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Favourite childhood games linking Filipinos and other migrants as they rebuild their lives overseas

Favourite childhood games linking Filipinos and other migrants as they rebuild their lives overseas

SBS Australia21-05-2025

'Bale' is a Kapampangan word for house.
Childhood games and memories were the inspiration for the installation, in particular life in Pampanga.
Significant events in the Philippines such a frequent blackouts (brownouts) and typhoons were also part of his inspiration. SBS Filipino
21/05/2025 12:27
Bale is Kapampangan for house, but in this case, I refer to it as home. Because when I think of the Philippines, I think of it as home. John Gatip, Filipino-Australian architect and designer of Bale, 2025 Melbourne Design Week
'I wanted to use a material that is precious because memories are precious, and I hold Capiz as this precious material that is uniquely Filipino, and pearls as the Philippines produces pearls.' John Gatip on using Capiz and freshwater pearls as materials fopr his sungka. Credit: Jack Carlin
'Candles have been a fascination since I was a kid. I played with candles a lot, and of course, there were blackouts (brownouts) in the Philippines that could last for minutes, hours, or even days, and candles were a source of light. Remembering loved ones during Todos Los Santos (All Souls Day) was one of the memories I used. Collecting wax from burnt candles.' John Gatip on memories that inspired him to create candles as part of his exhibit 'Bale'. Credit: Jack Carlin 📢 Where to Catch SBS Filipino

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On The Punt: Caulfield best bets for Saturday June 28, 2025
On The Punt: Caulfield best bets for Saturday June 28, 2025

News.com.au

time33 minutes ago

  • News.com.au

On The Punt: Caulfield best bets for Saturday June 28, 2025

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The best new books released in June, from Charmian Clift, Gail Jones and more
The best new books released in June, from Charmian Clift, Gail Jones and more

