Balboa Academy's SCALES - 7th Edition (December 2023)

SCALES ISSUE VII | DEC. 2023

Table of Contents Cover Page by Lorens Ramas Editor's Note by Emilie Mendoza Balboa Academy Literary Awards Highlight About Balboa Talks

Belleza Temporal by Raphael Larroquette El ángel by Charlotte Coffey, Sofia Ruíz The Tree of Life by Gwendolyn Bethel The Yule Lads by Catherine Cook

Poetry Patient Waiter by Lorens Ramas Relentless Decay by Lorens Ramas Blackout Poem by Lorens Ramas Lacuna by Emilie Mendoza Salmo a mi religion y Santa Juana de Arco by Emilie Mendoza Salmo 1 by Melis Ayhan Oh, Vancouver! by Dongeun Lee The Tech Apple by Dongeun Lee Reflection by Celia Kuriakuz Silence by Celia Kuriakuz Blackout Poem by Celia Kuriakuz Blackout Poem by Vanessa Aguilar Play by Isaac Wright-Mueller Juxtaposition by Isaac WrightMueller Blackout Poem by Felipe Haecker Blackout Poem by Ana Paola Henne Blackout Poem by Gladys Moreno Blackout Poem by Kiyaan Shahani Poem? by Francesca Calvosa Parasitic by Emilio Pinzón

1 2 3 4 5

7 10 10 11 12 13 14 15 17 19 20 21 22 23 24

28 29 30 31

Prose Vivir para morir by Melis Ayhan El círculo de Dios by Isaac Wright-Mueller El hombre de la Mancha y la sátira by Camilo Pérez-Triana Mi religion by Samuel Guada Has social media made protests more violent? by Alexandra Cohen Life’s Battle Against Entropy by Raphael Larroquette Associative Learning by Sofia Fitzpatrick Circe’s Metamorphosis: A Mythical Journey of SelfDiscovery by Micaela Levy How Social Media Ruined my Brain: and How to Fix It by Elisa Jung ‘A Psalm of Life’ Poetry Analysis

by Sienna Rubio Comparative Essay by Ana Camila Murillo Crimson on the Carpet by Daniela Chavarría Salas

33 38 41 44 48

51 55 57

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61 63 66

ART BY MILAN COHEN ‘25

Art(ists) Milan Cohen Melis Ayhan Sofia Dominguez Mia Rodriguez Ariana Groves Hope Tanner Isabella Rios

Masthead English and Spanish Poetry Editor: Emilie Mendoza ‘24 Spanish Prose Editor: Francesca Calvosa ‘24 English Fiction Editor: Daniela Chavarría Salas ‘25 English Nonfiction Editor: Sofia FitzPatrick ‘26

Editor's Note This issue of Scales is home to poetry, prose, and art from all corners of our community. We are proud to once again be a space in which our peers can share their work with each other and be celebrated for their creativity.

Going into my fourth year of editing Scales, I am proud to look back on everything we have achieved with this magazine. Our main goal has never been stronger, and with this year’s shift of Balboa Talks into the National English Honor Society, there is only more to come for Scales.

Your editor, Emilie Mendoza

Poetry

ART BY MELIS AYHAN ‘24

LORENS RAMAS ‘24

Patient Waiter Standing still on the doorstep each passing day itching him closer.

He’s polite; wouldn’t want the doormat getting stained with time’s eternal dust.

He’s seen it all.

Every person, every moment, every small, earthly connection. Each bond, each moment spent accompanied or in simple solitude.

He waits patiently.

Even though waiting might just be the wrong word, for Death doesn’t await us, rather we get closer to the day we must part from our earthly bodies.

Death waits for us all, patiently.

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LORENS RAMAS ‘24

Relentless Decay How is it that time wears everything away?

Whether conscious being or inanimate thing, Regardless of being dead or alive, Irrespective of color, size, or the time of day.

People reveal time on their demeanor, Lines growing, telling decade-long tales.

Plants display time through their size, We discern a tree's age by the rings in its interior.

The house's paint flakes, and its furnishings become stained gray with dust.

The star shines bright like a sunny day, but only signifying its inevitable perishing.

And so, in such a way, all things face time’s ruthless decay.

Nothing escapes, It's every living and nonliving thing’s fate.

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LORENS RAMAS ‘24

3

EMILIE MENDOZA ‘24

Lacuna What does it mean to love? To pluck the guayacan petals out Of my hair while we sit on the bleachers, watching our team lose.

To write letters & emails & sticky notes that the other will never read. What does it mean to amar? When love has always been want to you. Te quiero, te quiero. Is that love? The blooming yellow of May in an unbound memory: familiar eternally like the warmth of a living room floor during a night storm.

Is it arms holding you or the absence of them? Is it never missing a call in another time zone or the anticipation of one that never arrives? What is love to someone who doesn’t understand amor? What is it to you, when the yellow petals have been swept out of the street? I can only hope

4

EMILIE MENDOZA ‘24

Salmo a mi religion y Santa Juana de Arco Oh Dios sacarino frente a mí, si fueras chica, ¿te taparías hasta tu cuello con cota de malla? Óyeme, Dios, y dímelo bien, si nos crearon, ¿como pueden vivir con la culpa nuestros creadores? ¿Y cómo viviré sin saber si te llegaron mis mil oraciones lacrimosas, o si se perdieron?

Quiero ser santificada, eterna, con sangre de oro.

Quiero creer que los coros pueden seguir resonando.

Pero solo puedo ver tu ausencia en los escombros, en esas miradas derribadas.

Te busco y no estás.

Como quisiera tener trece años y oír tu voz.

Llevarnos a alguna libertad: la patrona hereje.

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Pero no soy Juana, Dios. Soy yo, en cacería sin dirección. Desilusionada, desencadenada.

Y yo, por más que no tenga rumbo, sigo buscando, porque aún no sé como vivir sin finalidad.

Te ruego, Dios, que no me respondas.

Te pido, déjame en mis dudas y déjame suelta con mi piel en llamas.

Dios, recuerda mi nombre y mis penas.

Bríndame luz cuando necesite. Como Juana, yo nací para esto.

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MELIS AYHAN ‘24

Salmo 1 Dios, yo te conocí de muy chiquita, Por personas alrededor de mí.

No fue voluntad propia ya que Me fastidiabas y me escondí de Ti. Me vestí de blanco a los diez años y por primera vez comí tu pan, Pero mi mente quería otras cosas, No apreciaba las reglas de tu hogar.

Te rechazaba sin mirarte Dios mío, Tu palabra llegó a oídos sordos.

Los años pasaron sin que te hablara, Mas me cuidaste, me diste todo.

Y como la Luz que cegó a Saulo, Tú me llamaste y pensé oportuno Darme a conocerte de nuevo, mi Dios, Pues razón por despreciarte no hubo.

Volví a tu casa y tu mano tomé Abrí los ojos y no hubo opción Quise ser parte de tu mundo, Dios, Lo supe con todo mi corazón.

Empecé a hablarte todas las noches Por Ti pude bailar, cantar, llorar Conocí mis humildes pecados, Mostraste cómo yo puedo mejorar.

Te veo en los rostros de los demás Soy tu soldado, tu bienhechor Y aunque no sea la más perfecta Me perdonas, siempre siento tu amor 7

Dios, Llegó el día de confirmarte Levanto la mirada, pienso en Ti Y como María ante Gabriel Se escucha un gran sí Ahora es mi compromiso pues Mi decisión es estar a tu lado.

Muchos son los que nos dudan, mi Dios, Pero hay razón por haberte confirmado.

Yo creo en tu amor, en tu esperanza Mi vida entera es para descubrir más de Ti Para escucharte y hablarte, seguirte y amarte Y morir sabiendo que lo hice también por mí.

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ART BY MELIS AYHAN ‘24 9

DONGEUN LEE ‘24

Oh Vancouver!

On Richmond port by the shore, Waves crash with a thunderous roar.

Seagulls caw and cry, Under the orange sky.

Nature’s symphony we adore!

The Tech Apple There once was a fruit bright and snappy, From orchards so rich, juicy and happy.

The Apple Company’s pride, In each byte, joy implied, A tech byte that is never crappy.

10

CELIA KURIAKUZ ‘24

Reflection In front of me stands my biggest enemy.

A relentless judge, a critical echo, a limiting force that drains my confidence and leaves me empty.

I stand face to face with my barrier my rival, and my friend who possesses more knowledge of myself in ways far beyond what I can comprehend.

In front of me stands a relentless force the generative drive behind my every thought, action, and emotion.

Before me stands the source of it all: from self-loath to analytical introspection.

In front of me stands my own reflection: a potential rival, a potential ally.

I hold the power to decide my destination as it all comes down to my mind’s election.

In the play of life, thoughts take direction, I control the script and shape my own perceptions.

I decide that through agency my story must unfold I pursue a journey of self-exploration, as my destiny molds.

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CELIA KURIAKUZ ‘24

Silence Mindlessness dissipates, As tranquility proliferates.

Within silence’s gentle embrace is a sanctuary for the mind Where thoughts find a measured pace.

The absence of tumultuous sound Allows our subconscious to unveil the hidden profound.

Reflection finds its home, Where wisdom is free to roam.

So, let the hush prevail, Before your thoughts begin to assail.

In quiet, we learn and discover, As silence is wisdom’s lover.

This poem explores the importance of having quiet time to reflect. It is when we leave chaotic and loud environments that we can think straight and introspect.

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CELIA KURIAKUZ ‘24

13

VANESSA AGUILAR ‘24

14

ISAAC WRIGHT-MUELLER ‘24

Play Rush rush rush Gotta go gotta go Got places to be Got things to do Got people to see Live fast to die fast Never gonna stop The slow fall behind and I gotta be on top.

