obody asked you when you were scrubbing the floors if yellow and green spotlights reside behind your eyelids at night.
If they did, what would you tell them?
Would you tell them how we are a saga of our own volition? A fable we seek to immortalize? Or, would you fill their minds with dreamy pixelations,
non-fiction figments of delusion as you strap on your leather belt and head to work.
Our grid is a reservoir of holes punched in the side of a manila folder. Our grid is greased with petroleum and sweats vanilla fragrance. She is sweet but she is rot.
An empty socket, void and redacted: Cavity
ADMIN
EDITOR-IN-CHIEF: LILLIAN DENT
EXTERNALS DIRECTOR: EMILY REDDEN
CO-CREATIVE DIRECTOR: SOPHIA NIMMO
CO-CREATIVE DIRECTOR: MAYA STEWART
ASSISTANT EDITOR-IN-CHIEF: TORI WHITE
ASSISTANT EXTERNALS DIRECTOR: KAT RAY
CREATIVE
DIGITALS
DIGITAL DIRECTOR: MADELINE AIKEN
ART
DESIGN DIRECTOR: YAMMAN AZZOUZ
ASSISTANT CREATIVE DIRECTOR: MADALENE LEIGH
PRODUCTION
PRODUCTION DIRECTORS: ELLA LAUGHMILLER
CARLY SPICER
PRODUCTION ASSISTANTS: GEKAYLA SHUMAKE
SHAYLA BROWN
SICILY HARDGRAVE
BREE SCHUT
ELENA SAGEN
MIA FANSLER
LAUREN YOUNG
PHOTOGRAPHY
EDITORIAL PHOTOGRAPHERS: MAYA STEWART
SKY MEEKS
DEVYNEE O’NEAL
SIMONE JONES
EVENTS + BTS PHOTOGRAPHY: VIOLET CARDER
MACKENZIE SWEAT
LAYOUT DESIGNERS: ABBY RANDOLPH HAILEY CARROLL
SOPHIA NIMMO
EMMA SOEFKER
GRAPHIC DESIGNERS: ELLA LAUGHMILLER
B MOSS
TAYLOR ROSE
FASHION
FASHION DIRECTORS: ANYA GEISTERT EMMA EIKUM
ASSISTANT FASHION DIRECTOR: MADELINE AIKEN
STYLISTS: KEIRA THORPE
EMILY SCOTT
J’TORY MATTHEWS
COLE ALSUP
MIA CADARET
GRACE MAGNINI
IVANA HERNANDEZ
CARA FLOWERS
LIGHT DAVIS
VIOLET HOOD
VIDEOGRAPHY: VIOLET CARDER
BEAUTY
BEAUTY DIRECTOR: SANYA LAMBE
BEAUTY ASSISTANTS: VALENCIA BREWER
MADELINE AIKEN
LIGHT DAVIS
EMILY SCOTT
YAZMIN CORTEZ
EDITORIALWRITING
WRITING DIRECTOR: REBECCA MORGAN
COPY EDITOR: ISABELLA PRESTON
WRITERS: MIA CADARET
ERIKA LAMMON
CAMRYN MITCHELL
EMMA CHAMBERS
EXTERNAL
PUBLIC RELATIONS
PUBLIC RELATIONS DIRECTORS: ELIZABETH BRIGHT
PUBLIC RELATIONS ASSISTANT: B MOSS
KEIRA THORPE
ISABELLA WAKEFIELD
SKYLAR ENGLISH
MELISANDE CROSS
EVENTS
EVENTS DIRECTOR: KATE BARNES
EVENTS ASSISTANTS: DEJA AGUIRRE
SOCIAL MEDIA
FINANCE
FINANCE DIRECTOR: DEJA AGUIRRE
RYLEE RIDNER
ADAM THIEL
GRACEE MORROW
SOCIAL MEDIA ASSISTANTS: SKYLAR ENGLISH
ALLIE LOWE
LUKA MALLO-GUENTHNER
Shrouded in sheepskin suede and chantilly lace, hidden behind the dimly lit corners of a hardware store and under the bleachers of a high school gymnasium, myth stretches its tendrils in every crevice of our reality. The unknown is a glacial terrain humanity attempts to scale by pinning up its wings and inspecting its unique colorings. We form hypotheses and develop procedures for a systematic pursuit of knowledge, devoting our lives to uncovering what happens when nothing happens. TV screens pour muddled images into our living rooms and we watch as they ooze into our bloodstreams and out of the gaps between our teeth. We draw constellations as an attempt to expand the universe, though the universe is expanding and we do not know why. Everyday we attempt to make sense of the world we inhabit but every night we will be left with more questions.
