Published in Overland Issue 209 Summer 2012 · Uncategorized Winter war Maria Takolander At dawn the birch trees are ice-smacked: shocked and glassy. The man limps across the snow, like a toad, his only illness memory. Light presses against his eyes, like a shard of the bottle he broke over the night — though it was the evening, softer than skin, that had tempted him from hiding. He recalls the suckling: iron-bitter as the earth, yet river-silken. Then the black sky: pricked with stars like a medieval device and cold as iron. How the birch trees, pale as naked men, were flayed against them. Maria Takolander Maria Takolander is the author of a book of poems, Ghostly Subjects (Salt Publishing 2009), which was shortlisted for a Queensland Premier’s Literary Award in 2010, and her poems have appeared annually in The Best Australian Poems (Black Inc.) and/or The Best Australian Poetry (UQP) since 2005. She was recently awarded an Australia Council grant to complete a collection, The Double, which will be released by Text Publishing in 2013. She is a Senior Lecturer in Literary Studies and Creative Writing at Deakin University in Geelong. More by Maria Takolander › 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.