Published in Overland Issue 205 Summer 2011 · Uncategorized sad Stuart Barnes The venetians creak – fog’s tonnage. Condensation gasps on glassy corners, gloomy Xmas dec. The butter’s thickened in its crock like dripping. A constellation of barbed starfish rises from the mug of tea toward the ceiling shooting watery cannonballs intermittently as Hippolytus de Marsiliis’ fingers. The iMac, too, is punctuated, each poorly catalogued knuckle eroded like an Apostle by my salt. Only I, oddly overlooked, am hardhearted to this seasonal affective disorder. Stuart Barnes’ poetry has been exhibited, anthologised and published in journals, newspapers and online. He’s currently editing two chapbooks, and writing his first novel. He lives in Melbourne. © Stuart Barnes Overland 205-summer 2011, p. 75 Like this piece? Subscribe! Stuart Barnes Stuart Barnes is the author of Glasshouses (UQP 2016), which won the Thomas Shapcott Poetry Prize, was commended for the Anne Elder Award and shortlisted for the Mary Gilmore Award. Twitter/Instagram: @StuartABarnes More by Stuart Barnes › Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places. If you like this piece, or support Overland’s work in general, please subscribe or donate. Related articles & Essays 20 December 202420 December 2024 · Reviews Slippery totalities: appendices on oil and politics in Australia and beyond Scott Robinson Kurmelovs writes at this level of confusion and contradiction for an audience whose unspoken but vaguely progressive politics he takes for granted and yet whose assumed knowledge resembles that of an outraged teenager. There should be a young adult genre of political journalism to accommodate books like this. 19 December 202419 December 2024 · Reviews Reading JH Prynne aloud: Poems 2016-2024 John Kinsella Poems 2016-2024 is a massive, vibrant and immersive collation of JH Prynne’s small press publication across this period. Some would call it a late life creative flourish, a glorious coda, but I don’t see it this way. Rather, this is an accumulation of concerns across a lifetime that have both relied on earlier form work and newly "discovered" expressions of genre that require recasting, resaying, and varying.