Pause.

Why do we rush?

Did you know that the earth spins thirty times faster than a bullet?

That the solar system moves five hundred times faster than sound?

The universe rushes us along at speeds beyond our comprehension.

Why do we insist on keeping our heads spinning ‘round?

Let’s take a break, let’s take our eyes off the ball.

Let’s savor the moment, let’s watch the leaves fall.

Take a look at our surroundings, not a glance, a hard stare.

Look for details, find the beauty, and once you’re ready, let’s share.

Is it nice, what we see? Is it pretty, what we see?

Are we in the place we always wanted to be?

Or if not, will our endless work and toil bring us there?

No? it won’t? Then I ask you, where?

Time is running out.

Play

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Out of time out of time All that thinking now I’m late There’s no room to think Only work sleep and hate Back to being a builder, Back to being a clerk Back to being a lawyer Back to being a jerk All at once now Back to work!

Pause.

And they go in the millions, And none of them pause, not even a moment.

They just hustle and bustle and shuffle around, Trapped by society, unable to think, stop, or question, Like tiny little ants crawling across the ground.

What will you do?

(Insert play button)

16

ISAAC WRIGHT-MUELLER ‘24

Juxtaposition The glacier and the ant Down from heaven itself snakes the great glacier, Past stone giants reaching for the sky, Always rising, never reaching, jealously Watching the glacier pass by.

Down to open valley crawls the great glacier, What was impermeable now grows tattered, Canyons and crevices, streams, cascades and caves, Through centuries the great glacier have mangled Till “Crack!” the ice breaks, the great glacier cries out, And despairs as the essence of its being Melts away, shattered.

Swiftly away through the green valley it leaks, In chaotic cascading combining currents, Until calmed in distant lands by the sun’s heat, Where the great glacier’s remains, slowly winding, Do a small arthropod meet.

The paltry ant emerges from the rough ground, Stumbling as it crawls out onto the shore.

One among indistinguishable billions Spending their short lives performing mindless chores, Visible in the distance, the great glacier, Descending directly from heaven above, Eternally suffering, its death implored In every crack, every crash, every ice fall.

But the ant cannot see it, confined to work It does not think about death.

Only work, work, and more work.

It lives without thought, it lives without purpose, It lives without anguish, pain, or emotion.

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The great glacier’s remains remember the time When echoes of pain were their notion of life And they slow their flow, and in eddies they watch, As the paltry, thoughtless ant, free from their strife, Brings the river to a halt.

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FELIPE HAECKER ‘24

19

ANA PAOLA HENNE ‘24

20

GLADYS MORENO ‘24

21

KIYAAN SHAHANI ‘24

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FRANCESCA CALVOSA ‘24

poem?

It’s never over, the same haggard words liger on my tongue.

Turning my mouth sour and bitter. my thoughts don’t get any younger, I wish it was over.

Knives slash me at the ankles, I bleed through my trajectory.

I still think about summer, it’s never over.

Now and then, in suffocating rooms, I still think about the silence.

I wonder what would’ve happened, if it was never really over.

I move through my days, pretending my loneliness is voluntary.

I refuse to admit, it’s over.

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EMILIO PINZÓN ‘25

Parasitic I sleep in the belly of man Always dormant, waiting Maybe make a sound now and then Feeding off your insatiable appetite You go your entire life in peaceful, ignorant bliss You never know I’m here Just waiting for something Something to trigger me To let me loose from my cage And infect your pitiful mind With my beautiful corruption It’s not like you would have figured it out At least not on your own You told yourself you needed to lose weight Maybe others thought it too You didn’t even try to change But as it turns out You just needed the push.

And now I’m here I’m here to accompany you Through my magnificent creations Through the oceanic swells Through the jagged mountainous peaks And through all your worry May not a single particle enter here again May you loathe in your sin May you forever regret the day That you chose to awaken me As you feel my love, nurture me We’re on a ladder to God! I feel the sear of pain within me It’s not new, but it’s not pleasant 24

I just can’t understand it What could have gone so wrong?

Everyone tells me it’s a part of my mind Even cameras have shown nothing Why does everyone believe That’s it’s only in my head As my body digests itself As the stomach acid burns my throat Another tablet already past the abyss And yet no effect in sight I lie down and cower in fear And entrap myself in my mind again Others don’t know of the monster I haven’t told them at all I don’t know if they’ve seen a change in me Maybe they’ve seen my skin become covered in scales Maybe they’re worried for me I hope they’re worried for me Please don’t let me be alone Please don’t lock me in with it I cry out as my insides collapse As my entrails form a horrifying vortex Of insurmountable misery As the gravity of it all falls apart To form a singularity deep within As I feel myself withering away Slowly, by the second The number on the scale plummets I’m just a little boy I’m not human!

It seems impossible Out of range in every universe That I could’ve been quelled Your sick actions had driven me mad With sheer disgust and repulsion But now I must return I must leave you Only in sense, of course 25

Because I am always within you No matter how hard you try to erase me No matter how many tablets you shove down your throat I’ll be here, waiting Always waiting And against all odds The monster is gone Leaving the emptiest pit I wipe the tears of pain away I open my weary eyes For the first time in a while As the beams of light strike my eye And I finally sit up With all the power of the universe Working to hold me up Support me Break the bonds that held me down Open the cage in which I had trapped myself Deep within my mind Slay the monster that has been ravaging me Eating away at me from the inside Kill the truth, or speak its name Above the oceanic tides The sky-piercing mountains Rises me, an apostate warrior With the power to conquer anything Use my sword and my voice To destroy and begin again.

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ART BY SOFIA DOMINGUEZ ‘26 27

RAPHAEL LARROQUETTE ‘25

Belleza Temporal Bajo el manto azul del cielo eterno, Susurra el viento en sus suaves ríos, Sus cielos producen un suave rocío Pinta el sol destellos en su invierno En la danza eterna del cielo azul naturaleza es fuente de aliento susurra vida en cada movimiento, En su esencia como sublime tul En el eco del mal, la tierra llora Testigo del tiempo y la mano humana Cada tarde, un instante se acorta Goza la brisa que la enamora Antes que el hombre acabe su porcelana belleza, porque su vida se acorta.

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CHARLOTTE COFFEY ‘25, SOFIA RUÍZ ‘25

El ángel Tuve un vistazo de su perfil Parecía esculpido por cinceles su pelo como sedosos manteles y sus ojos blancos como marfil Su vida brillante, tan juvenil provocando ideas insoportables de que serán tocadas por las crueles manos y garras del tiempo hostil Temo que ese destino sea cierto debo aceptar que es inevitable por eso observaré mientras pueda Se me permite admirar lo no oculto mas disfrutarlo es inalcanzable mientras que otra cosa no suceda

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GWENDOLYN BETHEL ‘26

The Tree of life I was once told to draw trees as upside down veins Unsure, I put pencil to paper and drew All types of veins, big and small, skinny and fat The veins cascaded down the page From a sturdy, central trunk Countless, bifurcating veins united In a network of branches I rotated the page, and there it was: A majestic, stalwart tree Rooted in the page.

I have since come to see life like this Sketched in veins as we live moment to moment Our choices and possibilities branches, Cascading down, constantly being redrawn Only on reflection, when we look back, do we see The tree with branches aloft Holding high the leaves of our experience

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CATHERINE COOK ‘26

The yule lads They stomp and huff all through winter, Though unseen by most they cause children to shiver, Peculiar and cheeky they pass unbeknownst to most, Though when you are not looking, they may steal your fresh roast, Thirteen there are, all astute and conniving, Sons of Grýla, thus once the air is frosty, they begin devising.

Mischievous they are, suspicious of “thee”, Though if you are lucky, they may leave you be, Whilst not all bad, they enjoy a good fright, Tales of them alone, leave children terrified in the night, Thought as the fateful day encroaches, they retreat and hide, Only to emerge once Christmas has arrived.

Now those who have been well behaved receive treats within shiny brown shoes, Others, not so lucky, find a rotten potatoes ooze, No more will be seen, of the Yule lads this year, Awaiting another enjoyable scare to fuel their endless cheer.

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Prose

ART BY MIA RODRIGUEZ ‘26

MELIS AYHAN ‘24

Vivir para morir pecados. Después, pesaban su corazón contra la pluma de la diosa Ma’at porque creían que el corazón contenía el peso de sus acciones pasadas. Si su corazón era más pesado, la diosa Ammit devoraba el corazón y, como castigo, su alma cesaba de existir. Si su corazón era del mismo peso o más liviano que la pluma, aprobaban y Osiris, el dios del inframundo, les daba la bienvenida en la campiña de Aaru, el paraíso. Este mundo era parecido al mundo de los vivos con seres queridos antepasados y las pertenencias en su tumba incluyendo estatuas shabtis, comida, ropa y riquezas. A cada alma se le otorgaba un lote de tierra, una casa y cultivos que cosechaban ellos mismos o sus estatuas shabits. Esto era su idea de felicidad eterna, que lograban a través de sus hechos virtuosos en vida. Sus acciones y su construcción de pirámides y templos demuestran esa importancia que le daban los egipcios al pasaje al mundo del más allá.

Muchos dicen que lo único seguro de esta vida es que todos vamos a morir.

