Published in Overland Issue 241 Summer 2020 · Poetry Bonza Ann Vickery Citation (use of) as a form of resettlement that can be used at the level of the line 3D printing of ventilators and native vegetation repeating wilderness exactly the term additive manufacturing can be used synonymously Now I know agile tooling when I see it. Look at you sporting the next model of climate with your manly sincerity neatly tucked into a twice washed economy. The windswept as a style superseded by a methodical soldiering of the world. She’ll be right means it’s too late to get shirty. The bonsai no longer know how to be trees. Read the rest of Overland 241 If you enjoyed this piece, buy the issue Or subscribe and receive four brilliant issues for a year Ann Vickery Anny Vickery teaches at Deakin University. She is the author of Leaving Lines of Gender: A Feminist Genealogy of Language Writing and Stressing the Modern: Cultural Politics in Australian Women’s Poetry. She is also co-author of The Intimate Archive: Journeys through Private Papers and co-editor of Manifesting Australian Literary Feminisms: Nexus and Faultlines. She has published poetry in a range of national and international journals. More by Ann Vickery › 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 8 September 202312 September 2023 · Poetry Poetry | Games Heather Taylor-Johnson Days pinch and lately I’ve noticed every time I look in the mirror I’m squinting—maybe it’s a grimace. Without trying I’ve mastered the façade of a Besser block threatened by a mallet, by which I mean maybe the world won’t kill me but it’ll definitely hurt and I’ve got to be ready. First published in Overland Issue 228 31 August 20236 September 2023 · Poetry Verbing the apocalypse: Alison Croggon’s Rilke Josie/Jocelyn Suzanne ‘This again?’ and ‘why now? Why not years ago?’ are the two questions raised in each new translation of a non-English piece of Western Canon. There’s an understanding—of course a poetic cycle like the Duino Elegies is incomplete in English, there are endless new readings—and a simultaneous sense of wounded pride/suspicion: what was missing the last time around? What were you concealing from me? What are you concealing now?