Published in Overland Issue 220 Spring 2015 · Uncategorized Issue 220 Editorial team REGULARS Editorial Giovanni Tiso Mel Campbell Alison Croggon Contributors FEATURES Luke Stegemann Trouble on the hour, every hour The tensions in Europe’s borderlands Anonymous Statement of vindication Tracing misogynist-driven violence Jason Wilson A presence that disturbs Climate change: natural and inevitable Jennifer Mills Detroit, I do mind In capitalism’s graveyard Ken MacLeod Hard to be a god Hard to be a science fiction writer Anwen Crawford No place like home The fight for the waterfront David Lockwood A person of very little interest Things ASIO got wrong Fair Australia Prize Winners of the inaugural NUW Fair Australia Prize FICTION Zahid Gamieldien Pyrene Omar Musa No breaks POETRY john tranter The linden tree Young folly ellen van neerven Invisible spears kate lilley Austerity georgina woods Paradise losing michael farrell The bush and the internet are interchangeable sam langer A sky open and shut fiona wright Autumn poem frances olive Arcady corey wakeling Agora, Arcadia ARTWORK TAI SNAITH Editorial team More by Editorial team › 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.