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ABR Arts

Book of the Week

Character Limit: How Elon Musk destroyed Twitter
Media

Character Limit: How Elon Musk destroyed Twitter by Kate Conger and Ryan Mac

On 26 October 2022, two days before closing a deal to purchase Twitter for US$44 billion (A$61.4 billion), Elon Musk walked into its San Francisco headquarters carrying a white porcelain sink. He walked up to an unattended front desk in the lobby and said, to no one: ‘You can’t help but let that sink in.’ Of course, he didn’t really say this to no one. His triumphant entrance at Twitter HQ was staged, the video shared with his 120 million Twitter followers, with the phrase: ‘Let That Sink In!’

From the Archive

November 2003, no. 256

‘For Yette in a Red T-Shirt, Running’ a poem by Jennifer Strauss

A day spent scratching civilisation’s sores –

Amnesty calls for Urgent Action;

a ministerial mouth, mean as a steel trap

closes another deluded seeker of asylum

behind barbed wire; civil liberties

are spooked by terror; girl children

trafficked to sexual servitude –

and I’m spent too. Not even that trusty spur,

the great-grandmother of my children

dead in another camp, another winter, another story,

can prick this chilled indifference to bleed –

although my mind’s rubbed raw, my heart

is dry as yesterday’s crusts.

From the Archive

April 2001, no. 229

Advances - April 2001

The second Adelaide Festival of Ideas will happen in mid-July. Local participants will include Tim Flannery, Raimond Gaita, Marcia Langton, and Ronald Wilson, and, from overseas, John D. Barrow and Vandana Shiva. The advertised themes are water, population, reconciliation, addiction/intoxication, and cosmology – something for everyone.

The Australian/Vogel Literary Award, now in its twenty-first year, is on again. Entries must be lodged by the end of May. You don’t have to be twenty-one to enter – just under thirty-five. Winners are guaranteed publication by Allen & Unwin, and a cheque for $20,000.

From the Archive

November 1994, no. 166

'The Americans, baby' by Laurie Duggan

When I started publishing my poems back in the early 1970s, I did so amidst a concern that Australian poetry was being Americanised: Coca-Cola, the pizza parlour, and the rock and rollers’ preoccupation with that thing called ‘lurve’ had swept all that was pure and true into the trashcan of history, and we with our Olsons, O’Haras, and Berrigans were unwitting accomplices to this annulling of our own birthright. My defence at the time would have been, ‘well, we’re taking aboard all that’s repulsive in American culture: their military and economic theses, their particular variety of consumerism, and no-one is protesting much about this – so why do they get so upset when we pick up on something of value from that culture?’ American artists themselves had absorbed things from other cultures without anyone there worrying about it. A great deal of the motivation behind the ‘New York School’ came from the French surrealists, though in translation surrealism had its more harebrained ideological aspects removed painlessly. In fact this ‘translation’ was a model of cultural appropriation, showing what a sea-change (and a change of tongue) can do to some seemingly immutable items.