ABC News

timean hour ago

  • ABC News

The best new books released in June, from Charmian Clift, Gail Jones and more

June was another stellar month in the publishing world, as our regular round-up of the best new releases attests. We have a new offering from Gail Jones, a literary powerhouse who has made the Miles Franklin shortlist four times, and another Franklin-shortlisted author, Jennifer Mills, whose propulsive "bunker novel" is set against a backdrop of environmental catastrophe. But the best books column is also a showcase of fresh talent, with no fewer than five debut releases. Among them are a glimmering short-story collection and a queer literary thriller set in Melbourne. There's plenty to sink into this month — enjoy! Picador Australia Forget the flashy underground bunker — what if, in the case of environmental catastrophe, the uber-rich retreated to a space station? In Jennifer Mills's post-apocalyptic novel Salvage, Celeste, the sister of protagonist Jude, has done just that. Salvage is an impressive addition to an emerging collection of what I like to call 'bunker novels' — eco-fiction that reckons with the morality of self-preservation by the world's richest people (gold-standard 'bunker novels' include Eleanor Catton's Birnam Wood, Tim Winton's Juice and Naomi Alderman's The Future). As a child, Jude is adopted into the ultra-wealthy family of an Australian resources magnate. She grows up in luxury and seclusion and forms a lifelong bond with her adopted older sister, Celeste. But when the opportunity to flee the Earth appears, only the older sister is interested in a future asleep on a space station, waiting out disaster. Salvage is a propulsive novel told in multiple timelines. We see Jude and Celeste grow up, and apart. Years later, Jude is living in what appears to be a post-apocalyptic, post-war version of Europe. 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In the title story, a shy housewife learns to visualise giving voice to the things she most wants to say while seeing a therapist; yet it is in those moments of waiting to see him that she becomes aware of how waiting has shaped her life, for both good and ill. In Swooping Season, the protections people use to fend off swooping birds become a potent metaphor for living with grief. Centred on a ballet dancer, The Feeling Bones tenderly depicts the shape of a family in all its felt and physical contours, from the womb to the end of life. Across the stories, characters are often brought out of a state of semi-seclusion or taught to see their relative isolation in a new light. Those around them seek or offer companionship, becoming surrogates for absent figures in the characters' lives. We are encouraged to think about how people might nurture and mother one another, as well as the aspirations they carry in life. Nelson skilfully evokes broader landscapes and personal histories for her characters. Contoured and lean, each story gracefully arcs and coils. Within the space of a passage or single line, resonant details glimmer. Probing and gorgeously realised, Wait Here marks the arrival of a luminous new talent. – Declan Fry Dialogue Books Jamaica Road is a coming-of-age story, set within the Jamaican diaspora of Britain during the 1980s. The story begins with Daphne, the sole Black girl in her class in South London, who is coming to terms with her Black British identity. Every day Daphne scours the papers for mentions of people like her and is disheartened when she sees them presented as criminals and degenerates. When Connie, a young boy recently arrived from Jamaica, joins her class, they become fast friends. As Connie's relationship with his mother's fearsome partner, Tobias, worsens, he seeks shelter with Daphne, literally and figuratively. 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It may not be "delightful", but Our New Gods is a clever page-turner set in Melbourne's queer scene, which morphs from a gay coming-of-age story to a narrative that trades in paranoia, jealousy and obsession. Young Ash has recently moved to Melbourne, escaping the misery and emptiness of his father's home. Desperate to connect, Ash launches himself on the dating apps and meets the charismatic James. While they don't initially connect romantically, James invites Ash into his world, taking him to parties, meeting his friends and daring him to be bold. Ash is often out of his depth as he discovers even the local pool is a lavish queer space where "brightly coloured speedos were the uniform". As a guide, James is a life source for Ash whose desperation to escape extreme loneliness motivates his choices, which become increasingly self-defeating. 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As Angie pursues the story, she is drawn in by the numerous people who project their own losses onto this woman, who claim that they recognise her, "dead cert, for sure, one hundred and one per cent". Meanwhile, Angie's romantic relationship is unstable, and her family history of silence and secrets lingers in the shadows. Her fierce best friend is the lead detective on the case, too, and so this is almost a crime novel, but not quite: "She had no wish to contribute to the criminal hunt or its shady forms of titillation." Jones takes us into this story with her usual eye for surprising detail and exquisitely realised description: the "windy hollow of the city's loud darkness", punctuated by memories, music, shared song lyrics and the sound of hopeful searches. – Kate Evans Allen & Unwin When you're 10, summer holidays seem like they last forever. It's a feeling Kiwi author Jennifer Trevelyan captures and infuses with unease in her debut novel, A Beautiful Family. A family of four heads to a popular holiday spot on the North Island coast for their annual five-week break. The story is told from the perspective of the younger sister, who remains unnamed for most of the book. It's the 1980s and her days are sound-tracked by the Split Enz album, True Colours, which she listens to religiously on her walkman. In the absence of digital distractions, time takes on an expansive quality. The narrator's 13-year-old sister, Vanessa, is now "too cool" to play, so she befriends a boy, Kahu, who tells her a story about a girl who went missing from the town a few years earlier. The pair spend their days exploring the beach and a nearby lagoon, looking for clues in their hunt for the missing girl. Around halfway through the novel, Trevelyan begins ratcheting up the suspense, and what began as a portrait of family dynamics becomes something more sinister. The missing girl's mother, a sad figure who collects wildflowers to lay at a makeshift memorial for her daughter, is a distressing reminder that however idyllic the beach appears, danger is never far away. What that danger is exactly is hard to say: is it the wild surf? The creepy next-door neighbour? Or does it come from within? Fractures grow in the parents' marriage as the narrator's mother disappears for mysterious walks on the beach while her father is at home watching cricket on TV. Their youngest daughter, small and easy to miss, has learned how to blend into the background. But she's always watching and leaping to conclusions, unchecked by her parents who are caught up in their own affairs. As the adults in her life become increasingly unreliable, the narrator sees the fragility of her family for the first time. "Now I understood that a family wasn't a particularly solid thing — it was a bubble purely of our own making and just like a bubble, it could burst." In the book's final pages, Trevelyan brings together the narrative threads in a gripping denouement. It's an atmospheric and satisfyingly pacy read that serves up a welcome slice of sun-filled escapism. – Nicola Heath Doubleday Liquid features an unnamed and unmoored protagonist. Two years after finishing her PhD, she is spiralling. She reflects, "My career had gone nowhere. My love life was non-existent. And as for sex, here I was, home alone on a Saturday night with a chick flick playing on my laptop because I didn't own a TV." Determined to change her life, she resolves to marry rich, planning 100 dates over the summer. Given her published PhD is a take-down of modern marriage, she feels perfectly placed for this endeavour. The writing is sharp, witty and fun. Our protagonist is a skilled commentator and, with cutting barbs, the dates become academic case studies on America, whiteness, class and sexuality. As a queer woman and the daughter of an Iranian father and Indian mother, she grapples with what it would mean to marry for the sake of comfort, particularly in the pressing whiteness of LA. In the final third of the novel, the tone shifts, as the protagonist travels to Tehran to see her father. Despite speaking Farsi and her olive skin, as an American in Iran she is an outsider. Everything that normally comes with ease or familiarity is met with sanctions and dead ends. She identifies this is not the fault of her destination, but where she's come from: "It wasn't my father's people who had invented the term 'Third World', and they hadn't defined the terms by which its inhabitants were forced to live." With a critique of American imperialism at its centre, Liquid is both a sexy and highly political piece of literary fiction. – Rosie Ofori Ward Tune in to ABC Radio National at 10am Mondays for The Book Show and 10am Fridays for The Bookshelf.

