Published in Overland Issue 231 Winter 2018 · Uncategorized Allotment #10 Laurie Duggan A track marked by broken branches traverses Redhill Wood to the pheasant farm; an access road leads to the dismantled Southern Line at Bishopsbourne, home of the orchidist and the church whose organist slipped gently off his organ stool. The Nail Bourne’s waterless this year, up from its bank cubes and cylinders cut from a fallen tree leave a rough negative Image: Blue cascades / flickr Read the rest of Overland 231 If you enjoyed this poem, buy the issue Or subscribe and receive four outstanding issues for a year Laurie Duggan Laurie Duggan has lived in Britain for the past twelve years and is about to return to Australia. His most recent book is Selected Poems 1971–2017 (Shearsman, 2018). More by Laurie Duggan › 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 First published in Overland Issue 228 1 December 20231 December 2023 · History ‘We’re doing everything but treaty’: Law reform and sovereign refusal in the colonial debtscape Maria Giannacopoulos I coined the concept of the colonial debtscape while working to understand the relation between debt and sovereignty in the wake of the 2007 Global Financial crisis. Despite the referendum held in Greece in 2015 where the people voted against austerity, austerity as punishment, was imposed anyway. As this was a colonising move, that is, the imposition of an external and foreign law on local populations against their will, it was to Aboriginal scholars here that I turned to begin to put the pieces together. First published in Overland Issue 228 30 November 202330 November 2023 · Urbanism The Plains exposes the psychic terrain of Victoria’s highways Fred Pryce The Plains charts the psychic terrain of the freeway in miniature, peeling back the lid of the private vehicle to expose just one of the millions of dramas taking place in simultaneity, severed from one another yet still part of the same city-wide traffic ballet.