yth consumes this clandestine fog of the unknown, filling the gaps in our understanding and reckoning with the cavities in our consciousness. Myths are not just tales from a remote past, they are eternal cycles we see portrayed and repeated in our daily life. These stories reflect patterns of humanity– a conscious interpretation of unconscious questions. How did the universe and world come to be? Who are we? What roles must we assume as participants in society? What should our values be? How should we behave? How should we not behave?
Issue 09 carries humanity’s weight of the knowing and unknowing while admiring our desire for clarity. Myth, storytelling, and folklore are fallacious lenses through which we attempt to explore fundamental questions of humanity and the universe. Oftentimes, what we accept as being natural is in fact an illusory reality constructed in order to mask the real structures obtaining power in society. These tales permeate every facet of our lives—whether it’s the glorification of capitalism, the demonization of social movements, or the portrayal of marginalized groups as “other.”
Cavity resides within the boundaries of an increasingly absurd present, permeating the voids in our intelligence and swelling in the spaces between sleep and wake.
This anthology challenges the routine and logical frameworks that we use to make sense of the world by injecting ambiguity and wonder into everyday existence and examining how myth wreaks havoc on the banal. Issue 09 will rob from everyday existence and images will be broken down into lawless, senseless viscosity that threatens our collective wisdom. Veracity is not a concern.
Lillian Dent Editor-In-Chief
Sink or Swim
Vulcan
Staff Shoot
Hunter watches creature picking persimmons in the Green Swamp.
Polk County, Florida
Wednesday. December 3, 2008
ncyclopedias sought to compile our discoveries into vast volumes–compendiums of human understanding, packaged and ready for our consumption. These books of fact have so easily convinced us that the grizzly consumes the deer, the deer eats from the dogwood, and the dogwood was carefully crafted by seeds. But what about the sasquatch? How does it fit into this carefully crafted food chain?
We are all too familiar with childhood myths of bigfoot or the loch
ness monster and legends depicting the evil beast being slayed by the courageous hero. What we often fail to consider, is how these narratives parallel our daily existence.
Modernity likes to claim it has managed to distance itself from ancient mythology. Citing that due to contemporary technological understanding and scientific developments, they are reporters of the real. They would be fooling themselves.
Lillian Dent
Photography by Sky Meeks
Layout by Yamman Azzouz
Photography by Sky Meeks
Layout by Emma Soefker
It is a cry for help, a trick, a trap, the song / that forces men to leap overboard.
— Siren Song, Margaret Atwood
Skirt by J’tory Matthews Top by Kiera Thorpe
What you call temptation, we name survival. What you title chaos, we call reclamation.
We are the notes of unbroken hymns, echoing past the wreckage of your empire, our voices now floods, not to drown, but to cleanse.
When the sea falls silent— you will hear us in the wind, in the crash of waves against your towers. We will sing not for you, but for the earth, ourselves. this place, our song is not a trap— but a way back to what was always ours.
"Woman is at once Eve and the Virgin Mary. She is an idol, a servant, the source of life, a power of darkness; she is the elemental silence of truth, she is artifice, gossip, and falsehood; she is healing presence and sorceress; she is man’s prey, his downfall, she is everything that he is not and that he longs for, his negation and his raison d’etre.
