Published in Overland Issue 217 Summer 2014 · Uncategorized Foxes strung up on fence on Toodyay-Bindi Bindi Road: in the accusative John Kinsella On land cleared to a few trees you say you’re protecting native wildlife (but not kangaroos, because ‘they’re feral by any other definition’); you tell us that you’re a safe user of firearms, protecting lambs you’ll send to slaughter; you string foxes up on fences so the public can know what it’s like to fight for a cause, corpses of enemies piled high for the townsfolk to file past and know the cost of battle. The cost of the kill, pride in marksmanship, celebration and mateship. Your triumphs are the triumphs of ancient Rome, of death squads anywhere anytime; such a timeless occupation. Good thing there’s no bounty on animal libbers and greenies, as you might just be tempted to break the rule of robotics not to kill humans; for the general good, the cause. Foxes strung out on a fence show us you’ll stand up and be counted, O mighty warriors of the farmlands. We’ve known your spotlights probe into our houses at night. We live with that. We catch our breath and watch our words. The dead fox. The dead cat. The dead roo. The dead the dead the dead. John Kinsella John Kinsella’s most recent poetry books include the verse novel Cellnight (Transit Lounge, 2023), The Argonautica Inlandica (Vagabond, 2023), and the three volumes of his collected poems: The Ascension of Sheep (UWAP, 2022), Harsh Hakea (UWAP, 2023) and Spirals (UWAP, 2024). A recent critical book is Legibility: An Antifascist Poetics (Palgrave, 2022). More by John Kinsella › 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 27 February 202527 February 2025 · ecology Keeping it in the ground: pasts, presents and futures of Australian uranium Nicholas Herriot Uranium has come a long way from the “modern Midas mineral” of the 1950s. However, in an increasingly dangerous, militaristic and volatile world, it remains a lucrative and potentially lethal metal. And it is so important precisely because of its contested past and possible futures. 25 February 202525 February 2025 · the arts Pattern recognition: censorship, control and interference in Australia’s art ecology David Pledger My final thoughts go to the artist and curator who have borne the brunt of this injury. Selection for the Venice Biennale is a significant event for an Australian artist and curator. To be treated so shabbily must cause pain to both. One can only hope the outcry of fellow artists, the solidarity shown by many, and the strong stance of their shortlisted colleagues, provides some succour.