Published in Overland Issue 219 Winter 2015 · Uncategorized Terra nullius Reihana Robinson for Joy Harjo We are less than a sliver. Our bilge keel chipped, we travel back in time, bend to the forest, curtsey to the trees. In the forest we do not lose identity. We see past we see future. We open our mouths. Are we mad? Are we on the eve of the end? Is this the reading of Revelations? Or are we in prayer? Singing to forest deities, to water sprites to the fire gods honouring terra celestial. We come from darkness— Ephesians says it all and Euripides before. Into the world of light we are flung courtesy of the vast dark hole. If we are lucky— a tiny toehold Reihana Robinson Reihana Robinson is a writer, environmental activist, and organic farmer living on the Coromandel in Aotearoa/New Zealand. Her work is published in the USA, the Pacific and Asia. Auckland University Press published a collection of her work in 2008 and her first solo volume, Aue Rona, was published by Steele Roberts in 2012. reihanarobinson.co.nz More by Reihana Robinson › 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.