– Simone De Belvoir
by Erika Lammon
Stories, cautionary tales, fables, tragedies, myths–all words that have dictated our way of life and understanding of the current and past histories for thousands of years. Though fiction, and largely fantastical, myths have reflected the time the characters were created: the morals and thoughts of the time persisting through these mythical stories and creatures.
Women's fight for equality has existed for as long as stories have. Of Her biological difference, she has been labeled the 'lesser sex' since the beginning. Various religious texts enforce the diminishment of women; the South Slavic Bible explains that the best God could make from the rib bone a dog stole from Asam was to create the Woman; a Hebrew daily prayer reads, "I thank Thee, Lord, for having created me a woman."
It should come as no surprise that if this vilification is in religious texts, it is prevalent in other stories. Most myths with female-presenting creatures are often cast as the story's villains. Though culture and politics change through time, characters in stories stay stagnant. Because of this stagnation, these myths of dangerous women play into gendered power dynamics in today's society. The stories of femininity in a negative, malicious context serve to maintain the patriarchal structure. Therefore, these unchanging narratives about women persist throughout hundreds of years and keep the misogyny alive through its fiction.
Though times have changed for women in significant ways, misogyny and the villainization of women are preserved through mythological archetypes such as sirens and witches. Despite modernization in some significant ways, no archetype can escape the misogynistic roots of Her creation.
The mythological Siren most popularly appears in literary records in Homer's Odyssey. As half-chicken, halfwoman creatures, they seduce sailors with their song, luring them to their island to ultimately eat them.
Later stories of sirens describe them as beautiful seductresses who lure men in with their good looks and dangerous feminine wiles to get them to do their bidding. The common underpinning with sirens lies in their use of beauty for only the detriment of men. In stories, the monsters often reveal the cultural fear of society at the time of its creation; the siren is a monster that vilified feminine beauty, meaning men feared being controlled by a woman's looks.
Recently, the "Office Siren" aesthetic exploded on social media platforms. The style is most commonly a sexy, corporate look: thin glasses, mini pencil skirts, and stilettos. Rooted in wearing clothing to distract men from their work in the office, it is a heteronormative trend after all, the stereotype of the siren has yet to change.
Alternatively, witches have become an empowered archetype in recent times, but certainly not in the beginning. Witches rose to notorious fame when the book Malleus Maleficarum was published: the book that is most often cited to have instigated witch hunts. The book explains how because women were weaker spiritually and emotionally, they were more susceptible to the target of the devil. Ironically, when men had connections to other worlds, like shamans or sorcerers, their power was typically seen as a power to help the community, whereas female witches were seen to only use their power for evil. The societal fear was women choosing their own path, as Wicca was not a common religion, and the response was tragic and affected generations to come.
Witches have had a stain on their name for hundreds of years, but now, women are reclaiming it. Television shows such as Agatha All Along or Sabrina the Teenage Witch have made witches more empowered and feminist than ever before. In the 21st century, witches are no longer seen as evil wrongdoers but as people who use their knowledge and connection to the world around them for good.
Sirens and witches are only two of the many feminine mythological creatures that suffer from their misogynistic roots. Changing a mythological creature's narrative will not solve the deeply ingrained misogyny women face day to day in society but can raise a new generation of empowered, strong female characters in stories. Given that several of these creatures have already been reinvented as such leads me to believe that we are on the right track for fostering a more equal future.
Jacketby
Lillian Dent
Bigfoot running with a deer in its arms is struck by a car late at night north of Wells.
Hamilton Country, New York
Friday. July 24, 2014
June [canceled]
Governor Donald,
I am ecstatic to announce the opening of my first theatrical production, “An Unexpected Ending” this winter. I have gone ahead and reserved seats in the sweet spot of the Jefferson Theater for you and yours, free of charge. It would be an honor if you are able to make time in your busy schedule to attend.
by Rebecca Morgan
An Unexpected Ending
Directed by Bruce Brian
Julia Cross as Sherry Anderson
Colin Donelly as Tom Anderson
Julia Cross to Anne Cross
Is there any way you can start watching Evie on Wednesday? I’m gonna have to pull her out of daycare unless things change at work. Guess you were right about taking that job in Cincinnati.
