Published in Overland Issue 227 Winter 2017 · Uncategorized Spotless Luke Beesley To try and write say like Mallarmé ah malted tie anodyne or write it. I had a notice envelope inside and I went into the kit. The bag had an antidote to my own, or own poem, which was pronounced ownp. Ownp up an unlatch in tea, int an assertion. I went up to it. Parked. The quarter poked out. I played embarrassed Joel Barish in that garish genre Montauk cop character and gaudy. Twofold chalked up Twombly touched a back step on Sol LeWitt photography. Secretly new noticed. Entities. At a quarter past three I went. Ahem. A religious repetition. 4/10 of an anecdote intended, the rest a consequence interred troubled dream. Folding chair quantity. Endangered try. (We do dupe.) In the third person wore a coat in weather. Aunt. We go into the ligament of a family brush. Her out couch cushion! Image: Quarter drop / Andrew Malone Read the rest of Overland 227 If you enjoyed this poem, buy the issue Or subscribe and receive four outstanding issues for a year Luke Beesley Luke Beesley is a Melbourne-based poet. His fourth poetry collection, Jam Sticky Vision, was published by Giramondo in 2015. More by Luke Beesley › 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.”
