Art, Fantasy, Imagination THRESHOLD by Ryan Liebe

BY G N I T I IGHT A M W E N I H S E NO US OPING H E B RS F O L O F A T S H D E , E L E TABL EEEM OF RU S E K E H O R T O E B LI O H T A A T D E K C N T A U A B O R ENT HE F ANY SO SHE W EY ON IT, OR AT PES: THIS TIME S E BEFORE, K HER SCO T O N S A ANOTHER E UP LIKE TELE W APER L Y P L A N I S A L A P T O TLE W H CER T C I O B TING PE H T IN E W I " H ( T N , O T F I D O E N O NECK PRINT E Y H L T BOTTLE L U D F N I D ROU EAUT N B A " ) E , M E C I T AL S "EA RS. D E R T O CE; T I W E L L A E H D I T A G!" S WITH N I L E E OPE." F C S S E U L O I E R T CU A "WHAT A UTTING UP LIKE SHED OFF THE SH INI F E B N O T S O DOORW, S U G Y R N O I "I M E D Y V L E , AND DEDOL,ITTL E EYD L K U R O O H C W T E O Y H ET T TIHGHOTN FIN HAAISTISNG B DENHEWM I SO SHE S T WAOSUASSE MINUCW GPIANRG S AUTT S E E H I N O T H ! H S H E S E O : B C T F I R R OREMAELD TO THEROTUAGBHLEI,NHAL SS THOAFNREULVEES FO TTIN O P E E S PEALEBOOK TD, ATRLOITTL OE THERE SIDET, TBOACLKOOTKO TH MORERA I H B B T A N R U O E AS ANY EN HEISTHE F T AS ,I"TSW W E H M I T T S E A SO SHE WGETETYHORNOUITG,HORWATIN. TEW I S A R I O T H U F T O E : B B S A K I LY ERE GA COP ANOTHERBEGEANUPTLOICKREYTAELESOOKIINNLGY AWNAXSIONUOST HEARDA IPTAPMEURTLTAEBRE PL E H AS ND L TA ASR ATRINPALW TING PEOBACKITA, G("AWIN H,ICAH CERTHINFGT; HAENDBOSTHTLE WH MDYON E D I !O E ME K O ON BOTTLE IT HRAODULNODSTTHSEO NECSS! TUHTEIFDUUCLHLYESPSRINTCUTED, AS SURE ND XE HE BEA ALICE,) ASELFO"RTDHSE"EDAUTTCME" E"LLTTGEERTS. ME E AVECEDR; OPPED TH SH LE EW A" NSAIIDH ALI C WON I E R ! E WITH THAND WHISKERS! G H N I " W . L ! E SCOP RIEOTUSS FEE E R L E E F R T U E C A R A "WHAAT A UTTING UP LIKE SHED OFF THE C SH INI F E B N ON N O T W S O O S U D M Y G R I N " ND VE O, LYI D A , D K L R U E; B O O C Y W E E O H E T S N T O S E A WITH N E SO SHE S T WAS AS MUCH D AT R S A G E H E S I H : ! T O CE ER POOR ALI OK THROUGH INT ELESS THAN EV BBIT, TRO RA LO HOP E T E I R H O M W SIDE, TO IT E AS H T T W U O S H B A G A W U O T Y GET THR TO CRY AGAIN. OKING ANXIOUSL ARD IT M LO AN E HE H S D N AND BEG CK AGAIN, AND A ING; Y DEA H M T E A H B O M ! O S Y S LOST UCHES SLOWL D D A E H H D, AS T T I E ! S T F S U I C E S E H A X C , E WENT "THE DUT D GET ME

N’T K TO A “I C BAC AY - S A D GO TER E I W S YE AUS ENT R C BE IFFE A D SON R PE EN” TH

Cover artwork: Leslie Parsons Cover design: Jenne Greene Book design and layout: Yavapai College Graphic Design students Rachel Rose Writings: Excerpts from Alice in Wonderland, Lewis Carroll

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Table of CON

TEN

Forward .......................................... 6-7 Alice Excerpts ................. 8-13, 92-97 Mary Lou Wills ............................ 15-19 Josephine Archer ..................... 21-25 Leslie Parsons .......................... 27-29 Bernelle Stanley ....................... 31-33 Maria Lynam ............................. 35-39 Laurie Hammond ..................... 41-43 Steve Mason ............................ 45-49 History of Printmaking ............ 50-51 Ken Kasten ............................... 53-55 Saveria Judge ............................ 57-61 Sara Nord ................................. 63-65 Betsy Ann Dally ......................... 67-71 Donn Rawlings ......................... 73-75 Joan Knight ................................ 77-81 Barb Wills ................................. 83-85 Dana Cohn ................................. 87-91 Credits ....................................... 98-99 Contact Information .................... 100

