Know thyself

Confronting fate through mythology and science

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  • Published 20250506
  • ISBN: 978-1-923213-07-4
  • Extent: 196 pp
  • Paperback, ebook, PDF

THE FIRST TIME I left Australia, I was six years old. My parents took my sister and I to Greece, the original home of our grandparents and great-grandparents.

My first memory of this journey is seeing the Parthenon glowing in the sunset while drinking portokaláda (orange soda). We visited my great uncles and aunts and our cousins in Halkida, on the island of Evia. 

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Reluctant farewell to a trusted companion

I visited the Metropolitan Museum of Art, the Guggenheim, the Museum of Natural History, basically anywhere that allowed strollers. I spent a lot of time in Barnes & Noble on 86th (which is now, depressingly, a Target). There was even special stroller parking on the kids’ level.

In fact, I didn’t really go anywhere that I couldn’t get to with the stroller. The children and I only left Manhattan a total of nine times the entire year (three times to go to the New York Botanical Garden in the Bronx, twice to go to a Greek restaurant in Astoria that had an extremely high Zagat rating and was very good, once to go to the Bronx Zoo, once to go to Brooklyn to see what all the fuss was about, once on the train to Boston and once we hired a car to drive to Washington, DC to spend Easter with friends). That was it.

Here was the thing – the red double stroller gave me the freedom and security of knowing that I could go outside with both children, be completely prepared with all my accessories and baby/toddler supplies and everything would be okay. If I could make a plan to leave the apartment and walk there with the stroller, I would do it.

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Creative industry

Non-fictionIn the 1990s the term ‘cultural economy’ brought a double meaning to creative work. First, it captured the cultural dimensions of economic activity, like packaging design or marketing, and gave them an artistic dimension. Second, it referred to an expanding category of economic activity concerned with cultural goods and undertakings centred around value and profits. It would see the ascendancy of creatives to the C-suite, where companies across a range of industries appointed chief creative officers (CCOs) to oversee ‘creative activities’ and align them to corporate strategies and visions. Scan through job descriptions and you’ll see that CCOs are expected to be strategic leaders and ‘igniters’ of creative intuition within organisations. CCOs are charged with finding more ‘creative solutions’ to problems that often stretch beyond an organisation’s core operations.

Stuff

FictionMarty was my algorithm. He told me which internet plan to get. He researched the best conductive wall heater. He chose my clothes every night for the next day. He gave me a list of where I could go on my lunchbreak. Sometimes his decisions were arbitrary, or mysterious to me. But I did not care. It was, yes, like being a child again. And maybe Rachel was right; maybe there was something to that, something deep in my psyche. But all desire came from that deep, dark place of infancy. Your leather penchant is my life-coach-boyfriend-boss. None of us can take the high road here.

Nobody panic 

Non-fictionThe desert of the real is now where most teens search for answers to life’s big questions: what is love? Who am I? What is truth? The images of reality we create hold messages about reality. Copies of copies of copies though they may be, they nonetheless have a material effect on our children’s thoughts, behaviours, opinions. Consumerism. Communism. Sexism. Cancelism. Nationalism. Anarchism. Stoicism. Humanism. Ideas about what we should live like, look like and love like, what it means to be a man or a woman, what it means to be an individual or part of a community, are all displayed on a screen in their pockets. The influence is profound, but not necessarily sinister if they are taught to interrogate what they consume.

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