The countdown to Howard’s demise is now on – and way past time. Here’s hoping Maxine wins Bennelong and turfs the little prick right out of parliament. But as a Labor voter (actually, I’m a Greens sympathiser, but vote Labor in a bow to pragmatism), something’s not right. I’ve realised I relish far more the prospect of Howard and the Libs getting their butts booted than that of an ALP victory.
He reminds me of Mr Sheen, running around waxing and polishing the arses of the electorate, reading to kids here, kissing babies there, being ever so carefully personable and mild everywhere. I want to punch him in the nuts and see if his expression changes. Christ, he could be a South Park character – one-dimensional, fixed grin, wobbling head, quothing mildly “Libs are bad…mm-kay?” Continue reading Two Cheers For Rudd→
Coming back from a walk one evening recently, we had to jump out of the way of a 4WD (what else?) as the driver backed out of his driveway like a maniac.
It was bad enough that we had to take evasive action because this bozo didn’t even think to check whether the footpath behind him was clear. But not only did the prick not apologise – he glared and mouthed off at us before he roared off.
How I yearned to belt off after him and slag on his windscreen when he stopped at the corner to turn. And to have smacked his face around with open-handed relish if he’d gotten out to protest.
But alas, I’ve never been physically aggro. Besides, violence is ethically unsupportable as far as I’m concerned, except in self-defence, or in defence of some bully’s victim. But if I abhor violence in life, I certainly allow it a place in art.
Saw an advance screening of a truly remarkable new Australian movie on Saturday: September.
Set in the Western Australian wheatbelt of 1968 (but actually filmed in Yass, near Canberra), the movie focuses on the friendship between two adolescent boys on a farm: Ed, who is the white son of a farmer, and Paddy, whose Aboriginal family is virtually “in service” to Ed’s father. These were the days in which Aboriginal farm workers were given shelter and food in exchange for their labour, but no wages. Paddy’s family lives in a shack across the field from the farmhouse.