Published in Overland Issue 228 Spring 2017 · Uncategorized The Task Eileen Chong after Sharon Olds We fished with lines, not nets. My father came home once and put two shells in my hand. Crabs poked their eyes out, watching to see what I would do. My mother chose crabs at the market. Grey-green armour, impenetrable. The crabs would sit in a basin on the floor of the laundry while my mother pounded spices. I once filled the tub with water. I’d thought they might drown. In the sink, my mother would push aside their legs, locate their underside flaps and stab them with the pointed end of a chopstick. I’d read that you could kill by placing crabs in the freezer. A slow, painless death. It was my task to unwrap the string from the dead ones. My father would prise off their top shells, remove the gills, and rinse out the guts. My mother would quarter each with a cleaver. When the crabs arrived at the table, swimming in sauce, my father would reassemble his. Lift the carapace. I liked breaking off the legs, snapping the joints and easing out the flesh in one intact sliver. Biting the meat off the cartilage in a single pull. I left the claws to the others, preferring only what I could mine through my own precise undoings. Read the rest of Overland 228 If you enjoyed this poem, buy the issue Or subscribe and receive four outstanding issues for a year Eileen Chong Eileen Chong is an Australian poet. She is the author of nine books. We Speak of Flowers is forthcoming from UQP in 2025. Website: www.eileenchong.com.au More by Eileen Chong › 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 27 February 202527 February 2025 · ecology Keeping it in the ground: pasts, presents and futures of Australian uranium Nicholas Herriot Uranium has come a long way from the “modern Midas mineral” of the 1950s. However, in an increasingly dangerous, militaristic and volatile world, it remains a lucrative and potentially lethal metal. And it is so important precisely because of its contested past and possible futures. 25 February 202525 February 2025 · the arts Pattern recognition: censorship, control and interference in Australia’s art ecology David Pledger My final thoughts go to the artist and curator who have borne the brunt of this injury. Selection for the Venice Biennale is a significant event for an Australian artist and curator. To be treated so shabbily must cause pain to both. One can only hope the outcry of fellow artists, the solidarity shown by many, and the strong stance of their shortlisted colleagues, provides some succour.