Overland’s 260th issue is our most substantial yet. At 212 pages, it contains writing from the winners and runners-up of the 2025 Judith Wright poetry and Neilma Sidney short story prizes, as well as last year’s Nakata Brophy Prize for Young Indigenous Writers. Across eight short stories, nine poems and five essays, this issue showcases the breadth of talent across generations: Hana Pera Aoake mounts a critique of the economies of First Nations artmaking, asking who exactly benefits when Maōri artists excel within an unregulated market predicated on individualism, while John Kinsella makes an extensive case for unoriginality as both poetic method and political resistance. Elsewhere, Tom Gurn, winner of the 2025 Neilma Sidney prize, imagines a surreal, fractured dialogue between two speakers orbiting loss and urban adaptation. Susie Anderson’s Nakata Brophy winning story follows a Blak elder navigating council rooms as she carries the stories of those who cared for her Country’s waterways. The issue also features new poetry by Ouyang Yu, Dorothy Lune and Dave Drayton, as well as an excerpt from Surveying the Wild Abyss, a new book by Hawkesbury elder and educator Barry Corr.
Ainslie Templeton is an artist and writer who has worked across mediums and often in collaboration. Her work has been shown at Autoitalia, Campbelltown Arts Centre, Verge, Incinerator and the Australian Centre for Contemporary Art. In 2019 she published a poetry book The Tower with Incendium Radical Library Press; her writing has also been published in Minority Report, un Magazine, The Dutch Journal of Gender Studies and Volupté. Ainslie was a founding member of the performance art vehicle Embittered Swish and has worked extensively with visionary Rafaela Pandolfini. Ongoing interests include the interplay between bodies and their representation, cracks in existing social forms, subliminal divisions of labour, transgender allegory, divination and smuggling.
