Published in Overland Issue 215 Winter 2014 · Uncategorized Castrato Michelle Cahill When the kitten with a dislocated limb is euthanised, you’ve stopped reading my blog, my sister refuses the call, a bargirl on the south side of Sydney is being shagged, when every contract is optional, the ping-pong game is over, the flat day reeks of a stinking premonition on the pretext of afternoon teacake, vanilla-iced, served with the luminous smiles of a stay-at-home mum to reprise me of the stakes I’ve gambled, make-up too bright, or remind me falciparum malaria hooks up to maggots glossing the trash heaps on Manus Island, page 6 – when the slush pile of supplier statements, invoices, failure-to-pays I’ve ignored becomes a pylon, having clocked up as many as twelve angry men who’d expect equality and dignity are unconditional? When I’ve almost crossed the desert hallucinating Lasseter’s cave, with a parasitic strangle when poetry raids every layer of self-respect so I can no longer read newsprint, let alone the opening sentence of my tenth surplus draft, syllable by syllable – I’ll start over like a teenage boy with secret admirers in the back seat of his mother’s 4WD, learning to curse before my voice breaks for the first time. Michelle Cahill Michelle Cahill is a Sydney writer. Her short story collection, Letter to Pessoa, won the NSW Premier’s Literary Award for New Writing. She has received prizes in poetry and fiction. More by Michelle Cahill › 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 14 February 202514 February 2025 · Poetry 9 to 5 Dave Drayton volunteer to clown / undermine an award / construct to heave / interfere in class / dismantle if civil / disregard no cause / freelance at ennui 1 13 February 202514 February 2025 · Reviews Echoing of the white gaze in Evie Wyld’s The Echoes Karen Wyld Wyld’s creation of voiceless-nameless-lifeless Blak people in The Echoes serves no narrative purpose. This novel is not truth-telling of invasion and occupation, and it does not envision justice for Aboriginal and Torres Strait Islander peoples. Instead of rejecting or confronting lazy literary tropes and colonial-style narratives, the author has erased Blak voices, bodies, histories and futures, adding her own voice to a never-ending echo of white-gazed literature when silence would have been better.