Published in Overland Issue 211 Winter 2013 · Uncategorized Vietnam ritual Barry ODonohue Sitting in the primordial light of jungle each day I placed a finger on my forehead, then on my chest where the bullet would strike. Then I would rest the palm of each hand on my knees, soon to be blown away by a Russian mine, and watch the smoke from my Marlborough drift into the tangled vines and rain forest trees as if the world were on fire and the world was a small place. We’d get up then, in single file, me breaking through the wall being the first, being the scout. At night starts struggled through the high canopy pin points against the dark and I would curse the nature of my flesh for it was intact, not torn apart. I slept in a scrape hole on the jungle floor, my grave, knowing that tomorrow I would perform that wretched ritual again, where the bullet would strike, or my limbs blasted against trees. Now I am young but in old flesh. I gave up smoking. What doesn’t kill you . . . The marks on my forehead and chest are stigmata, knees gone to titanium, and all the stars that were then and are now have gone in to their own war, galaxies to the north. Barry ODonohue Barry O'Donohue is a Brisbane-based poet who has been writing for 40 years. More by Barry ODonohue › 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 1 6 November 2026 · Friday Fiction Headland Harry Goddard He must have still been sore. I could tell from the winces he made as he scooted down the trail. Some unspoken agreement of not hitting other people’s children — and the circumstances of me not being that type of kid — spared me from the same punishment. I was taken to my parents who agreed I would have to work off the damages, and I must have mowed the lawn once, or cleaned the family car. 4 November 2026 · Film MIFF, Minotaur and the politics of maternal reception Alicia Byrnes Maternal labour is, in the terms I’ve set out here, not labour at all. Noisy, unfocused, mobile, perhaps even sleepy — it is an affront to arthouse film viewing and therefore unserious.