creative writing at the University of Queensland. He is working on a book about...
More from this edition
Staying faithful to Earth
Non-fictionIt is a startlingly new discovery that there are more planets than stars in our galaxy. Even if early astronomers (like Kepler) intuited that other suns must have planets, we didn’t have definitive proof until very recently that our solar system is not unique in consisting of planets orbiting a star. The first exoplanet was confirmed in 1992; the first exoplanet around a star similar to our sun was discovered in 1995. The latest count is over 5,000 and growing. Discoveries have stacked up so fast that astronomers and astrophysicists who used to know each individual exoplanet by name now say it’s impossible to keep track of those that exist in just one small part of the Milky Way, with thousands more expected to be found in the coming years.
Dominion
Non-fiction GILEAD MEMES, PLUCKED from the TV series The Handmaid’s Tale, have become a reactive go-to for expressing horror and disgust at the disintegration of...
Gay saints
Non-fictionWhat is it that makes cinema, for Pasolini, sacrosanct? The answer lies in his affinity for a painter who made only one fresco. Not only was Caravaggio’s reputation restored by Pasolini’s teacher and mentor, Roberto Longhi, but Caravaggio and Pasolini have the same taste in men. Swarthy, young and savage – as likely to sit for a portrait or engage in a bit of sloppy top as to stick a knife in your ribs. You wouldn’t want to run into his John the Baptist in a dark alley (unless maybe you would). It is not just the revolutionary psychology of Caravaggio’s painting that speaks to Pasolini but his selection of subjects – his sacralisation of the scorned, the unclean, the seething subproletariat both created and rejected by an indifferent urban landscape; Caravaggio’s ‘new kinds of people’.