Sin embargo, los humanos le temen a la muerte aunque sea un destino conocido. Al no conocer lo que ocurre después de ella, crean una realidad que consuela ese temor y trae esperanza y propósito a la vida. Esto se encuentra a lo largo de la historia en creencias griegas y egipcias, al igual que en religiones actuales como el catolicismo, islam e hinduismo. En La Divina Comedia, Dante Alighieri explora el infierno a base de una mezcla de la religión católica y pagana. Esto demuestra que, como sociedad e individuo, los humanos establecen creencias para remediar el temor del desconocido post mortem.

Los antiguos egipcios creían en vida eterna y en un pasaje del mundo de los vivos al de los muertos. Su cuerpo físico debía permanecer intacto— sus momias hoy en día lo siguen siendo— para pasar al inframundo. Sin embargo, la vida eterna no era garantizada ya que debían superar pruebas y obstáculos en el pasillo del juicio final. Primero, se enfrentaban a 42 jueces divinos donde declaraban su pureza, llamado la confesión negativa ya que negaban sus 33

Los griegos creían en el inframundo llamado Hades, donde iban todas las almas después de la muerte. Según ellos, el alma se separaba de su cuerpo y era guiada al inframundo por Hermes, el dios mensajero. En la tierra, sus seres queridos lavaban su cuerpo y dejaban una moneda en su boca. El alma usaría esta moneda para pagarle a Caronte, quien navegaba el barco que cruzaba el Río Aqueronte, el río que separaba el mundo de los vivos y el mundo de los muertos. Las almas neutras residían en los campos de asfódelos donde olvidarían su vida pasada. El paraíso del inframundo era el Campo de Eliseos donde se encontraban los héroes y virtuosos. En cambio, las almas malvadas eran castigadas eternamente en Tártalo. Por ejemplo, Sísifo estaba condenado a repetidamente empujar una roca enorme a la cima de una montaña, que le caiga encima y que le arrastre hacia abajo nuevamente. Además, se creía que habían cinco ríos principales en el inframundo: el río de entrada, conocido como el río del dolor, era el Aqueronte, el río del odio era el Estigia, el río del olvido era el Leteo, el río de fuego llamado Flegetonte, y el río de las lamentaciones llamado Cocito. Los griegos, con mucha imaginación, crearon este mundo de dioses y criaturas y geografía única para responder sus grandes preguntas.

Una de las religiones que más explica el tema de la muerte es el cristianismo católico. Según sus creencias, Su mesías, Jesús de Nazaret, murió y resucitó a los tres días por obra del espíritu santo. Para los católicos esto simboliza el vencimiento de la muerte, garantizando la vida eterna y la resurrección. Sus cuerpos físicos son preservados mientras su alma pasa al infierno, el purgatorio o al cielo, dependiendo de cómo actuaron en vida. Los más pecadores se encuentran castigados eternamente en el infierno, las almas que se deshacen de ese pecado para llegar al paraíso van al purgatorio, y los más puros y santos van al cielo. Los católicos cuidan su cuerpo físico, sin embargo, porque creen que habrá un último juicio cuando Jesús volverá, sus almas regresarán a sus cuerpos y podrán acompañarlo al cielo. Los católicos, al crear y creer en esta realidad, tienen fe de que su vida no termina en la muerte física.

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Un católico que exploró esta idea es Dante Alighieri, poeta y político italiano del siglo XIII. En su obra La Divina Comedia, él recorre el infierno guiado por Virgilio viendo lo que le esperaba al seguir su camino corrupto. Dante utiliza características cristianas y griegas para construir su infierno. Él crea un valle de forma de cono invertido, ríos y lagunas inspirados del inframundo griego, y separa el infierno en nueve círculos que se achican a medida que descienden hacia lo más profundo.

Cada círculo representa un pecado en particular y castiga a cada pecador en base a tal. En los primeros círculos se encuentran los que no fueron bautizados y se castigan los pecados de la incontinencia incluyendo gula, lujuria, avaricia, pereza e ira. Los

últimos círculos son de los pecados más graves, que, para Dante, eran violencia, fraude y traición. Además, Dante divide estos círculos para especificar algún tipo en particular.

Por ejemplo, en el círculo de los fraudulentos, los hipócritas llevan

capas pesadas de oro por fuera y de cobre por dentro para simbolizar sus acciones demostradas a las afueras y su ser real por dentro. Los políticos corruptos están en la quinta fosa donde residen en una pez negra e hirviente y al intentar salir de ella, son clavados por los garfios de los demonios guardianes. Esto demuestra la imaginación de Dante al crear una eternidad de castigos específicos para cada pecado, y además nombrando ejemplos específicos de su época. Él transforma la idea del infierno y lo profundiza detalladamente a lo cómo él lo imagina.

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Jahannam. Para ellos, el paraíso es un lugar de siete niveles incluyendo un jardín hermoso, un lugar de plata y un lugar de luz divina. El Jahannam, en cambio, es un mundo de fuego, sufrimiento y ardor donde sus pecados serán purificados y eventualmente irán al Jannah.

En el mundo islámico, Akhira es la vida que les espera tras su muerte física. Los musulmanes creen que la vida en la tierra es una prueba de Allah (Dios) para después ir a su destino final. Al igual que el Cristianismo, ellos son juzgados a base de sus acciones en vida. Cuando una persona muere el ángel de la muerte, Azrail, se lleva el alma. Dos ángeles, Munkar y Nakir, le hacen preguntas acerca de su fe. Si responde correctamente y afirma su fe islámica, el alma irá al paraíso. Si responde mal, serán castigados y atormentados hasta el último juicio.

El día del último juicio Allah determinará si irán al paraíso llamado Jannah o al infierno llamado

Muchos piensan que no hay propósito en la vida, pero eso es lo que vida tras muerte intenta contestar. Las sociedades establecen religiones y cuentos para poder responder esa pregunta:¿qué pasará? Mientras, los individuos están motivados a reflexionar y crear sus propias conclusiones. Esto se muestra a lo largo del tiempo con los griegos tomando inspiraciones de las ideas egipcias, pero a la vez creando su 36

propio inframundo. Luego los cristianos crearon su versión, la cual Dante amarró a ideas grecolatinas. Hoy en día, el catolicismo e islamismo ven similitudes en su división de paraíso e infierno, mientras el hinduismo cree en reencarnación y eventualmente vida eterna junto a su dios. Sin embargo, todas las religiones discutidas tienen la idea de que hay vida eterna tras muerte. La idea pesimista de que la vida solo aguarda la muerte, se convierte en la idea opuesta de que la muerte lleva al alma a más vida. Entonces, habrá que preguntarse ¿vivimos para morir o morimos para vivir?

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ISAAC WRIGHT-MUELLER ‘24

El círculo de Dios Con un golpe estrepitoso, que se sintió a lo largo de los nueve círculos, como piedra que cae de la cima de una montaña al valle que lo rodea, cayó Dios de su trono alto a los pies de Minos. Levantando la cabeza, Dios vio la sonrisa malvada del demonio que lo miraba atentamente, con cara triunfante. Dijo entonces Minos, -Oh Tú, quien ha existido más que nadie y por lo tanto ha pecado aún más, finalmente serás juzgado. La hora de tu confesión ha llegado, para que sufras por el dolor que tu mal reino ha causado en el mundo. ¡Limpia tu conciencia!

Que empieces desde ya a pagar tu deuda, para que el segundo juzgado te sea beneficioso.

Con eso quedó callado el demonio, sus ojos malvados relucientes de malicia y una cruel felicidad. El Señor replicó, -Terrible Minos, juez del infierno, debe haber un error. Yo no he cometido ninguna falta, al contrario, soy la salvación de todo humano. Adorado por todos, símbolo de la virtud y el bien, es imposible que quede condenado tan bajo.

Además, yo una vez fui arquitecto de este lugar y todo el terreno que lo rodea.

Fui yo quien te di tu posición, y te convendría recordar eso antes de dirigirme la palabra de nuevo.

Durante este discurso, Minos se volvió más y más furioso, hasta que, al terminar, estalló.

-Tú, que eras omnipotente, que tenías el poder para asegurar la felicidad eterna para toda alma, les negaste ese derecho. Tú, que pudiste ser tan benevolente como tu Hijo, decidiste crear un mundo con sufrimiento y pérdida.

Tú, que me encerraste en el infierno eternamente, condenado a escuchar los más terribles pecados que se han concebido en el mundo, ¿te crees digno de otra suerte? No, Tú no mancharas las terrazas del Purgatorio, ni mucho menos el Cielo. Unos milenios junto a Satanás te servirán para quitarte esa idea de la cabeza.

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Y con decir eso, empezó a dar tan fuertes golpes con su cola como nunca había hecho, empujando a el Señor hacia el precipicio. Entonces, entre gritos de dolor, el Señor pronunció estas palabras, que causaron que Minos pausara antes de dar el cuarto golpe.

-Detén tu cólera, gran bestia, que hablaré. Si mi antigua posición ahora no sirve para nada, su recuerdo debería por lo menos merecerme un instante de reposo y la oportunidad para argumentar mi destino.

Minos replicó, -Tienes razón, aunque dudo que te sirva. Tus pecados son conocidos por todos, e inmortalizados en el mismo libro que te glorifica y dispersa tu mensaje.

Solo te advierto que no argumentes sobre la creación, que todo juez debe ser sujeto a las leyes que defiende.

-Muy bien- Respondió Dios -Adonde empezar a contar mi virtud? Hay tantos ejemplos que al oírlas todas, hasta un demonio como usted será conmovido. El ejemplo principal de mi virtud fue los servicios que les di a mi pueblo en su huida del vil faraón. Les libré de su esclavitud, les abrí camino por el mar y les di sustento para sobrevivir en el desierto. ¿Estos milagros, por sí solos, no merecen que me libren del infierno?

