Published in Overland Issue 227 Winter 2017 · Uncategorized Collarbone Louise Swinn We’ll be living on top of each other in an outer suburb. It’ll be an evening backyard barbecue turned lounge party, old friends changing discs in the house we’ll never own. You won’t be in bed – staying up later than us now, as you do. When someone puts on ‘Yoshimi’, you’ll roll your eyes at the middle-aged Gen-X’ers dancing. Mum and I ’ll gravitate towards each other and you ’ll try not to watch us larking about, no longer two solid organisms. Later, with Mum’s head resting in that crook of my collarbone I didn’t know existed till she came along, and then you, I’ll wonder what percentage of everything I owe to the Flaming Lips. Image: Record / Andy Baxley Read the rest of Overland 227 If you enjoyed this poem, buy the issue Or subscribe and receive four outstanding issues for a year Louise Swinn Louise Swinn is a writer, editor, publisher and reviewer. Her work appears regularly in the Age, the Australian, and the Sydney Morning Herald. Louise was one of the founders of Sleepers Publishing, the Small Press Network, and the Stella Prize. More by Louise Swinn › 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.”
