Published in Overland Issue 209 Summer 2012 · Uncategorized Pillage John Kinsella The museum’s frog info site is sponsored by Alcoa, a company more responsible for the destruction of Hills frog habitat than any other. I went to confirm a childhood memory, and realised those tadpoles and froglets and juvenile frogs we stole from their homes under the spillway of Churchman’s Brook Dam, or from creeks or banks of those creeks downstream that still ran unhindered by engineering, to lift and bottle and translocate to our garden pond (a kind of liberty, we imagined: an old concrete double-sided washtub with its dividing wall smashed through and plughole cemented and buried, so soil and grass lapped its banks), were already or would become Moaning Frogs and Motorbike Frogs. Both defined by their noise, and not their psychologies or composition. We’d observe tadpole conversions. Alcoa mines bauxite. Aluminium comes from bauxite. Each act of extraction is lexical and contrite as donation. No E. M. Forster requirements for narrative are required to tell this story. Its outcomes. Though the sensation of frogskin on your skin was more than citation. And it is with more than détournement that we touch aluminium. John Kinsella John Kinsella’s most recent poetry books include the verse novel Cellnight (Transit Lounge, 2023), The Argonautica Inlandica (Vagabond, 2023), and the three volumes of his collected poems: The Ascension of Sheep (UWAP, 2022), Harsh Hakea (UWAP, 2023) and Spirals (UWAP, 2024). A recent critical book is Legibility: An Antifascist Poetics (Palgrave, 2022). His new book of poetry is Ghost of Myself (UQP, 2025). More by John Kinsella › 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 21 April 202621 April 2026 · Reviews Pilled to the gills: Ariel Bogle and Cam Wilson’s Conspiracy Nation Cher Tan The question that Conspiracy Nation implicitly raises isn’t why people believe in conspiracy theories but rather why people have stopped trusting official narratives. But what do we do with this knowledge? When we call something a conspiracy theory, what work are we doing? Who benefits from that designation? 17 April 2026 · Friday Fiction These old hands, they are still growing Sam Fisher It was an old house meshed in an unrelenting grid of brick and weatherboard. Its walls still stood stark, red brick. Paint like tender old sagging skin on the timber windows. A bastard of a garden surrounded it, ran up brick wall and concrete path. The lawn, dead that time of year, luminescent in the streetlight. In the center of that void, a sign, Auction.