Published in Overland Issue 205 Summer 2011 · Uncategorized Fresh Kill Cath Drake Set off later than we meant to. At home, we’d been nagging about dishes, shopping lists, the bike with the chain hanging. Now, with the light going, we flash our mobile phones to find a path in the forest back to the train station. Pure white feathers flare across black mud. The blood is cold, solid, no splattering. So it doesn’t look fresh. I’m not sure if we came past this spot earlier. Its body opened, luminous red, neck gone, eyes empty; abandoned to death. We stand over it. Each fine-boned feather perfect. There’s no evidence of a criminal, no tracks, only soft blank mud; we heard no struggle, no screams, no scuttling away in the dark. We keep walking, become disorientated, walk past it again, this time only white feathers strewn in pitch dark. The body is stolen, and still we’ve not heard or seen anything. When we get to the sturdy well-lit bitumen I can’t look at him. Just say: I can’t see you anymore. Cath Drake Cath Drake is an Australian from Perth who moved to London in 2001. She has been published in anthologies and magazines in the UK, Australia and the US. She currently works in communications for a children’s charity, focusing on life stories. Her website is www.cathdrake.wordpress.com/. More by Cath Drake › 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 6 November 2026 · Friday Fiction Headland Harry Goddard He must have still been sore. I could tell from the winces he made as he scooted down the trail. Some unspoken agreement of not hitting other people’s children — and the circumstances of me not being that type of kid — spared me from the same punishment. I was taken to my parents who agreed I would have to work off the damages, and I must have mowed the lawn once, or cleaned the family car. 4 November 2026 · Film MIFF, Minotaur and the politics of maternal reception Alicia Byrnes Maternal labour is, in the terms I’ve set out here, not labour at all. Noisy, unfocused, mobile, perhaps even sleepy — it is an affront to arthouse film viewing and therefore unserious.