Published in Overland Issue 224 Spring 2016 · Uncategorized Greenslopes in March Liam Ferney for H alternate versions of tom thumb’s blues you’re done up like somebody’s dream and that band next door makes young marble giants of triple m evergreens a weekend blanking the present while the salt water creek breathes under the highway snorkellers fetch oysters and outboard cowboys flirt with the vagaries of the bar the beautiful traces of a lie taking a tennis court oath a third date encounter of the suburban kind the blades topple the addicks en route to wembley a destiny to delight the marketing department it winds the month’s spring the way you unravel a story with more moving parts than the automaton barnuming the gossip shifting all the tickets to the miraculous medicine show i feel like a lucky country like a bloke who’s figured that if you dial up the moon and stare down the barrels any great adventure can be tapped Liam Ferney Liam Ferney’s most recent collection, is Hot Take His previous collection, Content, was shortlisted for the Prime Minister's Literary Award and the Judith Wright Calanthe Award. His other books include Boom (Grande Parade Poets), Career (Vagabond Press) and Popular Mechanics (Interactive Press). He is a media manager, holder of the all-time games record for the New Farm Traktor Collective and convener of the Saturdays readings in Brisbane. More by Liam Ferney › 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 22 May 2026 · Friday Poetry Judas goats Caitlin Maling Because goats can climb / and cave, clamber to find cover / in the bushes of what they can’t eat / which isn’t much. 20 May 202620 May 2026 · Reviews Are you experienced? Louis Armand Pam Brown’s poetry has been described as both conversational and deeply layered, its historical consciousness seemingly belied by a fragmentary, diaristic style. An easy comparison might be drawn with the work of her long-time friend Ken Bolton, which often achieves a sense of over-arching unity of vision expressed in monologue form. Bolton’s work can appear exhaustive — long prose-like stanzas — where Brown’s seems to flicker down the page like dawn through the mangroves on the drive to Cronulla.