Published in Overland Issue 211 Winter 2013 · Uncategorized The swallows in Saint Peter’s Square Luke Whitington The swallows refuse to assist My eye’s dismissal, tip toeing in the air Like the minnows, suspended in the stream Of the moment, they hover then let go And descend to slowly rise again, no flying monk Could pull and allow his bells to topple Roll over so eloquently as these unconscious ballerinas of the air. The priests that flow in pairs from St Peters sway out across the square And hardly lift their heads toward these tiny pendulums of flight They grip their rosaries against the risk of an uncertain sky And turn down the avenue in files; fluttering rags of darkness toward approaching night. And as always I remain in this apricot-smudged square of Rome And love to watch this autumnal show, the departure of the swallows Signalled by their silent play, my eyes a little saddened Want their farewell to be over quickly, my mind tucking away their salutations But my heart tugs against this dismissal, hypnotised By this continual swinging rhythm, a serenade to autumn A flock of birds’ last ballet in the changing rusts of light Through a crowded gateway, time threaded for the traveller’s eyes. Luke Whitington Luke Whitington lives in Sydney and Canberra. He has been published in journals and newspapers in Ireland and Australia. More by Luke Whitington › 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 18 December 202418 December 2024 · Nakata Brophy Prize Dawning in the rivulet of my father’s mourning Yasmin Smith My father floats words down Toonooba each morning. They arrive to me by noon. / Nothing diminishes in his unfolding, not even the currents in midwinter June. / He narrates the sky prehistorically like a cadence cutting him into deluge. 16 December 202416 December 2024 · Palestine Learning to see in the dark Alison Martin Images can represent a splice of reality from the other side of the world, mirror truths about ourselves and our collective humanity we can hardly bear to face. But we can also use them to recognise the patterns of dehumanisation that have manifested throughout history, and prevent their awful conclusions in the present. To rewrite in real time our most shameful histories before they are re-made on the world stage and in our social media feeds.