Published in Overland Issue 217 Summer 2014 · Uncategorized Valentine’s Day massacre Cassandra Atherton You tell me not to answer the phone. But I do. Because your eyes flash gold when you walk past the kitchen. Because Plath was brave enough to answer the phone. And I need to make sure it isn’t Assia Wevill come back from the grave to steal you away from me. Her voice is husky. Every third word catches in her throat. Like a diamond clasp hooked inside a black velvet pouch. As she speaks I see her lips. Crimson. Patent leather. Black cherries. She materialises before me as I listen. I am surprised. Somehow my image of Plath has become entwined with Veronica Lake. Probably because of that photo of Plath in a white bathing costume. White hot poet. Yellow hair. Now I see it seductively sliding down over her right eye. Like tiny waves or ripples. One cat’s eye is visible. Luminous. Emerald. Fire-filled. I see a she is wearing a strapless dress that matches her lipstick in shade and texture. I think of the femme fatales in film noir I studied in second year Cinema and I remember being told about the Valentine’s Day massacre. I’m no Barbara Stanwyck; more of a Gene Tierney. But I could dress myself as a police officer and shoot out your heart. Cassandra Atherton Cassandra Atherton is an award-winning poet and the poetry editor for Westerly. She has been a Harvard Visiting Scholar, and a Visiting Fellow at Sophia University, Tokyo. Cassandra has published eight books, most recently the three-volume Sketch Notes. She has a Creative Victoria grant to write a prose poetry graphic novel on the dropping of the atomic bomb on Hiroshima. More by Cassandra Atherton › 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 5 November 20245 November 2024 · Reviews True dreams: Martin Edmond’s Conrad Dougal McNeill Witnessing, reading through this absorbing, elegant, careful example of the art, is always a kind of mourning, and Conrad, an author for whom writing was “the conversion of nervous force into phrases,” is the perfect figure to focus Edmond’s ongoing work of mourning. 4 November 20244 November 2024 · Palestine The incarceration of Indigenous and Palestinian children: a shared legacy of settler colonialism Sarah Abdo In Palestine, children are detained as a means of maintaining the occupation and suppressing resistance. In Australia, youth incarceration extends the legacy of forced removals and perpetuates intergenerational trauma among Indigenous communities. Children are targeted precisely because they represent the continuity and survival of their communities. This intentional disruption is not simply a matter of misguided policy but part of a broader effort to undermine Indigenous and Palestinian resilience.