Published in Overland Issue 229 Summer 2017 · Uncategorized To the only begetter Aidan Coleman For WH Like rope and pulley work to hold up pink and stodgy cherubs. Like the apple of my iPhone, faint of charge. Like the superfluity of biker’s arms or the big and little words of lovers’ cells. Like the stylised tantrum of youth rejecting the tutelage you feigned. Like shy graffiti or the bling of cases. Like the cashing trees. Like toddlers hovering at the margins, where dragons used to be, or a high-speed ransack of outdoors. Like sudden mushrooms blooming pages between or the screwdriver of your pocket knife taken to canvases. Like your skywriting jet gunned down mid-cliché. These trifles. Read the rest of Overland 229 If you enjoyed this poem, buy the issue Or subscribe and receive four outstanding issues for a year Aidan Coleman Aidan Coleman has published two poetry collections, the most recent, Mount Sumptuous (Wakefield Press, 2020). He is an Early Career Researcher at the JM Coetzee Centre for Creative Practice at the University of Adelaide. More by Aidan Coleman › 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.
