Published in Overland Issue 221 Summer 2015 · Uncategorized Magnetic Poetry Kit – mostly found Deb Westbury for Luke, 1981–1997 Never cook a tiny goddess or have less love. That summer we’d already lived with the smell for a long time before we knew where it came from or what it was. we pound petal boy leaving language and rocking you and raw puppy urges it has crushed you Inside the stove’s sheetmetal box, we found a small mummified mouse still hanging to the wiring by it’s fingernails. white light music gorgeous bed me diamond By then you’d gone. I took a photo of the room and everything in it, opened all the windows and drove away fast. through the dream shot a car mother likes the wind Deb Westbury Deb Westbury has developed a dual career as a writer and teacher. Deb resides in Katoomba and is actively involved with Varuna, The Writers’ House. Her poetry collections are: Mouth to Mouth (1990), Our Houses are Full of Smoke (1994), Surface Tension (1998), Flying Blind (2002), and The View From Here (2008). More by Deb Westbury › 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.