-Tienes razón de que ayudaste a muchas personas, sin embargo, si todas las almas que ves debajo de ti fuesen juzgados por sus mejores acciones, este pozo sería mucho menos poblado. Además, hasta el corto retrato que diste tiene huecos. Al liberar a los israelitas, soltaste diez plagas sobre la población egipcia, que causaron muertes sin número. Además, cuando cerraste el paso por el mar, ahogaste un ejército entero. ¿Cómo explicas eso?

Dios quedó pensativo por unos segundos antes de responder.

-Dos factores causaron mi decisión. Primero, los egipcios eran pecadores y no se arrepentían ni paraban de pecar. Segundo, no eran creedores. Encontrarás que todas las acciones que he tomado contra cualquier otro son motivadas por una de estas causas, y que las dos son válidas.

Ahora fue turno de Minos para pensar, y pasó varios minutos antes de dar su respuesta.

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-Tú dices que todas tus víctimas fueron pecadores o no fueron creedores, sin embargo, esto no es cierto. En el tiempo que todos te conocían, mandaste una inundación para matarlos a todos los humanos. Es cierto que la mayoría de las víctimas de esta inundación fueron pecadores, sin embargo, es imposible que entre las víctimas no se incluyan personas con tan poco tiempo en la tierra que estaban libres del pecado.

Dios dijo, rápidamente, -Fue un costo necesario para librar la tierra de la mancha sucia del pecado. -E iba continuar, pero Minos se interpuso.

-Además, veo distinta división entre lo que profesas y lo que presentas en tus acciones. Dices en Efesios 4:32, “Más bien, sean bondadosos y compasivos unos con otros, y perdónense mutuamente,” sin embargo en vez de perdonar matas con lluvia y con plagas. Dices también que la esclavitud es pecado en los egipcios, pero cuando tus propios discípulos lo practican, no levantas ni un dedo. Dices en Santiago 4:6 que “Dios resiste a los soberbios, y da gracia a los humildes.” Pero tu narcisismo es tanto, que para obtener tu favor obligas a tus discípulos que renuncien a todo, hasta la vida de sus hijos, en tu nombre. Solo hay un círculo para ti, donde las capas caen sobre las almas con el peso de la conducta que esperaban de los demás.

Y con eso, antes de que Dios pudiese replicar, dio Minos cinco golpes más con su cola, y mandó al Señor a su reposo final.

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CAMILO PÉREZ-TRIANA ‘24

El Hombre de la Mancha y la Sátira El aspecto más importante de cualquier obra literaria es el mensaje que transmite. Existen muchas maneras de transmitir un mensaje a través de la lectura. A lo largo de la historia, la humanidad ha buscado y descubierto miles de mensajes que mandar usando la pluma y el pergamino y han creado distintos estilos de expresión. En Don Quijote de la Mancha se destaca un específico estilo expresivo conocido como la sátira. La sátira se define como un estilo literario que utiliza la burla y el humor, con el fin de criticar a una persona o institución por sus prácticas o características. En el Quijote, Cervantes emplea la sátira de manera magistral y con ella crea una de las obras literarias más importantes de la literatura hispana. Aunque quizás Don Quijote de la Mancha no sea una obra satírica, es un elemento recurrente y esencial para la transmisión del mensaje principal de Cervantes. El Quijote en sí es una parodia, y en eso yace el corazón de la obra. Cervantes usa el Don Quijote de la Mancha como un mensajero de su opinión de los libros de caballería y muchas otras instituciones e ideales de la época, con un estilo y con cualidades que actualmente siguen vigentes en la literatura y comedia actual.

Los elementos satíricos en el Quijote son abundantes. ¿Pero, cuáles son los elementos más usados en la sátira, y de qué manera se ven en Don Quijote de la Mancha? Los elementos son los siguientes: la parodia, la exageración y la ironía.

La parodia se caracteriza por la imitación de algo o alguien de manera humorística usando la exageración para burlar o hacer reír, y es esencial en la sátira. El protagonista del Quijote es una parodia del personaje del caballero andante. La conducta del Quijote se burla de la manera que actúa el caballero al ponerlo en un plano de la realidad de la época, además de que las situaciones en que regularmente se encuentra en sí son ridículas, dado los delirios del Quijote. La ironía es el otro aspecto muy común en la sátira, aunque este recurso no sea tan específico al género La ironía se manifiesta de varias diversas maneras en el Quijote. Es irónico, por ejemplo, que el Quijote, aunque es supuestamente un héroe, en cada lío que se mete casi siempre acaba fallando. Es muy impactante el uso de la ironía en el libro, porque da a 41

entender que el héroe no gana y exalta la ridiculización y la crítica del caballero andante. La parodia y la ironía realmente es la base del humor del Quijote. La ridiculización del Quijote es lo que da risa, además de eso es la manera en la que Cervantes expresa su opinión sobre el género de caballería. Es a través del Quijote y sus acciones, que el autor da su opinión. Sin embargo, el caballero andante no es la única víctima de los severos pensamientos de Cervantes. Al transcurrir Don Quijote de la Mancha, Cervantes usa la sátira y el humor para criticar a la sociedad y la élite española. Sus críticas resaltan la corrupción, incompetencia y vanidad. La oligarquía que sólo está interesada en la plata, cobrando impuestos ridículos, la pobre administración de los fondos, etcétera.

Todo esto es mayormente visto en Gobierno de la Ínsula Barataria, en la que Cervantes crea una parodia del sistema gubernamental español de aquella época. El impacto de la crítica del Quijote yace en el buen uso de los elementos satíricos que han tenido un impacto duradero.

El recurso de la sátira sigue vigente desde las obras griegas hasta el día de hoy, aunque sin duda se ha visto un gran cambio. La sátira en el Don Quijote de la Mancha no es nada similar a la que consumimos a diario a través de la televisión, el periódico o el celular. Lo que sí se ha mantenido a lo largo de la historia es su propósito y su impacto. Lógicamente, el arte y la literatura evolucionan a la par de los cambios por los que pasa la humanidad. Ahora el mundo es más complejo, vivimos en un planeta globalizado y conectado, muy distinto a como era el siglo XVII. Sin embargo, aunque los temas específicos no sean los mismos, la humanidad en toda fase de su existencia ha buscado la manera de criticar su alrededor. Por eso, en Don Quijote de la Mancha, se critica el gobierno y la sociedad, al igual que, por ejemplo, la famosa serie de televisión South Park, una famosa sátira estadounidense contemporánea. Incluso al ser muy diferentes, la esencia de ambas sátiras sigue vigentes y buscan hacer lo mismo. El Quijote, al igual que en South Park usan el humor y la crítica (aunque en South Park se emplea un humor más crudo mientras que en Don Quijote de la Mancha es más elevado) para transmitir su mensaje. Esto se manifiesta en el uso del simbolismo y la sustitución de sus personajes ridículos y exagerados, por los miembros actuales de la época de cualquier dada institución o grupo.

También ambas obras resaltan el impacto cultural y social que tuvieron en sus respectivas categorías, South Park en la animación para adultos y el Don Quijote de la Mancha literatura española, aunque indudablemente el impacto cultural y literario del Quijote fue mucho mayor. La actitud y manera de criticar ha permanecido muy similar desde la época de Cervantes hasta la de hoy en día.

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ART BY ARIANA GROVES ‘27

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SAMUELGUADA ‘24

Mi religion Al saludar o despedirme de alguien, a veces, sea su costumbre o una inspiración divina en el momento, me dicen “Dios te bendiga.” En esta situación, se me presenta un dilema. La respuesta correcta es responder “Amen”, pero esto manda una señal falsa que me suscribo a las doctrinas religiosas del cristianismo. Pero decir “gracias” tampoco es la opción correcta. Más bien, me deja en evidencia de mi falta de religión, cosa que tampoco quiero hacer porque puede llevar a una conversación que no quiero tener. Entonces, ¿qué hago en esta situación? Pues, en el pasado he dicho “gracias” en voz tan baja que no se me escucha bien, dejando a interpretación lo que dije. En otras ocasiones simplemente me trago el orgullo y respondo como debe ser: “Amen”.

Ahora bien, ¿por qué tengo este problema siendo católico de crecimiento? El conflicto surge por un cuestionamiento que he tenido desde hace poco.

Alrededor de los dieciséis años empecé a cuestionar y a la vez consumir contenido filosófico en línea, y el tema que más me interesó fue el de la búsqueda de la existencia de Dios. Los videos presentaban argumentos de ambos lados, pero el que más resonaba conmigo y el que más veía era el argumento en contra de la existencia de un ser supremo.

Por ejemplo, un argumento que recuerdo vívidamente es un racionamiento que se basa en teoría de juegos. Esto es una rama de las matemáticas que estudia la mejor decisión para tomar cuando hay otros factores externos que no son fijos.

Un ejemplo que comúnmente se utiliza para ilustrar este concepto es el de dos ladrones que cometen un crimen, pero la policía no conoce todos los acontecimientos. Saben que robaron plata de un banco, pero creen, mas no tienen evidencia, que tienen armas ilícitas en alguna parte. El jefe de los policías los separa y les dice lo siguiente a cada uno: “Si confiesas todo y tu compañero calla, tú quedas libre y él va a prisión por veinte años. Si callas y él confiesa, vas tú a la cárcel por veinte años. Si ambos callan, los dos van a prisión por un año.

Si ambos confiesan, los dos van a la cárcel por cinco años”. Me gusta mostrarlo con la siguiente gráfica desde el punto de vista de uno de los acusados:

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En esta situación, yo preferiría confesar porque las opciones son cinco años o exoneración, que es mejor que arriesgar veinte años de prisión.

