Welcome to GR Online, a series of short-form articles that take aim at the moving target of contemporary culture as it’s whisked along the guide rails of innovations in digital media, globalisation and late-stage capitalism.
Why books burn
Epistemicide is the systemic annihilation and devaluation of knowledge and knowledge systems because of broader political pursuits. These pursuits are sought by a group of people whose aim is to disconnect another group from their cultural identities, histories and futures.
Ladies who doth protest too much
TERFs speak with self-appointed authority about the mental health and wellbeing of trans women but fail to explicate reasons for their own obsession with another’s gender. The real question, then, is why are TERFs so concerned with trans women and the way they live their lives?
Shrapnel
On your way home, a postcard on the footpath. You pick it up. On the front is a photograph of the Goulburn Boer War Memorial (unveiled in 1904): a soldier wears a slouch hat, his arms firmly down by his sides, stuck in time.
All creatures great and small
Most American adults can now identify more corporate logos than native plant species, and primary schoolchildren in the United Kingdom can name more Pokémon characters than species of British wildlife
A storyteller’s journey
You produce content and people say, ‘Oh, you need to tell people about this, or the Stolen Generations, or the stolen wages.’ We’ve still got to repeat that story, which should have been told and embraced by Australia, as ugly as it is, so we can move on. So, I started telling my own stories for me and my people to remind us what a great culture we have. As human beings, we’re pretty deadly.
Unhappy pairings
Arts, creative arts and humanities courses teach critical thinking, civic discourse, emotional literacy and storytelling. Most students are grappling with rent, menial work and advanced study. In a world that seeks to destroy their attention span, arts courses teach young people to read, think critically and provide historical context and sensitivity to complex issues.
The many tragedies of Animorphs
Animorphs has been out of print for twenty years, yet its cult following remains fierce. If your knowledge of Animorphs is limited to the cover art, I’m sure that’s a bemusing claim to read. However, if you did read the books, then the unlikely endurance of Animorphs is really anything but.
Subject, object
The vivid hues and spiky leaves of Jason Moad’s Temple of Venus – the arresting artwork featured on the cover of Griffith Review 89: Here Be Monsters – raises a tantalisingly sinister proposition. The subject of the painting is clear – a Venus flytrap, realistically rendered – but there’s a somewhat otherworldly quality to this plant, a sense that it might be biding its time, waiting to strike while we, the viewers, are distracted by its beauty.
Cherry chapstick
Before we railed on Katy Perry for her love of astrology, we piled on her lipstick lesbianism. Pseudo-sapphics copped a lot of shit – maybe we should shovel some of it onto the pseudo-socialists. Evidently, there were plenty of liberal cosplayers who are now back in their weekday clothes and killing it at the (government) office.
Nature through a different lens
Over the course of his remarkable career, Attenborough has taken us not merely to places most people are unlikely to visit but to places that are impossible to visit – into birds’ nests, burrows, termite mounds and the deepest recesses of the oceans.
A tough sell
While mine is a unique pathway to publication, the length of time it’s taken, the number of rewrites I’ve completed, and the thinly (and sometimes not-so-thinly) veiled racism that I’ve experienced are not unique when it comes to the journeys of authors who are First Nations and People of Colour (FNPOC).
The drifting Miles Franklin Literary Award
Collectively, these works reveal to us, if we care to listen, an Australianness that is weird, wonderful, awful, impossible, contested and messy – less chicken parmi, more all-you-can-eat smorgasbord, including the odd cut of meat that’s turned.
