Published in Overland Issue 221 Summer 2015 · Uncategorized Issue 221 Editorial team REGULARS Editorial Alison Croggon Mel Campbell Stephen Wright Giovanni Tiso Contributors FEATURES Ben Eltham The excellence criterion The future of arts funding Laurie Penny Facebook absolution On corporate policing of identity Eliora Avraham Transgender justice A manifesto Sam Wallman Ain’t no border high enough Crossing Fortress Europe Jessie Webb Reading machines The need to speed-read Sophie Cunningham Gold rush Housing politics in the Mission District Lauren Carroll Harris Are Australian universities creating good artists? Capitalism and the canvas Simon Gennard Simply air vibrating The myths of Master Marconi FICTION 2015 VU Short Story Prize report Barry Lee Thompson First place: Their cruel routines Jennifer Down Runner-up: Alpine Road Genevieve Poetka Runner-up: Faking 2015 Story Wine Prize report Melissa Manning Woodsmoke POETRY joanne Burns breakfast at the end of a financial year john Kinsella Madingley Vanessa Kirkpatrick Night air Cameron Lowe Glow Fuse Kevin gillam ’73 Derek Motion pages Philip Neilsen Noosa Beach Joel Scott Trauerring Jason Walker Tamarisk Deb Westbury Magnetic Poetry Kit – mostly found 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 17 June 2026 · The university Financial power in the public university: the case of ANU Beck Pearse The deeper problem is institutional. Universities have elaborate mechanisms for scrutinising knowledge claims circulating between staff and students. But we have remarkably weak mechanisms for scrutinising the financial assumptions through which executive power is exercised. 1 15 June 202616 June 2026 · Reviews Transubstantiations: Toby Fitch’s Or Grace Roodenrys The final trick of Or is that in the end it stages something utterly universal: the search for a momentary recognition of ourselves in language, the maybe-hopeless pursuit of those “very exceptional circumstances” in which something half-truthful might be said, the unending attempt to build something that feels real with the limited resources one has. This is a very old, a very sacred enterprise. We might call it poetry.
