Published in Overland Issue Audio Overland Reading / Culture / Writing Editorial Maxine Beneba Clarke With Audio Overland, a major Australian literary journal has found its way to publishing a literature previously beyond its scope. That there is a new venue for great Australian literature is something for all writers to celebrate. That the literature in question is aural text, in a country where so few opportunities exist for the creators of aural poetry to be recognised in terms on par with their less vocal poetic comrades, makes the occasion all the more significant. As for my part as editor, what an honour to set an ear – the repeat button, a dreamspace, a headspace – to the soundtrack of spoken word in this country, if only a slice of it. The final poems in Audio Overland differ considerably in tenor and delivery, length and lyric, tone and theme. Taken as a collection there is something, perhaps evasive at first listening, which connects them all: Qian’s tale of the two-cultured tongue, Jackson’s curt cut-through of the lies hidden behind suburban weatherboard domesticity , Solah’s blood-fingered boys escaping over the barbed wire like it’s nothing, like it’s nothing, Jacky T’s small town anti-anthem, Whelan opening the hotel room door to Hutchence’s surreal rock ‘n’ roll death, the levee breaking in Nicholls’ relationship post-script. There is something refreshingly, unavoidably, unpretentiously and unpatriotically snap-shot about these pieces which leave me feeling that Australia’s forked and winding narratives, and indeed contemporary Australian poetry, are on fine, fierce and honest lips. In Omar Musa’s apocalyptic ‘What Will Be Left of Us?’, various versions of our history battle it out for prominence on the deserted streets backdropped by a collapsing city scape. Racist speeches by Alfred Deakin and Edmond Barton / backflip over school textbooks with dick jokes in the margins. Among the devastation, Musa concludes, what will be left of us? This will. Maxine Beneba Clarke Maxine Beneba Clarke is an Australian author and slam poet of Afro- Caribbean descent. Her short fiction collection Foreign Soil won the 2015 ABIA Award for Best Literary Fiction and the 2015 Indie Award for Best Debut Fiction, and was shortlisted for the Stella Prize. Her memoir, The Hate Race, her poetry collection Carrying the World, and her first children’s book, The Patchwork Bike, will be published by Hachette in late 2016. More by Maxine Beneba Clarke 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 First published in Overland Issue 228 3 June 202225 July 2022 Main Posts Myth–archetype–story–f[r]iction: Helen Garner’s How to End a Story Moya Costello The third volume of Helen Garner’s diaries, How To End a Story, is a reminder of how affecting books, or art and culture more widely, are. This is art, as Elizabeth Grosz writes via Gilles Deleuze, as an ‘enhancement or intensification of bodies’, an ‘elaboration of sensations.’ First published in Overland Issue 228 22 April 202229 August 2022 Main Posts Night Luxe: ‘vibe shifts’ and the nocturnal femme fatale Lauren Collee In reproducing some of the visual conventions of the noir genre, night luxe connects itself to a history of image-making that is enthusiastic about the way images can be manipulated, and about the way night-time resists visual clarity. Night luxe signals a shift not so much in ‘vibes’ but in the fact that the internet is now reflecting on its own practices of image-making and trying to think up narratives for them in real time.