Published in Overland Issue 212 Spring 2013 · Uncategorized Issue 212 Editorial team Contents Regulars Jeff Sparrow – Editorial Correspondence Stephen Wright Judy Horacek Rjurik Davidson Features Nic Maclellan What has Australia done to Nauru? The real price of offshore detention Alison Croggon Why art? How to defend arts funding Tad Tietze A change in the order of things? The shifting fortunes of the Australian Greens El Gibbs Equal but different CAL–Connections: A critique of the National Disability Insurance Scheme Paddy Gibson Stolen futures The return of Indigenous child removal Peter Polites and Stephanie Convery Speaking for the Other? A debate about authorship and identity David Renton Politics that breaks down people’s fear The story of the Anti-Nazi League Rebecca Starford Healthy relations Exercise and writing Fiction Maxine Beneba Clarke Harlem Jones Kay Harrison Red cork platform heels Lucy Treloar Natural selection Poetry Louise Crisp Podocarpus berries Liam Ferney one of us has chosen to come to the sea Robert Verdon This Joel Scott Fête accompli Graphics Sam Wallman Editorial team More by Editorial team › 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 20 December 202420 December 2024 · Reviews Slippery totalities: appendices on oil and politics in Australia and beyond Scott Robinson Kurmelovs writes at this level of confusion and contradiction for an audience whose unspoken but vaguely progressive politics he takes for granted and yet whose assumed knowledge resembles that of an outraged teenager. There should be a young adult genre of political journalism to accommodate books like this. 19 December 202419 December 2024 · Reviews Reading JH Prynne aloud: Poems 2016-2024 John Kinsella Poems 2016-2024 is a massive, vibrant and immersive collation of JH Prynne’s small press publication across this period. Some would call it a late life creative flourish, a glorious coda, but I don’t see it this way. Rather, this is an accumulation of concerns across a lifetime that have both relied on earlier form work and newly "discovered" expressions of genre that require recasting, resaying, and varying.