Published in Overland Issue 225 Summer 2016 · Uncategorized Issue 225 admin REGULARS Editorial Natalie Harkin giovanni tiso mel campbell alison croggon Contributors FEATURES jason wilson the new patriotism Trumpism beyond Trump vashti kenway no pasarán! Fighting Australia’s Far Right Claire Parfitt & Kirsty McCully the state of the working class Debt and precarity Jeanine Leane other peoples’ stories When is writing cultural appropriation? katie dobbs radical passivity Patty Hearst to Ottessa Moshfegh helen heath using/abusing fembots The ethics of sex with robots tom clark form versus content Misogyny versus Blue Ties liam byrne the antis On the conscription plebiscite fiction tony birch liam Alex philp agistment fiction prize Cameron Weston Sweeping First place, Story Wine Prize POETRY charlotte guest egg tempera networking drinks claire nashar story Marty Hiatt on the origin of Poetry a sapphic collaboration On the Occasion of Gig Ryan’s Sixtieth Birthday artwork sam wallman Guest artist issue 225: cover, illustrations pages 17, 25, 46–47 brent stegeman All other artwork FAir australia Winners of the 2016 NUW Fair Australia Prize admin More by admin › 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.