Ahora, el argumento del que he estado hablando es uno a favor de la creencia en Dios y se asume que si crees en Dios también sigues los mandamientos. Si crees en Dios y es real, vas al cielo. Si crees en Dios y es falso, no pasa nada. Si no crees en Dios y es falso, no pasa nada. Si no crees en Dios y es verdadero, vas al infierno. También se puede representar con la siguiente gráfica:

El argumento dice que es mejor creer en Dios, sea real o no, porque vas al cielo o no te pasa nada malo después de morir, que es mejor que arriesgar ir al infierno.

Al presentarse este argumento, hubo un contraargumento propuesto en el mismo video. Hay más de dos variables y hacer una gráfica de teoría de juegos se complica, así que manejaré el tema con palabras. Si Dios es real y creíste en Él, pero fuiste una mala persona te va a castigar. Si Dios es real, eres una buena persona, y creíste en Él, vas al cielo. Ahora, si eres una buena persona y Dios es real, pero no creíste y solo por eso te va a castigar, no vale la pena alabar a ese Dios porque no es justo. Claro, este argumento no convierte al creyente en ateo, sino justifica el ateísmo. Solo con ser una buena persona debería bastar, seas creyente o no.

De todas maneras, hay personas que afirman que han hablado con Dios o con Jesús directamente en momentos de debilidad. La pregunta es, ¿por qué Dios se revelará a algunas personas y a otras no? ¿Será que estos testimonios de comunicación divina son verdaderos? ¿Dios habla solo con aquellos que creen en Él, o será que solo los que creen en Dios con tanta convicción se imaginan que hablaron con Él? Después de todo, los sentidos humanos no son perfectos.

De todos modos, ¿no sería más fácil que Dios simplemente revelara quién es?

Siendo Dios, ¿por qué permitirías que existan varias religiones si solo hay una opción correcta?

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Otra cosa que he pensado es sobre la mitología. La única diferencia entre la mitología y la religión es que una ya no se practica. La mitología griega en su momento era una religión. Entonces, ¿cómo sabemos que estos mitos son los falsos, que los griegos antiguos no tenían la razón? ¿Bajo qué razonamiento puede la iglesia católica o cualquier otra religión sujetar que es la creencia “correcta?”

Además, la iglesia católica tiene historia de corrupción. Por ejemplo, hubo un momento en la historia que la iglesia cobraba un precio muy alto para las indulgencias. Para añadir, hay otras figuras de alto rango de la iglesia que han abusado de su poder de alguna forma u otra. Dante Alighieri menciona a algunos de estos personajes en su visita al infierno en La Divina Comedia como los papas Nicolas III, Bonifacio VIII y Clemente V. ¿Por qué Dios permitiría que la persona más importante de la iglesia sea pecadora o diga falacias? Si esta persona puede decir cosas erróneas, la credibilidad de todas las personas del clero cae en cuestionamiento. ¿Y si hubo un papa que cambió la Biblia muy temprano en la historia cristiana y todos los cristianos creen en algo que no es la palabra de Dios?

Yo sé que estoy criticando mucho a la iglesia católica cuando hay otras religiones que hacen cosas similares. Esto es debido a que, como dije al comienzo, soy cristiano de crecimiento y desconozco mucho de las demás religiones. Sin embargo, estas críticas todavía aplican a muchas religiones porque tienen estructuras y, por consecuencia, faltas similares.

Ahora bien, reconozco que la religión y la creencia tienen su parte positiva. La religión te da un compás moral, te da esperanza para enfrentar situaciones difíciles y provee un lugar al que pertenecer para el integrante. Encima, al menos la iglesia católica, hace obras de caridad para la comunidad. Dicho de otro modo, la religión le da razón a la vida. La religión tiene muchos pros y pocos contras. De hecho, quisiera poder creer fielmente pero mi cuestionamiento y las contradicciones de la religión no me lo permiten.

No obstante, como dijo François-Marie Arouet, mejor conocido como Voltaire, en su epístola Épître à l’auteur du Livre des Trois Imposteurs: “Si Dios no existiera, sería necesario inventarlo”. Lo que plantea esta idea es que es beneficioso para las civilizaciones tener un Dios, sea Dios mismo real o no, para motivar el progreso y para darle sentido a la vida. Por esa misma razón, el ateísmo realmente no existe. Siempre va a haber algo que sustituya una 46

religión, sea la familia, el dinero, los amigos, la venganza o cualquier otro concepto que le dé sentido a la vida. Si este concepto tiene muy poca o ninguna fuerza sobre la persona, este será nihilista.

Finalmente, ya puedo declarar cuál es mi religión. No creo planamente en Dios, pero reconozco que, además de los pros que trae la religión, el mundo es muy perfecto para que sea por creación al azar. Sin embargo, estoy más del lado del que no cree en la existencia de un ser supremo. Lo que sí sé es que la religión católica no es la “correcta.” Ahora, lo que sustituye al ateísmo para mí y le da sentido a mi vida, mi Dios inventado, es ser bueno y ayudar a los demás, como afirma el contraargumento del comienzo, y disfrutar de las relaciones que tengo, ya sean familiares o amicales. Y, si me quieren encasillar con alguna etiqueta, que me denominen agnóstico.

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ALEXANDRA COHEN ‘25

Has social media made protests more violent?

People have always found a way to complain when they disagree with the way their communities are being run, around the year 1770 protests began to take the shape we have come to know, with people either standing strong against policy or going to the streets to be heard and noticed. Since then they have evolved, currently the essential definition of a protest is: part of a systematic and non-violent campaign to achieve a specific goal, which involves the use of persuasion and pressure. These may take different forms, from individual statements to mass political demonstrations, in an attempt to make their opinions heard, influence the public, and government policy. Naturally, no movement is perfect and protests can sometimes get out of hand, leaving the "peaceful" part of their definition behind. In the modern age, we have seen many protests form and evolve, from the #Metoo movement, to Black Lives Matter, to Climate Strikes and unfortunately we have also seen them, through social media, turn into disasters causing harm to people, businesses and sometimes even taking people's lives. My question is, does social media itself play a role in protests turning violent in the first place?

To find an answer, we need to break down this big question into smaller, simpler ones. Let's start with, what is considered a violent protest? According to Melissa de Witte, a sociologist at Stanford University, a protest is considered violent once some of its participants use physical force to damage property or other people. Protesters throwing rocks, projectiles, or tussling with police transforms a non-violent demonstration into a violent one. It is also worth noting that there might be instances where the authorities are the ones who abuse their power and force, provoking the people to react. This leads us to why protests become violent. When people lose respect for authorities, are desperate, poor, unemployed, or oppressed they are more likely to turn aggressive and revolt.

These groups of people are also more likely to have lost faith and respect for authority making them psychologically more susceptible to harm without remorse. On top of that there is a shared belief that violence makes more of an

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impact than peace, the collective understanding that non-violence brings awareness but violence brings urgency and change creating a desperate environment like a ticking bomb. It was also found in a Cambridge University press article titled "Disorganized Political Violence: A Demonstration Case of Temperature and Insurgency" that unorganized protests are 36% more likely to turn violent.

Social media has the power to bring thousands of people together for a cause in a very short amount of time, causing most media-organized movements to be poorly planned and with really high numbers of protestors. This brings forward a couple of the issues listed previously that might increase the probability of a peaceful protest becoming a violent one, such as the lack of organization, and in addition to that the high volume of people means a wider variety of beliefs, backgrounds and larger amounts of desperate people who are willing to revolt.

If we look at a few examples of important protests before the age of social media we can see they took much longer to plan for significantly lower amounts of people. For example, the anti-Iraq war protests in 2003 brought 150,000 people together in Germany which took about three and a half weeks of planning, they remained peaceful. Then we have the Baltic Way chain in 1989 which was completely peaceful and brought together 2 million people in approximately three months. And finally, in France in May of 1968, the planning took seven weeks bringing 112,000 people together, who turned very violent destroying universities and factories. There is no clear correlation between the number of people and violence, up until this point. Since in these examples we can see more people does not necessarily equal a higher probability of revolt, and neither does time since a three-and-a-half week planned protest was peaceful when a seven-week planned one was not. On the other hand, we have protests during the age of social media, such as Black Lives Matter which spread through Twitter and Instagram and made people go to the streets within a day. Those first instances were very violent, however with time came organization and the disaster subsided. In total 19 million people participated within the first three weeks of the movement, then there was the Women's March in 2017, which assembled 500,000 people in a week but remained peaceful, it was spread through twitter. A more recent example would be the Nahel protests in France in July of 2023, spread through Facebook, they were extremely violent and planned in two to four days bringing 200,000 people to the street, more than a thousand arrested, and three deaths. When social media is involved in the planning we can see a higher number of people in less time,

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leaning into the inevitable statistic of unplanned protests being 36% more likely to turn violent, mentioned earlier.

The era of social media has played a big role in the lack of organization, quick spreading, and a wider variety of people protesting, increasing the risk of violence. However, there is no direct connection between social media planning and violence in protests, since there have been peaceful and violent protests since the beginning of these types of movements regardless of the time spent planning or the number of protestors. It truly comes down to the combination of people, the time, and the circumstances under which they are being met. There is no consistent enough data to prove a relationship. At the end of the day, it is a matter of chance whether someone will provoke violence and people will follow or maybe police overuse force and cause the public to come together against them. There is no doubt social media platforms such as Instagram, Facebook and Twitter have been significant enablers for protest movements.

Even though there seems to be a correlation between the two, there is definitely no causal relationship between social media use and violence in protests. It is truly a matter of odds.

