Published in Overland Issue 213 Summer 2013 · Uncategorized Treausre hunt Anne Elvey The silver glints in the ti-tree. A clue is wrapped in foil, peeled from the lining of the cigarette pack and rolled into balls. The clue says, look behind the beach hut. The rosaries clack as sister strides through the yard. The bell swings with her right arm. A boy’s hands are full of paper. Ten paces from the chapel a blue cape. On Sunday afternoon we play monopoly. I land on community chest. That’s Victor’s dog, Dad says. A Jack Russell explores the walkers and wheels. When I was a boy, Dad tells me, I made treasure hunts for the other children. What was the treasure? I ask. There was never any treasure. Sister Gertrude sees his cuffs are frayed, the singlet and shirt tucked into his shorts, his socks pulled up in shoes he gives a lick and polish at the gate. Five boys and a girl gather. Once upon a time, Joe says, there was a rider on the moor and mist hung all around. A bird called out a single note and nettles stung. The bell. Dad lies in bed. The TV shows an old war movie. We used to watch Saturday matinees, I say. Hmpph, says he. Forgive me, she says, as she bustles past in the corridor tight with dinner carts and walkers. She’s a nice one, Dad says, likes my little funnies. Dining, Dad sips chardonnay. We’ll get there, he says. Joe writes on the back of an old composition. At lunch, a horse whinnies on the moor. Water pools in the asphalt and the shoes. Joe, Joe, a boy yells, I found a clue: under our lady’s toe, the crushed head of the snake. I got it Joe. I got it! How many clues are there? I can’t wait to see the treasure. A personal attendant admires the picture on his wall: beach huts in a yellow light. I painted that, Dad says, forty years ago. For an hour today, he tells me, they left me in the corridor. I used to be top of my class, Jim says. Jim’s lost it, says Dad. The virgin’s foot covers a clue. The wattle’s gold hides another. We’ll get there, Joe tells the children who eat clues for lunch. His mother leaves the church with mop and broom. Sister Gertrude drops a few coins in her hand. A grey shawl hangs on the moor all day. I might be a modern-day Dickens, he writes. Under the crocheted rug at the foot of the bed, the gap for a toe is a word that just escaped him. We’ll get there, Dad says. Small fingers wrap clues in silver foil. Anne Elvey Anne Elvey is a poet, editor and researcher, living on unceded Bunurong Country. Her most recent poetry collections are Leaf (Liquid Amber Press, 2022) and Obligations of Voice (Recent Work Press, 2021). “Intents” is forthcoming with Liquid Amber Press in 2025. Anne holds honorary appointments at Monash University and University of Divinity, Naarm/Melbourne. https://sunglintdrift.com/ More by Anne Elvey › 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 11 December 202411 December 2024 · Writing The trouble Ken Bolton’s poems make for me, specifically, at the moment Linda Marie Walker These poems doom me to my chair and table and computer. I knew it was all downhill from here, at this age, but it’s been confirmed. My mind remains town-size, hemmed in by pine plantations and kanite walls and flat swampy land and hills called “mountains”. 9 December 202411 December 2024 · Militarisation War stories: how weapons corporations create social licence for genocide Wage Peace The weapons industry remains masterful at propagating a number of quite specific false narratives to misdirect attention, not just at arms fairs, but across all their operations. This goes far beyond misrepresentation of police violence on protestors, and cumulatively aims to generate a social license, including for genocide.