‘Who will cry first?': Waleed Aly, Sarah Harris bid farewell as The Project airs its final episode
‘Who will cry first?': Waleed Aly, Sarah Harris bid farewell as The Project airs its final episode

News.com.au

time12 hours ago

  • News.com.au

‘Who will cry first?': Waleed Aly, Sarah Harris bid farewell as The Project airs its final episode

The final episode of The Project has aired on Channel 10 after over 16 years on-screen. Regular hosts Waleed Aly, Sarah Harris, Sam Taunton and Georgie Tunny have bid farewell to viewers during an emotional final episode. It was first confirmed last week that current affairs and entertainment panel program was wrapping up at the end of June, with stars including Harris and Aly leaving not only their roles on the show but also with Network 10. According to insiders as many as 100 jobs overall will be impacted by Ten's decision to drop the show, which is broadcast six nights a week and has production offices in both Melbourne and Sydney. 'Who's first to cry?' said Waleed as the foursome opened the show. 'I've come prepared for crying,' replied Taunton. 'I love in this job that you get to meet some pretty fun people, fun celebrities too,' said Harris, before clips of her viral interview with Austin Butler aired that saw the pair sharing some serious flirting energy as The Project star talked of his 'peircing gaze'. 'He wouldn't know what to do with me' teased Harris after the clip came to an end, eliciting laughter from the rest of her co-hosts. As the gang celebrated the final hour of the show, former host Lisa Wilkinson made a surprise appearance to share her own feelings about its demise. Wilkinson quit The Project in November 2022, but remained with Network 10 for another two years despite never returning to air. 'I'm so sorry I can't be with you tonight but I wanted to pop in and say what an absolute privilege it is to be part of The Project family for the five years I was lucky enough to work with you all,' said the star. 'I remember being in awe every single time there was a big international news story and Hamish was there for us, including one very hairy trip reporting on the deadly riots in Hong Kong in 2019. I also remember Hamish MacDonald breaking one of my ribs one night just after we came off air with a huge hug - but he can probably better tell that story.' Aly went on to share that Wilkinson was the one of the 'nicest' people he's ever worked with. 'She is the nicest colleague that you will ever have, no matter what industry you work in. And that's a huge thing to say for someone that comes with her eminence,' he told viewers. Speaking to Sydney Morning Herald this week, Harris revealed that while it wasn't the first time one of her show's been axed, it had at least been one of the more pleasant experiences. 'I had my first axing when I was 19,' Harris shared. 'It was a show called Local Edition – unkindly called Limited Edition by some – which lasted three months on Channel Seven. We came into work one morning and they said, 'We're axing the show. It's terrible. Now pack up your desk and leave.' So being able to say a proper goodbye on The Project has been really nice.' Harris' co-host, Aly, said that it was firmly believed when the show first started that it probably wouldn't last 'more than six months'. 'The conventional wisdom was that the show wouldn't last six months because on paper, it's bonkers,' he confessed. 'But what it had was a spirit and an irreverent attitude that felt of this country and of this place. It chimes with the Australian character in so many ways.'

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