AN INVITATION TO

piece of art. A work of visual art speaks to each person differently. Some viewers may be drawn first to subject matter, style or color. Others may not be able to articulate exactly why a particular piece grabs them and makes them stop in their tracks, but they stop just the same. Art has this magical power. Art compels us, urges us, and seduces us to shift our perspective, let down our guards and imagine a different present moment, if only for the briefest of times.

Humans return over and over to art and literature, in spite of the charges of impracticality we hear in our culture, because art and literature A N I N V I T A T I O N help answer a primal cry for to imagine visual arts is connection in our hearts. an invitation for the view- Art helps us understand er to join the artist in a the language of the soul by shared experience of a challenging our intellectual moment. A viewer stops in concepts; our logical, ratiofront of a piece of sculpture, nal, problem-solving skills painting or a print and notices get turned upside down color, texture, line, content when confronted with the and form. The viewer, for a work of Hieronymus Bosch, moment, surrenders the il- Salvador Dali, Marc Chagall lusion of her reality for the or Vladimir Kush. That psyillusion of the reality of the chic shakeup creates a

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window into a new way of us how to accept the world of objects. As you approach this relating to the world, if only Lewis Carroll’s imagination. book, you are a co-creator for a moment. What appears on the surface of the final product. Please as nonsensical is actually don’t feel constrained by Literature can shake up the completely logical within the reading left to right, front to readers’ worlds as well. framework of the world of the back. Shake up your ideas This publication features story. Alice in Wonderland in- about what to do with a book excerpts from Lewis Car- vites us to step outside our by allowing yourself to follow roll’s famous work, Alice understanding of “up” and your intuition through these in Wonderland. Most pages. Let the text be are familiar with the Shake up your ideas about what the doorway or let the characters of this print be the path. No to do with a book by story—the White matter how you enter allowing yourself to follow your Rabbit, the Queen these two-dimensional of Hearts, the doors, the journey is intuition through these pages. Mad Hatter, and, of three-dimensional Let the text be the doorway or let course, Alice—even because you inhabit if they haven’t read the artist’s and writer’s the print be the path. the primary source. imagined spaces. Your The heart of this work has “down” and experience a dif- experiences and questions imprinted itself on our ferent way of living. As read- help make meaning of the c o l l e c t i v e consciousness ers, we take that experience offerings in the book. Be through music, visual art, with us long after closing the open to the possibility of clothing and jewelry. When book. surprise and wonder. After all, we think about going “down where would Alice be if she’d the rabbit hole”, we under- This edition of Threshold refused to drink? stand we’re entering a realm showcases the art of Yavapai Laraine Herring, MFA, MA where the restrictions of our College’s printmaking stuCreative Writing Professor ordinary world no longer ap- dents and faculty. Each of ply. We accept that a potion these prints is an invitation can make a young girl small into a unique world. Each or large. We accept a smil- print evokes a feeling and ing Cheshire cat in the trees roots that feeling in form— and the off-kilter wisdom of the curve of a line, the unTweedledee and Tweedle- expected splash of color, the dum. The text itself shows juxtaposition of unexpected

“

”

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ALICE

was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, and what is the use of a book, thought Alice,

WITHOUT PICTURES OR CONVERSATION?

So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her. There was nothing so VERY remarkable in that; nor did Alice think it so VERY much out of the way to hear the Rabbit say to itself, â&#x20AC;&#x153;Oh dear! Oh dear! I shall be late!â&#x20AC;? (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually TOOK A WATCH OUT OF ITS WAISTCOAT-POCKET, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it hop down a large rabbit-hole under the hedge.

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“Oh dear! Oh dear! I shall be late!”

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There seemed to be no use in waiting by the little door, so she went back to the table, half hoping she might find another key on it, or at any rate a book of rules for shutting people up like telescopes: this time she found a little bottle on it, (“which certainly was not there before,” said Alice,) and round the neck of the bottle was a paper with the words “drink me” beautifully printed on it in large letters.

WHAT A CURIOUS FEELING said Alice; “I must be shutting up like a telescope.”

