Published in Overland Issue 223 Winter 2016 · Uncategorized Night pieces Leif Mahoney The swung torch scatters seeds The intemperate torch grazed In the umbelliferous dark With fire the umbel of the dark And a frog makes guttural comment The pond-lilies could not stifle On the naked and trespassing The green descant of frogs Nymph of the lake The symbols were evident We had not heeded the warning Though on park-gates That the iron birds creaked The iron birds looked disapproval As we swung the park-gates With rusty invidious beaks Their beaks glinted with dew Among the water lilies A splash – the silver nymph A splash – white foam in the dark Was a foam flake in the night And you lay sobbing then But though the careful winds Upon my trembling intuitive arm Visited our trembling flesh They carried no echo an Ern Malley compilation Read the rest of Overland 223 – If you liked this article, please subscribe or donate. Leif Mahoney Leif Mahoney is a former architect and art gallery director, who is an art language artist. His major project has been the abstract dada novel Nunawading. More by Leif Mahoney › 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.