INT. HOUSE - LIVING ROOM - DAY
Brightly colored house with a red door. Couch and small kitchen table with flowers in the middle.
Sherry is taking a pie out of the oven. Tom enters, arriving home from a work trip, suitcase in hand and wearing a suit.
Sherry
Honey! You are home just in time for dessert!
Tom
Oh you know I would never miss one of your pies! What is it… apple I smell?
Sherry
(Giggling) Indeed it is smarty pants! (Laugh track) How was work?
Tom
The office has been so great, and I think they are looking at me for the next promotion.
Sherry
Oh, Tom! How perfect! And just in time for us to start setting up the nursery too!
Top by Cara Flowers
Subject: Paychecks
From: Colin Donelly
To: Bruce Brian
Hey Bruce , Just wanted to touch base with you about those issues with the paychecks. Julia and I haven’t received the full amount we agreed upon. I’m hoping we can get this resolved soon.
Thanks, Colin
Sherry (paint roller in one hand and rubbing her belly with the other) I think you were right about that yellow. It looks just perfect with the sheets I picked out for the crib.
Tom
Told you I know best, honey! (Laugh track) Let’s tear down this ugly wallpaper!
Sherry
I would never have my baby sleep in such horrible conditions! (Laugh track)
Crib in the middle of the room. Paint cans on the floor.
INT - BEDROOM - DAY
Scene 3: The Delivery
The married couple in a hospital room. Sherry lays in a hospital bed holding a doll newborn. Tom is standing next to her.
Tom Everything will be perfect for my son.
Sherry
Of course it will, babe.
Tom
Well, I have to run to the office for a couple of hours, call me if you need anything!
November
Subject: My Notice
From: Julia Cross
To: Bruce Brian
Bruce,
This is my notice to let you know I am unable to continue with your production. I hope for the other actors’ sakes that you can find a replacement.
From: Colin Donelly To: Bruce Brian
We are sick of your
Julia Cross. The show will
not go on.
Top by Violet Hood
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Since the origin of our country, “the American Dream” has provided a beacon of hope for those not born into success–but should our fulfillment require satisfying the capitalist urges of our government? The concept of“theAmericanDream”propels theindividualsintotheworkforcewith off.”promisethat“hardworkpays Our leaders convince the masses that the path to wealthifisformulaicandensuressuccess fortuneyouworkhardenough,butthis is never promised. The capitalist machine allows therichestmembersofoursocietyto benefit off of our devotion as weremainblindedbythepotentialof freedomandfinancialsecurity.
Billionaires and politicians act as ringmasters, demanding that we perform in the circus that is American prosperity. Capitalism as an economic theory refers to a free market under which entrepreneurship, capital goods, natural resources, and labor are privately owned by companies or individuals. In emphasizing the importance of competition, it aims to ensure overall advancement and upward social mobility for all American citizens. However, there are a multitude of social and environmental factors that render capitalism ineffective. Issues like income inequality, immigration, pollution, and wealth hoarding bar the system from being universally beneficial. Perpetrators vof this economic theory do not consider the impact immutable human behavior has on its efficacy.
German sociologist Max Weber argued that early Protestant attitudes toward the necessity of labor set the stage for the later development of American capitalism. The Ascetic belief system of predestination led societies to devote their lives to work in pursuit of proving their “vocational duty to God” to themselves and others; therefore solidifying their worthiness of heavenly status. This idea deferred from the traditional antiwealth and anti-materialist Christian doctrine, setting our society on a path toward the glorification of excessive work. Despite Ascetic Protestantism’s inherent contradiction of early Christian attitudes toward materialism and meritocracy, it provided an early revelation of true human motivation– streamlining the inevitable creation of today’s capitalist attitudes.