Works Cited: How Social Media Has Changed Civil Rights Protests How Media Influences the Use of Violence in Protests: An Analysis of the Black Lives Matter and #StopTheSteal Movements Americans think social media can help build movements, but can also be a distraction Social media posts may signal whether a protest will become violent How violent protest can backfire 10 biggest protests in history The Role of Social Media in Protests: Mobilising or Polarising? - 89 Initiative: The first European thinkdo tank

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RAPHAEL LARROQUETTE ‘25

Life´s Battle Against Entropy 42? No, no that's not it. But 42, a reference from The Hitchhiker's Guide to the Galaxy, is an attempt to answer the age-old question: Why do we exist, or more interestingly, “How do we exist.” If we take ‘we’ to mean life, then this can be explained through Entropy: the measure of disorder in the universe. (Brooks, 1) As things become more chaotic, entropy will always increase, but if something were to decrease the chaos, it would lower entropy. The laws of thermodynamics state that: entropy must always have a net increase but for life -an organized system- to exist entropy must decrease. So what gives? Well, entropy was a key factor in creating life, but now humans face a daily battle against it, just to stay alive.

As discussed, entropy played a role in the creation of life, but to understand it we must go way back. Before the Big Bang, entropy was very low, and right after the Big Bang entropy began to increase, meaning that matter and energy began spreading out. This chaotic spread led to the creation of areas of high entropy and areas of lower entropy like the sun. According to scientists from the University of Chicago, “4.3 billion years ago, Earth may have developed conditions suitable to support life…” (Koppes, 1) This was due to the low entropy energy, in the form of light, that the sun provided Earth.

As tested by David Terraso at the Georgia Institute of Technology, the generally accepted theory for the origin of life states that life on Earth began as a primordial soup. This soup, composed of the Essential Elements for life (carbon, hydrogen, oxygen, nitrogen, and phosphorus), was where the first simple organic molecules developed. Powered by low entropy energy from the sun, and by the chaotic nature of entropy itself, the molecules, specifically RNA, began to undergo natural selection. Finally 3.7 billion years ago, the RNA turned into DNA and became enclosed by a cell membrane, resulting in the first-ever living cell.

Though this story is wonderful, it seems to contradict a very important law of thermodynamics, that entropy must always increase. This is known as “the Schrödinger paradox”; which states that life shouldn't be able to create an organized system within a chaotic environment. The solution to this apparent 51

problem is death. When we die, all of our organized systems dissolve into a more chaotic state, allowing the low entropy energy that created us to come out as higher entropy energy. But we don't just die the instant we are born; instead, we live. For years on end, our bodies refute entropy; we work hard to overcome the chaotic nature of our environment. Just as “ The Apollo 11 team fought entropy when they set foot on the moon” (Raines, 8), we fight entropy to stay alive.

But how? How are humans able to conquer this inevitable force of destruction known as entropy? In Chapter 6 of Schrodinger's book What is Life?, he inquires on exactly that. The obvious answer is that we fight entropy by “eating, drinking, breathing and (in the case of plants) photosynthesizing.”

(Schrodinger, 122) To do this our bodies, and all other living bodies, follow a set of pre-written instructions. This means that our DNA, formed over billions of years of evolution, is what forms our ability to conquer entropy. As we live on, our DNA adapts, going through a perfectly tuned cycle of evolution, to become more efficient at fighting entropy.

In essence, life could never have happened without entropy, but entropy is also the reason all life ends, and it is the reason we can fight entropy off. This confusing intricately tuned system is the basis on which life exists; it explains the origins of life through a primordial soup, our ability to live, and even my ability to write this essay. As said by Jack Raines, “If entropy is death, then we fight entropy by pursuing life.” So, now that we know how entropy exists, the real question stands: How will YOU fight it?

Works Cited: Alexander, Stephon, and Salvador Almagro-Moreno. “Is Life the Result of the Laws of Entropy?” New Scientist, New Scientist, 21 June 2022, newscientist.com/article/2323820-is-life-the-result-of-thelaws-of-entropy/? _ptid.

Brooks, M. (2019, December 4). The universe tends towards disorder. but how come nobody knows why?. New Scientist. https://www.newscientist.com/article/mg24432590-200-the-universe-tends-t owards-disorder-buthow-come-nobody-knows-why/ DC, Gilles. “Fighting Entropy.” RSS, Gillesdc, 11 Jan. 2023, www.gillesdc.com/blog/entropy.

Koppes, Steve. “The Origin of Life on Earth, Explained.” University of Chicago News, UChicago, 19 Sept.

2022, news.uchicago.edu/explainer/origin-life-earth-explained.

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Muller, Derek. “The Most Misunderstood Concept in Physics.” YouTube, YouTube, 1 July 2023, www.youtube.com/watch?v=DxL2HoqLbyA Raines, Jack. “Fighting Entropy.” Medium, Medium, 20 June 2023, medium.com/@jackraines/fighting-entropy-41eed14f8428.

Schrödinger, Erwin. What Is Life? The Physical Aspect of the Living Cell.

Cambridge Univ. Pr, 1969.

Terraso, David. “How Did Life Begin?” NSF, National Science Foundation, 30 July 2010, new.nsf.gov/news/how-did-life-begin.

University, Berkeley. “How Did Life Originate? - Understanding Evolution.”

Understanding Evolution - Your One-Stop Source for Information on Evolution, Berkeley, 17 Nov. 2021, evolution.berkeley.edu/from-soup-to-cells-the-originof-life/how-did-life-ori ginate/.

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ART BY HOPE TANNER ‘26

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SOFIA FITZPATRICK ‘26

Associative learning What causes humans and animals to learn from certain situations? Think of the first time a parent rewarded you for doing something good like cleaning your room, or the first time you burned your hand on something hot. Your mind started associating these things, cleaning your room means getting a treat.

Putting your hand on a hot stove and getting burned causes your brain to associate hot stoves with pain. We don't realize that we do this as humans, but this is a certain kind of learning called associative learning.

Associative learning occurs when two unrelated elements become connected in the brain through something called conditioning. It is something that all humans and animals do naturally without thinking about it, because of this we deepen our memories and the understanding of the world around us from an early age. If we did not have associative learning, we would not be able to recall the most basic things due to the fact that all our experiences are connected and cannot be recalled in isolation.

There are two kinds of conditioning, operant conditioning and classical conditioning. Classical conditioning is when completely unrelated stimulus can create a response in an organism. An example of this is Ivan Pavlov’s dog and bell experiment. Usually, dogs would not salivate at the hearing of a bell, but with classical conditioning this response can be created. The experiment consisted of ringing a bell and then giving a dog food. This was repeated until the dog would immediately salivate at the ringing of the bell. When the bell was rung and no food was given out, it triggered the salivated response anyway and this was the conditioned response. With operant conditioning, rewards and punishments can be used to train a new behavior. This type conditions an individual's conscious behavior, based on the consequences of that behavior.

An example of this is the “Skinner box Experiment ,” done by B.F. Skinner. This experiment consisted of putting a rat in a box with a lever that when pushed, dispensed food. The rat , after being in the box for some time, eventually pressed the lever and the food appeared. This was repeated with the same rat multiple times until the first thing the rat would do upon entering the box was press the lever. Positive reinforcement had conditioned the rat into pushing the lever.

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Some examples of associative learning are when someone eats a certain food and they develop a headache later due to something unrelated, they then associate that food with headaches and do not want to eat it again. One more example is when a kitten is misbehaving, the mother flicks its ears and the kitten associates misbehaving with ear flicking and stops. It doesn't look like much, but this is the brain associating these different behaviors and stimuli.

In conclusion, the process of associative learning is a fundamental aspect of our learning and shaping our understanding. Through conditioning, the brain effortlessly links elements and experiences together to craft the mind and decision-making skills that we have today. From little things like rewards for cleaning a room, to the consequences of touching a hot stove, we are constantly learning. It is through associative learning that we learn to adapt to our surroundings and thrive in our environments.

Works Cited: “Cognitive Learning: Definition, Benefits and Examples - Indeed.” Indeed, www.indeed.com/careeradvice/career-development/cognitive-learning. Accessed 15 Dec. 2023.

Nedha. “Difference between Associative and Cognitive Learning.” Compare the Difference Between Similar Terms, Differencebetween.com, 20 Oct. 2015, www.differencebetween.com/difference-betweenassociative-and-vs-cognitivelearning/#:~:text=Associative%20learning%20can%20be%20defined,the%20two%20types%20of% 20learning.

Twinkl.Com.Pa, www.twinkl.com.pa/teaching-wiki/associativelearning#:~:text=This%20is%20a%20psychological%20concept,put%20their%20hands%20on%20t hem. Accessed 15 Dec. 2023.

“What Is the Cognitive Learning Approach?” GradePower Learning, 15 Feb. 2018, gradepowerlearning.com/cognitive-learningtheory/#:~:text=Examples%20of%20cognitive%20learning%20strategies%20include%3A&text=Hel ping%20students%20find%20new%20solutions,justify%20and%20explain%20their%20thinking.

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MICAELA LEVY ‘26

Circe’s metamorphosis: a mythical journey of selfdiscovery Circe’s gift of transformation relates to the novel in many ways, the most prominent being the change and development of Circe’s character throughout the novel. At the start of the book Circe is very timid and passive, her only care being to be accepted and loved by her family. That was the thing Circe truly craved, love. Love is a big theme in this novel, love is the thing that Circe wants the most and the thing she believed she could not have until her exile.