Poor Alice! It was as much as she could do, lying down on one side, to look through into the garden with one eye; but to get through was more hopeless than ever: she sat down and began to cry again. It was the White Rabbit, trotting slowly back again, and looking anxiously about it as it went, as if it had lost something: and she heard it muttering to itself. “The Duchess! The Duchess! Oh my dear paws! Oh my fur and whiskers! She’ll have me executed, as sure as ferrets are ferrets! Where can I have dropped them, I wonder. . .

I wonder. . .

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W ON

D R

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MARYLOUWILLS

MARYLOUWILLS I find printmaking a wonderful way to express myself. My most recent work is a series containing images extracted from my photographs, which are then digitally printed over my monotypes. This combines what I have learned in a number of classes at Yavapai College, including printmaking, photography, Photoshop and digital printing. I am fascinated by the way I can combine several processes and styles to create something new and unique. Experimenting with varying techniques in etching and intaglio has also drawn my interest. Each technique allows me to present my ideas in new ways. The creativity enabled by printmaking is a fulfilling way to share my view of the world.

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MARY LOU WILLS | 19

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JOSEPHINEARCHER

JOSEPHINEARCHER Josephine Archer was born in Saltburn, England, South Yorkshire on December 13, 1972. She received her M.F.A. from the University of Oregon in 2004 and moved to Prescott in 2006. She received her Bachelor of Fine Arts degree in 1995 from the University of Central Florida in Printmaking and Drawing. She is presently teaching Printmaking at Yavapai College. Josephineâ&#x20AC;&#x2122;s artwork is Interdisciplinary Printmaking. She combines materials and explores the possibilities of them while creating. The main theme of her work is to stir up the viewerâ&#x20AC;&#x2122;s sense of imagination and promote a sense of wonder. Subjects that influence her work are Eastern Indian and Native American Art. Other fields that inspire new work are Native American spiritual beliefs and cultural mythology.

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JOSEPHINE ARCHER | 25

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LESLIEPARSONS

LESLIEPARSONS Leslie Parsons pursues her art through the combination of new printing methods with traditional techniques. Traditional monotypes provide the vibrant, textural, spontaneous backgrounds, while intaglio, digital overprinting, and gel transfers allow for the manipulation and development of the artistic or photographic image. The backgrounds of our lives are our experiences that make up our total being to date. The image is the focal point of each new day, a snapshot of any specific moment in time. Thus, my art is a combination of the abstraction of the background, juxtaposed with the realism of the moment, the focal point of the image. But just as new experiences must be well integrated into our current knowledge, so too, must the focal point be well integrated into the background of the art.Â Thus my art is a statement of my life.

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BERNELLESTANLEY

BERNELLE Bringing to life an artwork is a process of discovery, delight and frustration for me. Bernelle is a retired art instructor from Phoenix, Arizona and currently lives in Dewey, Arizona.

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MARIALYNAM

MARIA A student at YC since 2005, I have taken drawing, painting, Photoshop digital photography, digital printmaking, photographic lighting, and printmaking. In addition to traditional methods of etching and aquatint, I use Image On (intaglio type) and Solarplate to create plates. Utilizing my photographs in printmaking and collage, I often incorporate gold leaf and other organic materials. Whatever the media, I â&#x20AC;&#x153;meldâ&#x20AC;? various images to make them integral to the piece. Many of my works are abstract compositions based on organic elements in which the colors and forms establish harmonious and balanced relationships; others include graffiti from other languages. Also a student of digital art, I am experimenting with digital transfers onto glass and plexiglass.

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MARIA LYNAM | 39

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LAURIEHAMMOND

LAURIEHAMMOND I feel drawn to nature because of its inherent beauty, which I find relaxing and almost therapeutic. Several years ago,Â I started working with traditional black and white photographic images and branched out into alternative processes: Cyanotype, Vandyke, liquid emulsion and Polaroid transfer. While looking for another way to use my photographic images, I enrolled in a printmaking class, which has become a fascinating adventure. With so many new techniques and processes to explore, I feel an overwhelming excitement as I create new images.

