Published in Overland Issue 240 Spring 2020 · Uncategorized (next to nothing) Pam Brown the money printers showed up hadn’t seen anyone for months maybe everyone was broke by now couldn’t know what kind of system is this our desires battered by empty shelves these are the people who used to laugh at Moscow GUM — Interpassive & flattened by repetition a languid scroll elides donate now to help beirut — maybe now you can begin to care — minimalism hides so much weirdness if you want to get away with it the interstices the nearest thing to nothing — what to produce from a language always insinuating rationality? (not a snicker nor a smile) — spitting chips into what for what? wait a minute what about faking a collective two faced & turning on a debit card Read the rest of Overland 240 If you enjoyed this piece, buy the issue Or subscribe and receive four brilliant issues for a year Pam Brown Pam Brown has published many chapbooks, pamphlets and full collections of poetry, most recently Stasis Shuffle (Hunter Publishers, 2021). She lives in a south Sydney suburb on reclaimed swampland on Gadigal Country. More by Pam Brown › 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 3 May 20243 May 2024 · open letter Open Letter to Vice-Chancellor Dawn Freshwater from Auckland University Staff in Solidarity with Students Protesting for Palestine Auckland University Staff in Solidarity with Students As members of staff of the University of Auckland, we are deeply concerned by your announcement of 30 April 2024 advising students and staff of your decision to not support the establishment of an overnight encampment by students protesting in solidarity with Palestine. 26 April 202426 April 2024 · Aotearoa / New Zealand “Ration the Queen’s veges”: Te Tiriti o Waitangi and the poetics of erasure Toyah Webb In Te Waka Hourua’s intervention, I read a refusal of this binary. By using black spray paint to erase all but a few words and phrases, the activists transform the figuratively white “backdrop” into the legible difference that stands out against the illegible redaction. Yet it is this redaction’s very illegibility that demands to be read — not as difference, but as a radical contestation of colonial world-making.