Published in Overland Issue 210 Autumn 2013 · Uncategorized Issue 210 Editorial team Contents Regulars Jeff Sparrow – Editorial Alison Croggon Rjurik Davidson Features Aaron Bady Zero dark Geronimo The novel in the age of terror Alyena Mohummadally ‘I thought I was the only one!’ CAL–Connections: On coming out queer and Muslim Francesca Rendle-Short Field guide to writing a father On piecing together a relationship Panagiotis Sotiris The dark dawn of Greek neo-fascism Nazism in the heart of Europe Martin Kovan The year of great burning Tibet and the challenge of self-immolation Kate Davison My German question Israel, Palestine and the German Left Dean Biron The aesthetics of conservatism The case for uncomfortable art Philip Mirowski, Jeremy Walker and Antoinette Abboud Beyond denial How environmentalists confront the wrong problem Guy Rundle Chaos and convergence Why hacktivists and the Left need each other Poetry Prize Peter Minter – Judge’s report Luke Fischer Augury? First place Fiona Hile The owl of Lascaux Second place Myles Gough The watchmaker’s wrath Third place Fiction Theresa Layton The cartography of foxes Andrés Vaccari American djinn Editorial team More by Editorial team › 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.