Published in Overland Issue 217 Summer 2014 · Uncategorized Xanadu Nathan Curnow after the film directed by Robert Greenwald, 1980 for the attractive people there is a wall to skate through it was a joke until somebody told it most of the town murals are dripping red – there is no talking sense to the ugly some try the Biblical Diet to get into shape or wear the breastplate of Saint Patrick some couples get married before they roll it is probably best if you are intoxicated makes no difference if you like the movie there are new spurts of red every day you won’t get through if you wear a helmet it is a watermelon explosion if you fail a place where so many of us dare to go might be the mural on the toilet block the love and the love and the echoes of where neon tubes blink ultra violet egged on by a fever that can’t be denied it is too late to unlock the secrets of fat the runway is lit and the bystanders waiting what commentators say about your face Nathan Curnow Nathan Curnow lives in Ballarat and is a past editor of Going Down Swinging. His latest poetry collection is RADAR. More by Nathan Curnow › 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 10 April 202610 April 2026 · open letter Open letter: RMIT staff and students oppose disciplinary action against Gemma Seymour over video opposing links to weapons ties RMIT University Staff and Students Freedom of speech and expression is absolutely vital in academic institutions. Students who engage in activism should not be punished for doing so, and discipline procedures are not there to be abused as a tool of intimidation. We call for the disciplinary process against Gemma to cease immediately. 9 April 202610 April 2026 · CoPower Against the will to engineer: Richard King’s Brave New Wild Ben Brooker The response demanded of us in the twenty-first century must operate at the level of metaphysics as well as the material, addressing our underlying assumptions about the instrumentalisation of nature and what constitutes a meaningful life in the face of technology’s relentless advance. To neglect that deeper terrain is to concede, in advance, the very ground on which our resistance to the machine must stand.