Never in the history of the world did a poor man without capital have such an opportunity to get rich quickly and honestly as he has now in our city. . . . I say that you ought to get rich, and it is your duty
to make money honestly is to preach the gospel.”
- Russel Conwell, 19th century Baptist minister.
From its conception, America has exploited its citizens in favor of economic growth under the assurance that it will benefit the collective. We have persistently been forced into the mold of the unquestioning worker by government institutions, i.e., the education system, but the Industrial Revolution jump-started the capitalist machine that we exist in today.
The development of an industry-dominated system fundamentally altered the structure of our society, urging the masses to put economic and technological advancement over their own welfare.
Through this advancementfocused perspective and widespread religious awakening in the 18th and 19th centuries, the working class was fed the narrative of self-determination.
Although the top 1% advocates for the universal benefits of capitalism, they perceive a work-driven society solely as a means to grow their own ownership. The true essence of capitalism lies in its potential to promote advancement for the individual– this does not align with the self-interested behavior of billionaires.
The copious wealth held by these single-man monopolies can only be amassed through the hoarding of knowledge, exploitation of workers, and crony capitalism. Crony capitalism refers to the corrupt, yet mutually-beneficial relationship between government officials and corporation owners; politicians promise special favors to businesses in return for their public support. In 2025, this system of favoritism is extremely prevalent.
Donald Trump’s transition team has publicly discussed his potential elimination of the federal electric vehicle tax credit– allowing his close collaborator, Tesla CEO Elon Musk, to dominate the EV market.
In theory, the concept of capitalism is a logical plan for a universally beneficial system: The collective pursuit of knowledge, capital, and discovery, aligning our nation with its sought after prosperous destiny.
In a perfect world, hard work and passion would ensure success. However, greed and exploitation run rampant throughout our country, barring workers from any substantial upward mobility. In the face of late-stage capitalism, it is evident that this “universally beneficial” economic system is ephemeral; it does not account for the unscrupulous attitudes of our country’s elite.
Hunter had a deer stolen by a creature near Lakehead.
Frederick, Maryland
Wednesday. May 19, 1989
Tights by Emily Scott
Photography by Maya Stewart Layout by Hailey Carroll
by Mia Cadaret
Tie by Ivana Hernandez
Blazer by Anya Geistert
“It’s time to leave!” my mother calls from somewhere downstairs. I tear my eyes away from the newspaper article spread across my lap, my legs clad in grey cotton slacks–identical to those of my peers.
“Science Fiction novel “Vulcan” has been banned effective immediately from institutions across the country as politicians argue it has “instilled conspiracy theories in the minds of our youth”
For most, this is simply another outlawed piece of fiction, discarded by our obstinate, unwavering government.
But the story of Vulcan is one that has been retold through generations of my family. It is a story of rebirth, of community, of revolution. It is a tale of potential; a window into what we could achieve when liberated from forced complacency. I walk to school through the city center, cowering under the massive skyscrapers that obstruct our horizon. Pushing through the weekday herds of suited workers and uniformed students, the white marble capitol building comes into view.
WE EACH HAVE A LIFE PLACE IN THIS
Nails by Valencia Brewer
A podium is being placed at the top of the stairs, while television crews and journalists ready themselves below. An announcement booms over the loudspeaker: “Attention citizens! The capitol will be conducting a press conference addressing the recent literature bans. Please attend in-person or locate a virtual viewing area.”
I situate myself within the crowd, seeking out a perfect view of the politician behind the microphone.
“Good morning citizens!”
The radical nature of our community’s foundational literature has recently been brought to our attention. These stories, specifically those of the fictitious “Planet Vulcan” are not tales of triumph or inspiration; they are tales of caution.
We must learn from the Vulcanian’s undoing. Advanced technology in the hands of the unqualified and undereducated masses can lead only to destruction. Look at the utopia they were given! Reduced to dust through their inadequacy. We each have a place in this life. We must adhere to the destiny society has assigned to us.
