Published in Overland Issue 213 Summer 2013 · Uncategorized I didn’t know your eyes were blue Mark Mordue It’s possible to forget a lot of things in the fullness of time: My father’s eyes, the pale intensity of distance, how it all began. I’m sleeping badly now. Dirt on a coffin, a credit card, loneliness, Poetry streaming through my head, a disarranged message That never has an end, am I writing it or having seizures? We are all electric. I sense holes in my chest, panic in half hour moments, Sun and shadow, the motion of leaves outlined through a window And cast upon a kitchen floor adding up to something warm. I can’t stop hugging my children and brushing their hair with my fingertips, Saying things that don’t sound right to strangers, As if I have slipped out of myself and away, Leaving a fragmented self like those night poems of incoherence and sorrow And panic and love: death comes in spasms. Missing my father and being a father: I think this must be what tears are like for me. Blue electric tears from the mind’s eye falling over time forever. Mark Mordue Mark Mordue is a writer, journalist and editor working internationally. He is a co-winner of the 2014 Peter Blazey Fellowship, which recognises an outstanding manuscript in the fields of biography, autobiography or life writing. More by Mark Mordue › 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 4 December 20244 December 2024 · Reviews From the loom to the street: AGSA’s Radical Textiles Ben Brooker What strikes you as you wander through the galleries is not only the overtly political messaging of many of the works on display, but also the way that textile and fabric art makes visible the slow, quietly defiant labour of its creation, and gives form to the idea of solidarity across individuals and groups as a kind of weaving together. 2 December 2024 · Reviews Pleasure politics: Zahra Stardust’s Indie Porn Samantha Floreani By drawing out the cultures of indie porn, Stardust pushes readers to see beyond issues of content classification, aesthetics and representation to consider the political economy of pornography. She positions pornography within broader systems of economic inequality, trade relationships and globalisation, and frames indie porn in terms of its efforts to “redistribute power, labour, and wealth in global media production.”