Published in Overland Issue 235 Winter 2019 · Uncategorized Sapphic legacy Siobhan Hodge Marble braced – you are fed on the offerings loved by women. Tender sheets, beloved breast and curving hip. Aphrodite’s call was yours to issue. You are softness, pleasure and the push. You take all that we still give. Dark eye and proud brow. Took the name and made it foreign, home and whole. To make love as the women from Lesbia used to mean a very different thing. You took that too and made crushed violets of sweet longing. I can only roll apples for a glance – we were made for each other – time apart. Maybe you would have cursed my eyes, damned my step and broken my every tooth in your open, pulping mouth as you did those girls before. Image: Thomas Kelley on Unsplash Read the rest of Overland 235 If you enjoyed this poem, buy the issue Or subscribe and receive four brilliant issues for a year Siobhan Hodge Siobhan Hodge has a PhD in English. She won the 2017 Kalang Eco-Poetry Award and 2015 Patricia Hackett Award. Her poetry and critical work has been published and translated widely. Her new chapbook, Justice for Romeo, is available through Cordite Books. More by Siobhan Hodge › 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 1 6 November 2026 · Friday Fiction Headland Harry Goddard He must have still been sore. I could tell from the winces he made as he scooted down the trail. Some unspoken agreement of not hitting other people’s children — and the circumstances of me not being that type of kid — spared me from the same punishment. I was taken to my parents who agreed I would have to work off the damages, and I must have mowed the lawn once, or cleaned the family car. 4 November 2026 · Film MIFF, Minotaur and the politics of maternal reception Alicia Byrnes Maternal labour is, in the terms I’ve set out here, not labour at all. Noisy, unfocused, mobile, perhaps even sleepy — it is an affront to arthouse film viewing and therefore unserious.