Published in Overland Issue 223 Winter 2016 · Uncategorized And they are angry Fiona Wright and they apologise in all their emails and they remember where they put their keys and they buy vegetables and milk and they’re assumed to be on birth control and they write perhaps and arguably and in a sense and they are sympathetic and they have internal ultrasounds and they carry band-aids in their purses and they break big notes before they go to dinner and they match their underwear and they make pots of tea and they sit narrowly on trains and buses and they pretend to talk on phones when they walk home and they run on treadmills and they don’t interrupt and they don’t ask for exceptions and their disposable razors come only in pink and the doctors ask if they feel anxious and they desire and they are angry. Read the rest of Overland 223 – If you liked this article, please subscribe or donate. 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.