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STEVEMASON

STEVEMASON Since high school, I have explored how we see, deconstructing form and emotion, coming to focus on making stereoscopic art. I start with a photo, print, painting, or drawing, manipulate it in Photoshop, then print it â&#x20AC;&#x201D; the results have been startling and more in sync with my 3D vision of the world. I hope through my art to open myself and others up to what makes us see what we see, understand how limiting our thinking process can be, and how it can jam our perceptions and keep us from comprehending more fully ourselves and the world around us. Steve Mason was raised outside of Boston and received a bachelorâ&#x20AC;&#x2122;s degree in studio art from Stanford University with six months in Florence, Italy. He currently teaches and oversees the 2-D Fine Arts Program at Yavapai College in Prescott, as well as creating his own art and pursuing his stereoscopic research. He has exhibited nationally and this past year has shown work locally and in New York City. 46 | THRESHOLD

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STEVE MASON | 49

Brandelyn Dillaway

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100% tint

60% tint

20% tint

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KENKASTEN

KENKASTEN Inspiration for my art comes from all things natural; then I infuse the nature of man into my work. I enjoy using the title of a piece to steer the observer into a second direction, allowing them to draw their own conclusions. Often there is a statement made between the lines. I started to explore the art world a few years ago. Recently I was asked if I consider myself an artist. My response was that we are all little artists as children, then as we grow older, we become so busy that some of us forget that fact. Iâ&#x20AC;&#x2122;m in the process of remembering...

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SAVERIAJUDGE

SAVERIAJUDGE Iâ&#x20AC;&#x2122;m excited by the breadth and sensitivity of the monoprinting process. I can work with the immediacy of painting directly on a plate and pull one print. Or, I can work with many plates, layering and offset printing, combining chine collĂŠ elements and gouache painting in a series of changing, nuanced prints. One thing leads to another and hand printing gives me the time to get specific when I need to. Saveria was born in Itri, Italy and lives in Paulden, AZ. She presently works as a Lab Tech in the Yavapai College art studios. She is active in the community and schools and brings fine arts into youth education programs. She attended Swain School of Design, BFA, New Bedford, Mass, Brooklyn College Graduate School, NYC, and U. Mass, Dartmouth, education studies.

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SAVERIA JUDGE | 61

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SARANORD

SARANORD Art communicates something through image, color or feeling. For me at times art comes from the soul and it communicates messages about our connectedness to our planet, the animals, all beings, and spirit. Everything is related. More art, more love, fewer problems. I have been creating art for as long as I can remember. My current love is printmaking. I live in Prescott with my two sons, two dogs, two cats and two chickens.

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BETSYANNDALLY

BetsyANN My artwork is often inspired by random images and ideas forged through my personal experiences in life, such as: the Internet, old books, religion, and travel. I have a quirky and sometimes-dark humor interpretation of the way I see the world around me, which I share with others through my artwork. When something inspires me, I begin by sketching an idea of what I might like to express. I often combine as many as three or four techniques from monotypes, etchings, relief cuts, and chine collĂŠ to simultaneously communicate my ideas. Currently my work has been focused on relief cuts and finding a means to print them in different and non-traditional ways.

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BETSY ANN DALLY | 71

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DONNRAWLINGS

DONN My part-time training began about six years ago, when I decided that anyone could learn a modest amount about design and drawing, and since then I have narrowed my focus mostly to printmaking. As a practiced doodler, I have followed the path from mark-making to pattern to context (and “meaning”). Watching pleasing patterns emerge from exploratory mark-making has led me to try to understand the contexts of meaning that move me about these shapes and to become more purposeful in developing them.

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JOANKNIGHT

JOANKNIGHT I consider a sheet of white paper my personal surface to create a dramatic statement to capture the emotional eye of the viewer. My goal is to use color and design to pull my viewer into an experience that simplifies life and inspires happiness. Joan Knight holds a Bachelor of Arts degree from Kansas State University and holds a California teaching credential.

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JOAN KNIGHT | 81

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BARBWILLS

BARB My artwork is driven by a passion to experiment and create. I work with bare copper plates, blank relief plates and white silk or paper. Inspiration comes from the national forest around my home, quick marks or words in my journal. Every piece is a new journey through layers of imagery, discovery and my response to the materials. My work has been exhibited in galleries and museums throughout the United States as well as Asia. My work is touring Europe through 2015, and has been awarded Best in Show, Surface Design awards and Public Institution Purchase Awards. It can be viewed at Van Goghâ&#x20AC;&#x2122;s Gallery in Prescott, Arizona.

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DANACOHN

DANACOHN I create art that is as close to nature as I can get. Painting broadens my perspective in a more powerful way than anything else I have ever felt. The experience is a walk through a beautiful place that leads to the rewards of the journey. Dana Cohn was born in Long Beach, California in 1966. Raised in Prescott, Arizona, he attended undergraduate school at Augustine College before earning his MFA from Yale University School of Arts in 1993. He currently lives and works in Prescott, teaching painting and printmaking at Yavapai College, and printmaking at Prescott College in Arizona.

