Published in Overland Issue 220 Spring 2015 · Uncategorized Paradise losing Georgina Woods Le paradis n’est pas artificiel, but melting and fermenting, it seems. The panting, perishing white lemuroid possum can’t get enough water, can’t cool her febrile body, drops from the canopy of a thousand-year-old tree, in a white whoosh of rushing light. Le paradis n’est pas artificiel, but unpredictable, these days. Short-tailed shearwaters cruise southward, but their fruitless fishing for squid during this too-hot November, leaves them knackered, and the shore-break delivers them to us, as they give up the ghost. Le paradis n’est pas artificiel, but becoming simpler, no doubt. The great blue homeland acidifies and corrodes its little calcite prawns, absorbs them, with a sigh, into the same soup that sloshes over the coral beds, turning them a general algal brown. Georgina Woods is an activist and poet working and living on Awabakal and Worimi land in Newcastle, Australia. An earlier version of this essay was shortlisted for the 2016 Nature Writing Prize. More by Georgina Woods › 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.