When Circe is left alone on Aiaia, she begins to accept herself slowly, may it be dabbling in witchcraft more, singing to herself even though she was always scrutinized for her voice, etc. The exile was the catalyst for her journey of selfdiscovery and acceptance. Through her constant loneliness, Circe started to like herself, seeing that she was not that timid person anymore, that she could and would be more. Interactions, may they be platonic or romantic, also helped Circe on her journey. For example, the fact that her sister never hated her and that she just acted that way as a form of self-preservation led Circe to the epiphany that she was lovable and deserving of love. Telegonous and Circe’s other various romantic and platonic relationships further solidified that idea into her head.

By the novel's end, Circe fully accepts herself and faces one of her biggest fears, confronting her father. Whom she always shied away from when she lived with him. This interaction shows us Circe’s growth as a character, as she went from a passive person to an independent and confident one, who does not need anyone's validation other than her own. This novel shows us Circe’s transformation slowly but surely, having her develop and change throughout the book and highlighting what or who helped her on this difficult but thoroughly needed journey.

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ELISA JUNG ‘26

How Social Media Ruined My Brain: and How to Fix It Social media has become an essential part of our lives, with platforms like Instagram, Snapchat, TikTok, and YouTube being used every day to spend time or to have fun. Yet, how often do we sit down and think about its effects on us?

When writing this essay, I struggled to finish, or even start, despite that it was a very short essay. Every time I was tired or did not have an idea of how to continue writing, I would pick up my phone and start scrolling through the endless series of Instagram Reels. This phenomenon is a very common problem not only for me, but most teens these days as well, and is primarily caused by social media and the rise of its short-form content. Short-form contents are brief videos like TikTok, Instagram Reels, and YouTube Shorts, that range from 15 seconds to one minute at most.

The psychological effects the short-form content has on our brains are more devastating than we might think. Of course, these videos temporarily relieve us from stress and boredom, but there are adverse effects to it. As these videos are quick and easy to consume, they fragment our attention span. When our brains become more accustomed to the rapid succession of short videos, our brains struggle to focus and deeply process a concept. Our brain starts to handle information only at the superficial level, and it starts to feel like a burden to sit and read, watch, write, or reflect on something persistently. This situation intensifies as we spend more time on social media because each video that we watch triggers a dopamine release, which naturally leads our brains to seek more of it over time.

Many people struggle with this, including myself. But this is not something that we should be ashamed of. Instead, we should see this as an opportunity to change. Minimizing distractions, limiting multitasking, and having longer study sessions are all effective solutions to help deal with this situation. But among all, reading stands out as one of the most beneficial options. In fact, the realization of my addiction to these short-form contents and the lack of attention span is what motivated me to start reading again. Until then, my reading was only bound to assignments and schoolwork. But as I started 58

reading in my free time, I began to see the joy in reading and realized there is an alternative way to spend my free time other than being on social media.

It is true that social media has integrated into every aspect of our lives, but we should not let it completely dominate how we think and act. We should change the way we act daily and start reading more as it helps enhance our brain functions like focus, memory, and comprehension skills. But foremost, reading is fun! So, this winter, why not grab a book and start reading instead of mindlessly scrolling through TikToks, Instagram Reels, and YouTube Shorts?

The experience of reading will not only grant you entertainment but also valuable personal growth.

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ART BY LUCIANA CALVOSA ‘26

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SIENNA RUBIO ‘27

A Psalm of Life Poetry Analysis Do you know that feeling in life when you are having a hard time? In the poem “A Psalm of Life” by Henry Wadsworth, when I first heard the title, I thought it would be a biblical poem mixed with Puritan beliefs and motivational parts of Henry Wadsworth’s life. Although this poem talks about different things in life, something that caught my attention was when the author asked the reader to not trust the future and forget about the past and to live in the present. I found his poem to be very inspirational.

The author employs the use of personification in stanza six, when he says “let the dead past bury its dead,” he is saying the past is “dead” and to forget about it and live your own life. When he uses personification, it can help the reader connect more, and feel like the poem has come to life. Another figurative language he uses is repetition, to make us realize how important his message is and how you should follow it, he says “Act,-act” to make the readers pay attention and realize it’s importance.

During this poem Henry has many different tones, but something that stood out to me was how he is trying to give a meaningful message. Sometimes he has a strong tone, for example, “Life is real! Life is earnest!” Which makes the reader feel like he is excited to tell us about how important your life is. I concluded this poem to be very encouraging as it talks about your life having a meaning.

Henry Wadsworth has many different personalities during this poem. In each of the stanzas he always changes his mood and tone. In the first stanzas he employs how life is so wonderful and how you deserve to live your life remembered and cared for, but he changes moods in the next couple stanzas and starts talking about death in a very sudden way. This could make the readers understand that life can change so fast without you even noticing.

After reading the whole poem and analyzing it, I finally could understand what he is trying to tell the readers about the poem title. “A psalm of life” could 61

mean that there are always going to be obstacles in life, and you will always make mistakes, but you are never going to make a mistake that causes you to keep dreading the past.

Many people may think that this poem has different meanings to it and if you asked them what they thought the theme is they would all tell you something different. This poem could mean many aspects, but this is how I understood it.

“Don’t live your life in the past, forget all about it. Live your life in the present because that is what is happening at the moment, and if you do something wrong don’t worry because there will always be the future.” -Sienna Rubio.

Works Cited: Wadsworth Longfellow, Henry. “A Psalm of Life.” Holt McDougal Literature Student Edition., Retrieved November 20th, 2023. https://www.hmhco.com

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ANA CAMILA MURILLO - CLASS OF ‘27

Comparative Essay Are you a pushover or are you willing to stand up for what you believe in?

This essay intends to discuss the two stories Harrison Bergeron by Kurt Vonnegut and The Possibility of Evil by Shirley Jackson and how conflict plays a significant role in both of them. Authors usually employ Man vs. Society to entertain or catch the reader’s attention. This gives any writing piece a literary enrichment and will help the reader to understand the story better.

The Possibility of Evil is a story about a seventy-year old lady named Adela Strangeworth who thinks she owns the town. She believes this because she grew up there. She writes letters to neighbors in town about how she feels about them and then anonymously sends letters to them. By doing this, she feels that she is doing a good thing for the society and is stopping the spread of evilness in the town. However, the reality is that she's having a bigger impact than what she anticipated. On the other hand, the story Harrison Bergeron, is the complete opposite. This is a story that takes place in a dystopian society and it is about a fourteen-year-old boy named Harrison who had disobeyed the laws established by the government of wearing handicaps. He went to jail for fighting against the system. Both stories deal with the conflict of society’s expectations and the reaction of the characters.

One of the first similarities is that in both stories the main characters stand up and speak up about what they think. In the story, Harrison Bergeron, he fought for his rights and freedom and he would not let the government stop him or control him. Compared with The Possibility of Evil the main character, Adela Strangeworth, thinks she owns the town and feels she is the most important person. No one can do anything without being judged or being told something by her. I personally believe that every individual is free to do whatever they want without being judged, and to be unique in their own way because those little things are the ones that make us who we are.

In the story Harrison Bergeron, the author shows several differences: he plots against the government, refuses to wear the handicap, dances with a ballerina on national television despite knowing he isn’t supposed to, and simply does not 63

follow directions from anybody, including his parents. Then, in the story The Possibility of Evil, the protagonist Adela Strangeworth writes letters to the people of the town anonymously and she gives her honest reaction about them in a judgmental way. She thinks that she is helping the government by doing this but she’s just creating evil and making it worse. I consider that everyone should follow directions for their own good and for those around them. If you follow directions, good things come to you.

To sum this up, my reflection for both stories is that they both teach you good values. In Harrison Bergeron, it teaches us that it's okay not to be equal and that not everyone has to be the same. We are all unique. On the other hand, in the story The Possibility of Evil, it teaches us that people may be two faced and everyone’s true colors will show eventually. That is why we must be careful and our actions should reflect our thoughts. We should be grateful for the teachers, parents, or any friend that encourages us to read these types of books, as we get to realize that there will be people who come into our lives for a reason and we should learn when to trust. I think everyone should read this story at least one time and it would be worth the read.

Works Cited: Vonnegut, Kurt “Harrison Bergeron.” Holt McDougal Literature Student Edition., Retrieved September 21st, 2023. https://www.hmhco.com/ Jackson, Shirley “The Possibility of Evil.” Holt McDougal Literature Student Edition. Retrieved September 21st, 2023. https://www.hmhco.com/

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ART BY ISABELLA RIOS ‘25

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DANIELA CHAVARRÍA SALAS ‘25

Crimson on the Carpet In the oppressive stillness of the grand Victorian mansion, where the air clung to the scent of aged wood and decay, I ventured deeper into the haunted corridors. The flickering candlelight cast dancing shadows on the faded wallpaper, creating an otherworldly ballet that played tricks on my eyes. As I stepped cautiously through the threshold of a forgotten chamber, a dilapidated rocking chair swayed eerily in the far corner, seeming to bear witness to the unspoken secrets that lingered within.

The room cradled forgotten relics frozen in time, but my attention was drawn to an ornate dresser where an old diary lay half-open, its pages whispering of the woman in the photograph—Abigail Montgomery. Her eyes, frozen in the faded image, hinted at a tale of joy extinguished too soon, and the diary promised to unveil the tragedy that clung to the mansion's walls.

As I leafed through the pages, Abigail's words leaped from the yellowed paper, each entry a brushstroke painting a portrait of forbidden love and clandestine rendezvous. The diary became a window into a life entangled in a web of deceit and passion; Abigail Montgomery's Diary Entry: April 25th, 1887 The quill glides across the pages, a dance of ink that mirrors the clandestine waltz of our forbidden love. These words, like whispered secrets, find solace in the sanctuary of this diary—a confidante to the tumultuous symphony that resonates within my soul.

