Published in Overland Issue 227 Winter 2017 · Uncategorized Spotless Luke Beesley To try and write say like Mallarmé ah malted tie anodyne or write it. I had a notice envelope inside and I went into the kit. The bag had an antidote to my own, or own poem, which was pronounced ownp. Ownp up an unlatch in tea, int an assertion. I went up to it. Parked. The quarter poked out. I played embarrassed Joel Barish in that garish genre Montauk cop character and gaudy. Twofold chalked up Twombly touched a back step on Sol LeWitt photography. Secretly new noticed. Entities. At a quarter past three I went. Ahem. A religious repetition. 4/10 of an anecdote intended, the rest a consequence interred troubled dream. Folding chair quantity. Endangered try. (We do dupe.) In the third person wore a coat in weather. Aunt. We go into the ligament of a family brush. Her out couch cushion! Image: Quarter drop / Andrew Malone Read the rest of Overland 227 If you enjoyed this poem, buy the issue Or subscribe and receive four outstanding issues for a year Luke Beesley Luke Beesley is a Melbourne-based poet. His fourth poetry collection, Jam Sticky Vision, was published by Giramondo in 2015. More by Luke Beesley › 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.
