Published in Overland Issue 220 Spring 2015 · Uncategorized Autumn poem Fiona Wright I am ankle-deep in leaves and though the days burn bright the fast-falling evening has a bite now: I watch a small child pointing with blunt fingers (yours are moon-like, soft, nails longer and lovelier than mine) at the desiccating leaves along the footpath, more rubbish! she cries, more rubbish! more rubbish! and I walk home past three damp-cornered houses in which I used to live: autumn is soft and slow and spacious. I think of how I curled away from my cold feet hooked behind your knees, each finger in between yours. I still fear that there’s a hollowness within me. For a moment on the freeway the next morning, a huge crow hovers in the middle of my windscreen. They too are smarter then they need to be, and I wonder if they feel it like I feel it, wing-dark and sinking. There’s a crack in the skin of things, the dry air. Fiona Wright Fiona Wright’s new essay collection is The World Was Whole (Giramondo, 2018). Her first book of essays Small Acts of Disappearance won the 2016 Kibble Award and the Queensland Literary Award for nonfiction, and her poetry collections are Knuckled and Domestic Interior. More by Fiona Wright › 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.