The government only withholds what you could not possibly understand. We are simply protecting you from your imminent self-destruction!” I see two members of the crowd, barely distinguishable by their identical suit jackets, meet eyes. They exchange a look of irresolution. “Given?” I ponder. Such a prosperous society could only have been developed through the means they claim are detrimental. Murmurs of hesitant inspiration ripple through the crowd. UNBURDENED
It is evident that the politician’s desperate remarks have not had the intended effect on his citizens. With the intention of instilling fear in the people, preventing them from pursuing the advancement they crave, he has lit a spark in their minds. A spark that only fuels the raging fire that is Vulcan. Welcome. Our story begins in the sky, caught somewhere in the expanse beyond our awareness. We lay our sight on the brightest star reachable by the human eye. You must look closely, but the mesmerizing display of color and movement provides evidence that this is no ordinary star. An idyllic amalgamation of wondrous man-made structures and untouched nature appears. Winding
roads and twisting streams live side by side, undisturbed by the other. Industry, technology, animals, and humans all live harmoniously, respecting the necessity of each other’s existence. The noise reverberates throughout the planet and the loudness is welcome. The loudness is indicative of shared thought and free expression. For centuries they’ve lived this way. Unburdened by systems of oppression that create barriers to individual and community advancement. The people of Vulcan have provided themselves with equal opportunity to learn, grow, and share their ideas.
BY SYSTEMS
One spring morning, a cloud of black dust becomes visible, looming on the horizon. As darkness falls on Vulcan, optimism wanes. The unknowing promotes fear among the masses, but as is precedent, each living being looks to its peers, silently pledging their unity against control. Men in dark uniforms surround the city, weapons weighing them down as they trudge along the border. Our view fades to black, as the once-flourishing planet Vulcan dissolves to only a memory, a myth passed down through dusty book pages and the voices of our elders.
THE METROPOLIS IN US
by Isabella Preston
Nails by Sanya Lambe
The cyborg, as a hybrid entity, offers a radical approach to the technological crisis. By rejecting the dichotomy between the organic and the mechanical, it provides a way to think about the interdependence between human beings, technology, and the environment. Rather than seeing technology as something that should dominate or control nature, the cyborg suggests that technology can be integrated into natural systems in a way that is symbiotic, helping to address both ecological and social issues. For example, technologies like AI and bioengineering could be used to address climate change and inequality, but only if we reframe them as tools for collective benefit rather than capitalist profit. The cyborg metaphor allows us to think about technology not as an external force that acts upon us but as part of an integrated, living system in which humans and technology work together to solve global crises. In the context of modern technology, the censorship of apps and platforms plays a significant role in silencing citizens. Social media algorithms and content moderation policies, often driven by profit motives or political considerations, filter out certain voices and ideas while amplifying others. This manipulation of information creates a distorted public sphere, where those in power—such as tech companies or political elites—can control narratives and restrict access to free expression. In this way, apps and digital platforms become tools of censorship, limiting the potential for democratic participation and dissent.
The cyborg metaphor offers a way to resist this form of silencing.
The cyborg embodies fluidity and adaptability, resisting efforts to box people into rigid, controlled narratives. By embracing the hybrid nature of humantechnology relationships, we can fight back against censorship and reclaim agency over the digital spaces we inhabit. The cyborg advocates for decentralized, open systems where information is shared freely and where diverse voices can coexist without being suppressed by corporate interests.
In America, Silicon Valley’s tech elites exert unprecedented influence over the economy, politics, and public discourse. Tech corporations such as Google, Amazon, Facebook, and Apple have grown into enormous monopolies that shape everything from consumer habits to political opinions.
Headpiece by Cole Alsup
These corporations have access to vast amounts of data, which they use to manipulate and influence individual beliefs and behaviors, often prioritizing profit over human well-being. The cyborg challenges this dominance by embracing a more distributed and equitable vision of technological power. It resists the idea that a few powerful corporations should control the technological landscape and, by extension, human destiny. The cyborg calls for a more democratic approach to technology, where the benefits of innovation are shared across society and where individuals have more control over their own digital lives.
