Published in Overland Issue 225 Summer 2016 · Uncategorized Issue 225 admin REGULARS Editorial Natalie Harkin giovanni tiso mel campbell alison croggon Contributors FEATURES jason wilson the new patriotism Trumpism beyond Trump vashti kenway no pasarán! Fighting Australia’s Far Right Claire Parfitt & Kirsty McCully the state of the working class Debt and precarity Jeanine Leane other peoples’ stories When is writing cultural appropriation? katie dobbs radical passivity Patty Hearst to Ottessa Moshfegh helen heath using/abusing fembots The ethics of sex with robots tom clark form versus content Misogyny versus Blue Ties liam byrne the antis On the conscription plebiscite fiction tony birch liam Alex philp agistment fiction prize Cameron Weston Sweeping First place, Story Wine Prize POETRY charlotte guest egg tempera networking drinks claire nashar story Marty Hiatt on the origin of Poetry a sapphic collaboration On the Occasion of Gig Ryan’s Sixtieth Birthday artwork sam wallman Guest artist issue 225: cover, illustrations pages 17, 25, 46–47 brent stegeman All other artwork FAir australia Winners of the 2016 NUW Fair Australia Prize admin More by admin › 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 17 June 2026 · The university Financial power in the public university: the case of ANU Beck Pearse The deeper problem is institutional. Universities have elaborate mechanisms for scrutinising knowledge claims circulating between staff and students. But we have remarkably weak mechanisms for scrutinising the financial assumptions through which executive power is exercised. 1 15 June 202616 June 2026 · Reviews Transubstantiations: Toby Fitch’s Or Grace Roodenrys The final trick of Or is that in the end it stages something utterly universal: the search for a momentary recognition of ourselves in language, the maybe-hopeless pursuit of those “very exceptional circumstances” in which something half-truthful might be said, the unending attempt to build something that feels real with the limited resources one has. This is a very old, a very sacred enterprise. We might call it poetry.
