Published in Overland Issue 250 Autumn 2023 · Poetry DI/ODE CLXX Louis Armand raw bone scrapes / wires through bared soles of feet & tin-can telephone voice to braindead hours like windowdraught. there are killing words of pure hypnotism, too, as though a contrary fact cld alter the physics of it. they whisper constantly. loose threads braiding a most exquisite corpse / owlhead, circuitry, hooked claw. that self struggles to overcome self, or world is a poem that alters world, isn’t the sexed equivalence of a doppelgänger’s stare. it holds a mirror between its horns. knowledge flows carnally from the mind entangled in images / of love or war. there’s no natural law but only things & unthings forged by rigid classification. in the black cave where a telephone has never ceased ringing, in the pit of a stomach where time crouches listening, you are forever the estranged counterpart. Louis Armand (2011). His critical works include Videology (2015), The Organ-Grinder’s Monkey: Culture after the Avantgarde (2013) and Incendiary Devices (1993). He is formerly an editor of the international arts journal VLAK and co-directs the Prague Microfestival. www.louis-armand.com More by Louis Armand › 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?