Published in Overland Issue 227 Winter 2017 · Uncategorized Faulkner Cassandra Atherton My mother is a fish. I have buried her three times already, but the water table is high and she floats to the surface. I cleaned her, using scissors to cut anteriorly through the bones attached to her pelvic fins, but I can’t cross the river while her cloudy eyes are directed at the sky. The tackle box is full of the rusty hooks of untried catches. I take a pitted sinker and use the fishing line to weigh down her fleshy isthmus. There is water in my shoes but I can feel the stones rise beneath my feet. Image: Fly fishing tackle box next to stream / Chesapeake Bay Program Read the rest of Overland 227 If you enjoyed this poem, buy the issue Or subscribe and receive four outstanding issues for a year Cassandra Atherton Cassandra Atherton is an award-winning poet and the poetry editor for Westerly. She has been a Harvard Visiting Scholar, and a Visiting Fellow at Sophia University, Tokyo. Cassandra has published eight books, most recently the three-volume Sketch Notes. She has a Creative Victoria grant to write a prose poetry graphic novel on the dropping of the atomic bomb on Hiroshima. More by Cassandra Atherton › 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.