Published in Overland Issue 209 Summer 2012 · Uncategorized The Ear Especially Corey Wakeling You don’t need eschatology to see the finitude in all this. Cantilever arm of all sweetness, pinions of every description in the sinew of its reaching out. And towards what? The globe is fine corpulence, the flesh of the ear especially, vigour of sports car on wet May bitumen slighting the bone catacomb smart. Paris, hello. Where have you hidden my brother, and Now, my brother’s brotherhood. There is a Southern Californian song about all of this that eschatology cannot penetrate. So stop, sweet claw of new day, digits clammy. The clay pits, to gasp with hand on back of head, to be lulled to sleep like the puppet infanta, side with brother clover and fatten wanton, lope the lambent disguise if but only in the moment of finitude. Need not finitude to see the sweetness in all of this that made eschatologies unrenewable, when instead, and we do know this, the fossil only comes twice, as in: all time under, the all time no time above. That grasp, darling hand, park your car, knowing restlessness and velocity in the woken, in the face. Corey Wakeling Corey Wakeling is a poet and critic living in Takarazuka, Japan. His second full-length collection of poems is The Alarming Conservatory (Giramondo, 2018). More by Corey Wakeling 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 First published in Overland Issue 228 1 June 20231 June 2023 · Politics Turning peaceful protesters into criminals—again Evan Smith So the Summary Offences (Obstruction of Public Places) Bill 2023 has been passed by South Australia’s Legislative Assembly and will become law. Fifteen hours of debate in the upper house, led by the Greens and SA Best, could not overturn the bill that was reportedly rushed through the lower house in just twenty-two minutes a fortnight ago. First published in Overland Issue 228 31 May 202331 May 2023 · Film In Memoriam: Kenneth Anger’s cinematic incantations Eloise Ross ‘Making a movie is casting a spell,’ said Kenneth Anger about his lifelong profession, his unique and spectacular talent, his very own dark magic. That certainly describes how I was lured into his realm. There was a time in my life where I would watch Anger’s seven-minute film Rabbit’s Moon basically on repeat, infatuated by its blue-tinted images of a sprightly harlequin dancing around a clearing and calling silently to the moon. It was poetry.