Cirrus@Austlit

'I didn’t expect to be making the magazine you are holding, which is why earlier editorials this year read like farewells, but this is definitely it: my twentieth, and final, edition.

'People have asked why I would leave a magazine that is so politically and culturally necessary and, therefore, satisfying.

'To ensure a magazine stays vibrant, it’s essential to make room for new editors and writers. As for the satisfying nature of the work here, it is undeniably true. But workplaces, and political and literary projects, are made of people who motivate and challenge you.

'Last night I attended a talk by former editor Jeff Sparrow, about his new book on fascism and the Christchurch massacre. ‘What can we do about the intense alienation and isolation that many people seem to feel today?’ someone in the audience asked.

'It seems obvious, but workplaces are part of the answer (and why the era of freelancing and the gig economy has been disastrous for unionism and collectivism more generally). These spaces are inherently social: on many levels, work is about the relationships you form and the people you work with; who help to ease the intense loneliness that we can feel, the kind described by Rachael McGuirk and Hannah McCann in this edition.

'It is also true that there are not many workplaces like Overland, where one can start as an intern and progress to editor. The democratic traditions and collaborative nature – where everyone in the office has control over how each edition looks and reads – is unique.

'Workplaces are always about the people. I would like to thank: Alex Skutenko, the backbone of Overland for more than two decades; copyediting genius John Marnell; the aforementioned Jeff Sparrow; inspired fiction and poetry editors Peter Minter, Jennifer Mills, Toby Fitch and Claire Corbett; designers Brent Stegeman and Lynley Eavis, the nimble-fingered Sam Wallman, and so many other talented artists!; the brilliant and committed interns and volunteers; Giovanni Tiso, one of my favourite writers who I now call a colleague; and Rachael McGuirk, who always meets every challenge.

'I look forward to reading future editions edited by Evelyn Araluen and Jonathan Dunk, and seeing the new directions they take Overland.' (Jacinda Woodhead  Introducing Overland 237)

'Two sisters await the tidal wave predicted for 1970s Adelaide after Premier Don Dunstan decriminalises homosexuality. An interstate family drive is complicated by the father's memory of sighting UFOs. Two women drive from Melbourne to Sydney to see the Harbour Bridge before it's finished. An isolated family tries to weather climate change as the Doomsday Clock ticks.

'Emma Ashmere's stories explore illusion, deception and acts of quiet rebellion. Diverse characters travel high and low roads through time and place - from a grand 1860s Adelaide music hall to a dilapidated London squat, from a modern Melbourne hospital to the 1950s Maralinga test site, to the 1990s diamond mines of Borneo.

'Undercut with longing and unbelonging, absurdity and tragedy, thwarted plans and fortuitous serendipity, each story offers glimpses into the dreams, limitations, gains and losses of fragmented families, loners and lovers, survivors and misfits, as they piece together a place for themselves in the imperfect mosaic of the natural and unnatural world.' (Publication summary)