Published in Overland Issue 220 Spring 2015 · Uncategorized Invisible spears Ellen van Neerven A stadium can hold the most sound drowning out the bora ring mudding the lines we needed to know where we’re going now it’s a clusterfuck to get the train home flip up seats and overflowing beer the rude odour of tomato sauce and the black faces they never show on TV the team with the most blackfullas they don’t want to win the commentator’s curse the tiddling fear of invisible spears we can’t score goals on this sacred land celebrated as animals GI doing the goanna, yeah but not people with military intelligence you don’t want us protecting our land like the Maori – that means it was our land to protect we don’t need a haka of whitefullas just let us resist. Ellen van Neerven Ellen van Neerven is an award-winning writer, editor and educator of Mununjali Yugambeh and Dutch heritage with strong ancestral ties to south east Queensland. 'Chermy' appears in van Neerven's newly released second poetry collection Throat (UQP, 2020). More by Ellen van Neerven › 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.