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.
Ota Yoko (1906–1963) was a romance novelist before Hiroshima was struck with an atomic bomb. Thereafter, she dedicated her life to documenting her experience as a surviving victim, carving out the field in which she is renowned as one of the most significant Japanese writers. ‘Like light on the sea floor’ (1,700 words) was the first long-form biographical account of the bomb ever published (in Japan’s national newspaper The Yomiuri Shimbun), and is out of copyright and in the public domain. It has never been translated to English before.
