Published in Overland Issue 205 Summer 2011 · Uncategorized One February or July DJ Huppatz Calling out in an underground parking garage in Ottawa or Montreal, but I tell you no-one was lost. At least I wasn’t. Then how was it we ended up on St Kilda beach later that morning, a gypsy bar that afternoon, while all the disenchanted world worked? “You can fly you know”. The gulls blinked – they’re used to such profundity and listened attentively. We gorged on sunlight impounded in Indonesian mangos as the ocean sculpted a sign legible only to two. But when the little one said roll over, it was hard to recall when we were young and no-one followed those tight silk pants but my hands. The temples are waiting, let them. I could clean the bathroom but there’s no sense setting the record straight. You know, it’s a long way to buy a decent key lime pie, we should just make one here. And a couple of mojitos. DJ Huppatz DJ Huppatz lives in Naarm/Melbourne, Australia. Recent fiction in Variant Literature, Menacing Hedge and Fugitives and Futurists. Author of two poetry books, Happy Avatar (Puncher and Wattmann, 2015) and Astroturfing for Spring (Puncher and Wattmann, 2021). More by DJ Huppatz › 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 1 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.