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DANA COHN | 91

Luckily for Alice, the little magic bottle had now had its full effect, and she grew no larger: still it was very uncomfortable, and, as there seemed to be no sort of chance of her ever getting out of the room again, no wonder she felt unhappy. But then, thought Alice, shall I NEVER get any older than I am now? That’ll be a comfort, one way-never to be an old woman—but then--always to have lessons to learn! Oh, I shouldn’t like THAT! The Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth, and addressed her in a languid, sleepy voice. “Who are YOU?” said the Caterpillar. “Talking of axes,” said the Duchess, “chop off her head!” “Would you tell me, please, which way I ought to go from here?” “That depends a good deal on where you want to get to,” said the Cat. “I don’t much care where—“ said Alice. “Then it doesn’t matter which way you go,” said the Cat. “Well, then,” the Cat went on, “you see, a dog growls when its angry, and wags its tail when its pleased. Now I growl when I’m pleased, and wag my tail when I’m angry. Therefore I’m mad.” “Well! I’ve often seen a cat without a grin, thought Alice; but a grin without a cat! It’s the most curious thing I ever saw in my life!”

E, M L L E UT O Y D UL E,

O T T H G U O I Y A W H C I H W "WO

PLEAS

in my life! in my life! in GMO ”my life! ? E R E H FRO

Luckily for Alice, the little magic bottle had now had its full effect, and she grew no larger: still it was very uncomfortable, and, as there seemed to be no sort of chance of her ever getting out of the room again, no wonder she felt unhappy. But then, thought Alice, shall I NEVER get any older than I am now? That’ll be a comfort, one way-never to be an old woman—but then--always to have lessons to learn! Oh, I shouldn’t like THAT! The Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth, and addressed her in a languid, sleepy voice. “Who are YOU?” said the Caterpillar. “Talking of axes,” said the Duchess, “chop off her head!” “Would you tell me, please, which way I ought to go from here?” “That depends a good deal on where you want to get to,” said the Cat. “I don’t much care where—“ said Alice. “Then it doesn’t matter which way you go,” said the Cat. “Well, then,” the Cat went on, “you see, a dog growls when its angry, and wags its tail when its pleased. Now I growl when I’m pleased, and wag my tail when said AlicI’m e. angry. Therefore I’m mad.” “Well! I’ve often seen a cat without a grin, thought Alice; but a grin without a cat! It’s the most curious thing I ever saw in my life!”

in my life! in my life! in my life!

Luckily for Alice, the little magic bottle had now had its full effect, and she grew no larger: still it was very uncomfortable, and, as there seemed to be no sort of chance of her ever getting out of the room again, no wonder she felt unhappy. But then, thought Alice, shall I NEVER get any older than I am now? That’ll be a comfort, one way--never to be an old woman—but then--always to have lessons to learn! Oh, I shouldn’t like THAT! The Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth, and addressed her in a languid, sleepy voice. “Who are YOU?” said the Caterpillar. “Talking of axes,” said the Duchess, “chop off her head!” “Would you tell me, please, which way I ought to go from here?” “That depends a good deal on where you want to get to,” said the Cat. “I don’t much care where—“ said Alice. “Then it doesn’t matter which way you go,” said the Cat. “Well, then,” the Cat went on, “you see, a dog growls when its angry, and wags its tail when its pleased. Now I growl when I’m pleased, and wag my tail when I’m angry. Therefore I’m mad.” “Well! I’ve often seen a cat without a grin, thought Alice; but a grin without a cat! It’s the most curious thing I ever saw in my life!” Luckily for Alice, the little

Luckily for Alice, the little magic bottle had now had its full effect, and she grew no larger: still it was very uncomfortable, and, as there seemed to be no sort of chance of her ever getting out of the room again, no wonder she felt unhappy. But then, thought Alice, shall I NEVER get any older than I am now? That'll be a comfort, one way--never to be an old woman—but then--always to have lessons to learn! Oh, I shouldn't like THAT! The Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth, and addressed her in a languid, sleepy voice. “Who are YOU?” said the Caterpillar. “Talking of axes,” said the Duchess, “chop off her head!” “Would you tell me, please, which way I ought to go from here?” “That depends a good deal on where you want to get to,” said the Cat. “I don't much care where—“ said Alice. “Then it doesn't matter which way you go,” said the Cat. “Well, then,” the Cat went on, “you see, a dog growls when its angry, and wags its tail when its pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore I'm mad.” “Well! I've often seen a cat without a grin, thought Alice; but a grin without a cat! It's the most curious thing I ever saw in my life!”

