Published in Overland Issue 215 Winter 2014 · Uncategorized Sydney Paul Giles We blunder through each business meal. to watch big business make its case A Mark so many came to feel Mark of money. Mark of place. The many claims for men he took. So many women claim his mind. The many feels: how many look. For pants-led damages we find In her killer-David claim Many other store’s agreed. That the bosses harmless name phoned the flames of Savage deed But most in daily press we claim. How her power-digger work touched unwelcome women shame And gagged in gold our Fraser-Kirk * based on ‘London’ from Songs of Innocence and of Experience, by William Blake; with text 100 per cent recycled from ‘The damage done’, by Fenella Souter, in the Sydney Morning Herald Good Weekend, 4 December 2010, pp. 16–24. Paul Giles Paul Giles graduated from a Master of Arts majoring in English Literature, and since then has spent his time teaching English and/or bartending in Sydney, Seoul, and Auckland. He now lives in Bogota, Columbia. More by Paul Giles › 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.