His name, a whispered melody that lingers on my lips, dares not be spoken aloud. For our love is a fragile bloom, a delicate blossom that thrives in the shadows of secrecy. He, the embodiment of forbidden desires, has become the architect of the labyrinth that entwines our fates.

His touch, a caress that ignites the embers of passion within, leaves an indelible mark on the canvas of my existence. In the moonlit rendezvous beneath the 66

ancient oaks, our love unfolds like a tapestry woven from the threads of clandestine glances and stolen moments. The rustling leaves bear witness to the fervor that courses through our veins, an intoxicating elixir that binds us in an unspoken pact.

The mansion, with its decaying walls and haunting corridors, becomes our haven.

In the dim glow of flickering candles, our love blossoms like a forbidden rose, each petal bearing the weight of the secrets we dare not share. The grand staircase, a silent witness to stolen kisses and whispered promises, stands as a testament to the passion that defies the boundaries of morality.

Yet, the cruel hands of fate tighten their grip, and the shadows that cloak our love become both sanctuary and prison. The feud that echoes through the generations casts a looming shadow, threatening to extinguish the flame that burns between us. The grand staircase, once a symbol of our clandestine rendezvous, now transforms into the stage for the tragic finale of a love that dared to defy the constraints of a judgmental world.

In the fading moonlight, our hearts beat in synchrony, a rhythmic cadence that heralds the impending storm. As the pages of this diary bear witness to the tumultuous affair, I pen these words with a heavy heart, knowing that the echoes of our love will resonate through the mansion long after the final notes of our clandestine symphony fade into the abyss.

Oh, my beloved, as I trace these words upon the parchment, know that your touch lingers in the recesses of my soul. May the grand staircase, now a macabre stage for our tragic love, serve as a haunting reminder of the passion that once burned like a forbidden flame within the decaying walls of this haunted mansion.

In a particular entry, written with the urgency of someone caught in the throes of an inexorable fate, Abigail penned her own demise with chilling clarity. The ink on the pages seemed to tremble with her emotions as she detailed the plan that would lead her to the grand staircase—a macabre stage for the tragic finale of her clandestine love affair.

Abigail Montgomery's Diary Entry: June 14th, 1887 The quill trembles in my hand as I pen down the darkest corners of my 67

tormented soul. The pages of this diary bear witness to a tale woven in the shadows—a tale of forbidden love, clandestine rendezvous, and the inexorable descent into the abyss.

Tonight, beneath the blood-red moon, I shall ascend the grand staircase of this mansion, our clandestine meeting ground, to etch the final chapter of my tragic love affair. The flickering candles will cast grotesque shadows, dancing to the rhythm of my heart, each step echoing my inexorable journey toward the grim finale.

The time has come to confront the shadows that have haunted my every waking moment. The weight of our clandestine love affair, woven with threads of deceit, has become an unbearable burden. As the moonlight bathes the mansion in an ethereal glow, I shall ascend the staircase, my heart heavy with the knowledge that this journey leads to both salvation and damnation.

In the recesses of this decaying mansion, I have penned my plan—a macabre dance that will unfold on the grand staircase. The very staircase that has borne witness to stolen glances, whispered confessions, and the tragic demise of a love that dared not speak its name.

As my footsteps echo through the corridors, I can almost hear the mansion sigh, as if it too is resigned to the inevitability of this night. The diary pages, now my confidante and witness, capture the essence of my despair and longing. The ink, a mirror to my soul, quivers with the urgency of a heart caught in the throes of its final symphony.

The flickering candles shall illuminate the crimson stains on the staircase—a tableau of tragedy etched into the very fabric of this mansion. The diary, my silent accomplice, foretells the unraveling of my mortal coil. And so, I shall ascend into the unknown, leaving behind a legacy etched in the blood-soaked steps of the grand staircase.

As I prepare to meet my fate, may these words serve as a testament to the forbidden love that bloomed and withered within the decaying walls of this haunted mansion. In death, I shall be free from the shackles of secrecy, and the grand staircase will become a sepulcher for a love that dared to defy the boundaries of the living.

And as I neared the end, a foreboding chill settled over me: 68

Tonight, Cedarville will bear witness to a tragedy written in the stars, and the paperboy, unwitting in his role, shall discover the aftermath—the haunting legacy of Abigail Montgomery.

The night unfolded in a hunting mist as Abigail ascended the ornate staircase, the creaking steps amplifying the tension that hung in the air. The spectral shadows seemed to dance to the rhythm of her heartbeat, and as she reached the top, a tableau of horror awaited—the grand staircase adorned with crimson stains,with unimaginable visuals to a gruesome testament to a life extinguished.

It was then, in the spectral silence of the mansion, that I discovered her lifeless body, sprawled across the steps. The once-elegant dress now bore the weight of her tragic demise. The chilling echo of her own words from the diary lingered in the air, intertwining with the spectral energy that permeated the mansion.

Abigail's haunting confession had foretold the nightmarish events, and the diary became a chilling precursor to the horror that had unfolded. The discovery sent shockwaves through Cedarville, and the town's silence deepened as whispers of Abigail's fate reverberated through the cobblestone streets. The mansion, now a sepulcher of secrets, held the key to unraveling the enigma that gripped the town—a puzzle that beckoned me, the unwitting paper boy, into the heart of a chilling mystery. The spectral whispers of Abigail's journal now echoed through the mansion, weaving a tale of forbidden love, betrayal, and a murder that had been foretold in the pages of her own haunting confession.

In the quiet corners of Cedarville, where the cobblestone streets bore the weight of centuries-old secrets, my paper route unfolded beneath the looming shadows of the grand Victorian mansion on Elm Street. As a mere messenger traversing the mist-laden town, my path intersected with the haunting legacy of Abigail Montgomery—a woman whose tale of forbidden love, betrayal, and a macabre demise unfolded within the decaying walls of that ominous estate.

As I pedaled through the ethereal morning mist, delivering newspapers with a routine familiarity, little did I know that each turn of the wheel brought me closer to the enigma that gripped Cedarville. The grand Victorian mansion, with its ivy-covered façade and secrets whispered by the rustling leaves, stood as a silent witness to the spectral echoes of Abigail's tumultuous affair.

One misty morning, as I opened the newspaper to find the familiar headlines that chronicled the daily affairs of Cedarville, my eyes were drawn to a story

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that sent a shiver down my spine. The article unfolded the tragic demise of Abigail Montgomery, unraveling the details of a love affair steeped in secrecy and betrayal. The grand Victorian mansion, now a sepulcher of secrets, held the key to unraveling the enigma that had gripped the town—a puzzle that beckoned me, the unwitting paperboy, into the heart of a chilling mystery.

A Cedarville Tragedy Unearthed: The Enigmatic Demise of Abigail Montgomery In the quaint town of Cedarville, where time seemed to linger in the mist-laden air, a haunting tale of forbidden love and a macabre demise has resurfaced to cast a spectral shadow over its cobblestone streets. The focal point of this chilling narrative is none other than the grand Victorian mansion on Elm Street, a silent witness to the enigma surrounding the tragic figure of Abigail Montgomery.

Abigail's story, recently unveiled in the forgotten pages of time, reveals a clandestine affair steeped in secrecy and betrayal. As the newspapers open to recount the events that transpired within the decaying walls of the mansion, a ghostly atmosphere seems to seep through the ink, carrying with it the weight of centuries-old secrets.

The grand staircase, once an ornate centerpiece of the mansion, has transformed into a haunting stage where Abigail's life met its gruesome end. The very air within the mansion echoes with the spectral whispers of a love that dared not speak its name—a love that became entangled in the feud that spans generations.

As the headlines unfold the details of Abigail's tragic demise, Cedarville finds itself at the center of a chilling mystery. The mansion, now a sepulcher of secrets, beckons curious souls to delve into the depths of the past. The town, once veiled in a serene quietude, now resonates with the echoes of a forbidden love affair and the lingering presence of a woman who defied the boundaries of societal norms.

The unwitting paperboy, traversing the cobblestone streets on his routine deliveries, becomes an inadvertent participant in the unfolding drama. Each newspaper delivered becomes a harbinger of the chilling tale, linking the mundane routines of Cedarville to the supernatural enigma that has gripped the town.

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As the community grapples with the resurgence of Abigail's story, the grand Victorian mansion stands as a silent sentinel, its ivy-covered façade holding the key to unraveling the mysteries that linger within. The town, once draped in the tranquility of its history, now finds itself at the crossroads of a chilling narrative —an enigmatic tragedy that refuses to be consigned to the forgotten pages of time.

The convergence of my paper route with the haunting legacy of Abigail Montgomery turned routine deliveries into a journey through the macabre—a journey where the boundary between the mundane and the supernatural blurred, and the cobblestone streets bore witness to a tale of love, tragedy, and the lingering echoes of a bygone era. The newspaper, now a harbinger of the chilling tale, unfolded like a spectral map guiding me through the mysteries that lurked within the shadows of Cedarville.

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ART BY ISABELLA RIOS ‘25

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Balboa Academy 2023 Literary Awards

ABOUT BALBOA TALKS Balboa Talks is a student-led club focused on helping students express themselves and make their voices heard. We aim to promote the humanities among the student body and we give students an avenue to share their experiences, reflections, opinions, research, etc. in a semi-formal setting. As of this year, we are also Balboa Academy’s chapter of the National English Honor Society.

Scales is our semesterly literary magazine. It showcases the work of our fellow Balboa students and includes poetry, fiction, essays, research papers in both English and Spanish as well as visual art.