Published in Overland Issue 213 Summer 2013 · Uncategorized Marrickville Fiona Wright Later that night, I cut the plastic boning from the bodice of my dress: no need for structure, over summer. There were bruises on my knees I didn’t recognise. I saw us all that day, all day projected on a big screen: the bathtub underneath the orange tree, crushed grass imprinted on my shins, your cat-like eyeliner, the warm sangria out of mugs. My feet grew numb beneath my hips. Saturation. I still felt overseen when I walked home, alone and shouldered. A black light flicked behind a balcony, a woman, neon-lit, crushed out a cigarette and turned to kiss, to give a kiss. This wasn’t meant to sound like romance. But it’s not ironic, either. Fiona Wright Fiona Wright’s new essay collection is The World Was Whole (Giramondo, 2018). Her first book of essays Small Acts of Disappearance won the 2016 Kibble Award and the Queensland Literary Award for nonfiction, and her poetry collections are Knuckled and Domestic Interior. More by Fiona Wright › 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 10 April 202610 April 2026 · open letter Open letter: RMIT staff and students oppose disciplinary action against Gemma Seymour over video opposing links to weapons ties RMIT University Staff and Students Freedom of speech and expression is absolutely vital in academic institutions. Students who engage in activism should not be punished for doing so, and discipline procedures are not there to be abused as a tool of intimidation. We call for the disciplinary process against Gemma to cease immediately. 9 April 202610 April 2026 · CoPower Against the will to engineer: Richard King’s Brave New Wild Ben Brooker The response demanded of us in the twenty-first century must operate at the level of metaphysics as well as the material, addressing our underlying assumptions about the instrumentalisation of nature and what constitutes a meaningful life in the face of technology’s relentless advance. To neglect that deeper terrain is to concede, in advance, the very ground on which our resistance to the machine must stand.