in my life! in my life! in my life!

and, as there seemed to be no sort of chance of her ever getting out of the room again, no wonder she felt unhappy. But then, thought Alice, shall I NEVER get any older than I am now? That’ll be a comfort, one way--never to be an old woman—but then-always to have lessons to learn! Oh, I shouldn’t like THAT! The Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth, and addressed her in a languid, sleepy voice. “Who are YOU?” said the Caterpillar. “Talking of axes,” said the Duchess, “chop off her head!” “Would you tell me please, which way I ought to go from here? “that depends a good deal on where you want to get to,” said the cat. “I don’t much care where—“ said Alice. “Then it doesn’t matter which way you go,” said the Cat. “Well, then,” the Cat went on, “you see, a dog growls when its angry, and wags its tail when its pleased. Now I growl when I’m pleased, and wag my tail when I’m angry. Therefore I’m mad.” “Well! I’ve often seen a cat without a grin, thought Alice; but a grin without a cat! It’s the most curious thing I ever saw in my life!”

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!” EAR D CE ALI TER; , P !” G l U eam s wel KE ER SIS LON ” r A d a A ! W s , H AT AD se D ter iou SAI Y, WH ’VE H a cur er sis all the ave h U h “ WH P YO d suc e told them, t you h e E a h a r h E h SL , I’ve and s embe ers th hen s d , w h h “O Alice ld rem es of ; and her, an r t r, said he cou ventu abou kissed , dea our g d s m r as nge A eadin siste drea in to y o r s r stra been d, he uriou w run late.” S ran d o c e t jus finish AS a : but n etting up an hile t W y g had id, “It rtainl ; it’s ice go king w l Al f, thin s wel ce tea sa of an, a hat a r w t she ight, eam i r m at d she erful she s , d o s won een. S ed eye rself b s e had ith clo eved h i w l on, alf be d. h an and nderl o in W

So she sat on, with closed eyes, and half believed herself in Wonderland, though she knew she had but to open them again, and all would change to dull reality--the grass

would be only rustling in the wind, and the pool rippling to the waving of the reeds--the rattling teacups would change to tinkling sheep-

bells, and the Queenâ&#x20AC;&#x2122;s shrill cries to the voice of the shepherd boy--

and the sneeze of the baby, the shriek of the Gryphon, and all the other queer noises, would change (she knew) to the confused clamor of the busy farm yard--

while the lowing of the cattle in the distance would take the place of the Mock Turtleâ&#x20AC;&#x2122;s heavy sobs.

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Nicholas Borja Gail Brooks Sunshine Brown Jenn Cloyd Prestina Dickson Jaime Gipe enne Greene Jordan Greer Chris Henry Lalani Hitchens Heriberto Millan Jacie Morgan Tyler Perkins Sumiko Pogue Rachel Rose Megan Shelton Alysia Trontvet Wilson Van Ness Shawn Weese Karin Wilhide Nicholas Borja Gail Brooks Sunshine rown Jenn Cloyd Prestina Dickson Jaime Gipe Jenne Greene Jordan Greer Chris Henry Lalani Hitchens Heriberto Millan Jacie Morgan Tyler Perkins Sumiko ogue Rachel Rose Megan Shelton Alysia Trontvet Wilson Van Ness Shawn Weese Karin Wilhide Nicholas Borja Gail Brooks Sunshine Brown Jenn Cloyd Prestina ickson Jaime Gipe Jenne Greene Jordan Greer Chris Henry Lalani Hitchens Heriberto Millan Jacie Morgan Tyler Perkins Sumiko Pogue Rachel Rose Megan helton Alysia Trontvet Wilson Van Ness Shawn Weese Karin Wilhide Nicholas orja Gail Brooks Sunshine Brown Jenn Cloyd Prestina Dickson Jaime Gipe Jenne Greene Jordan Greer Chris Henry Lalani Hitchens Heriberto Millan Jacie Morgan Tyler Perkins 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Prescott Campus 1100 E. Sheldon Prescott, Az 86301 Verde Valley Campus 601 Black Hills Drive Clarkdale, Az 86324 Advising: yc.edu/advising 928.776.2106 or 928.634.6510 www.yc.edu 100 | THRESHOLD

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