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Water has the capacity to capture the imagination, particularly the Australian imagination. Historically, it has loomed large in Australian literature, film and art, both overtly and suggestively. Sometimes it has been a site of celebration, sometimes a site of pain and darkness. The breadth of water imagery is vast. A cursory reflection brings to mind Patterson’s Clancy of the Overflow,1 Slessor’s Five Bells, Winton’s Cloudstreet, Drewe’s The Drowner and The Bodysurfers, as well as Streeton’s painting Sunlight Sweet, Coogee, and Done’s prolific collection of harbour and beach paintings, for example.2 The subject of water in these representations is commonly fresh, clean water. Often beginning in pure mountain springs, it gushes down rivers displaying strong, untamed qualities. At other times, the representations are of the salty seawater that provides pleasure for a sun-loving beach culture or, alternatively, they are images of freshwater in life-sustaining rural rivers — part of a lost pastoral era. In bolder and more sinister representations, water may take life. Waves and tsunamis may cause death. However, rarely have art, literature and film taken as their subject water that is polluted by waste, particularly human bodily waste. That subject is left largely to science. The film Kenny was an exception, relying on ‘toilet humour’ and focusing, as it did, on the provision of waste removal. Sewage, outside of the sciences, is largely what might be called ‘unspoken’ water.

Exploiting the unspeakable: Third-party access to sewage and public-sector sewerage infrastructure