Movements like open-source software and decentralized technologies (e.g., blockchain) are aligned with the cyborg ethos, advocating for a break from centralized corporate control and the creation of alternative systems that empower individuals rather than exploit them.
Tech corporations have the ability to shape individual belief systems through their vast reach and influence. They control not only what we see and hear but also what we buy and how we vote. Algorithms determine the information we encounter, often reinforcing existing biases or shaping our opinions through targeted content.
This level of influence gives these corporations an immense amount of power over our everyday lives, affecting everything from shopping habits to political views. The cyborg’s resistance to binary thinking helps us challenge this influence. By embracing the hybridity of the human-technology relationship, we can recognize the ways in which tech companies manipulate us and push back against their power.
The cyborg symbolizes a rejection of the corporate agenda that seeks to turn individuals into passive consumers, instead promoting a vision of technology as a tool for empowerment, collective action, and social
The cyborg offers a powerful framework for critiquing the narratives of progress associated with technological growth. By blurring the boundaries between humanity, technology, and nature, it challenges the assumptions that underlie capitalist notions of progress. While modern technologies promise solutions to global challenges, they often exacerbate social and environmental problems. The cyborg allows us to reimagine how we might address these issues by embracing technology as part of a more symbiotic, democratic, and resilient system. By resisting the dominance of tech corporations and the silencing of dissent, the cyborg empowers individuals and communities to reclaim agency over the technologies that shape their lives. In this way, the cyborg offers a vision of a future where technology serves humanity, rather than the other way around.
Homeowner stumbles across a sleeping Sasquatch in the brush behind his home near Ocean Shores.
Grays Harbor Country, Washington
Saturday. December 27, 2012
Layout by Sophia Nimmo
Photography by Simone Jones and Mackenzie Sweat
EDEN PLASTIC
OGLE AT ITS DETERIORATION SOIL THE PRISTINE,
by Emma Chambers
Is it located on the opposite side of the world? In a space unseeable to the naked eye does it sit in decaying filth?
Taunting us with the idea of inhabitation, but forsaken to be reached Now doomed to a slow demise
We yearn for utopia, to reach our highest peak
Nails cracking as we crawl towards its perfection
Unable to realize the path is looped Unrighteousness terminating our right to enter
Can we ever return?
Bruised knees clash against the ground as we weep Hard heads bash together as we try to claw in
Give us redemption and allow us to return
Backwards is the only way forward Rapidly craving the forbidden
Scorned from the gates of it’s lush gardens Now piled with discarded desires
Grasping at the fruit from the outside Biting deeply into the apple we can reach Squeezing the fruit as its juices gushes down our limbs, but retching as it graces our tongue
We soil the pristine, but ogle at it’s deterioration Unable to comprehend our own destruction Can repentance save us?
What will be left when we cease?
Deteriorating plastic gripping our necks until we turn blue
The realization that we have orchestrated our ruination The garden’s roots bound our ankles leaving their marks in the skin Dragging us far from it’s heavenly gates Left planted in place, confined to dirt
Forward, Forward, Forward
Continuing our crusade, marching towards the inevitable Beaten down by our pursuit for perfection
Never able to return to the perfect garden, now forced to accept a new biome
Collecting a new prospect to consume us
Something unused to destroy, still unsullied, but free to be made new and reborn amongst our possessions
In our plastic eden.
THE APPLE BRUISED FELL;
by Rebecca Morgan
Since the beginning of human existence, people have yearned for understanding. Whether rooted in science, religion, or a combination of both, our search for meaning drives us beyond mere survival. It gives our lives depth, purpose, and connection. John Milton’s Paradise Lost offers a profound exploration of humanity’s fall from grace in the Christian biblical story Genesis, rooted in the temptation of free will.
Milton’s description of the Garden of Eden in the epic poem evokes the beauty of creation. “…if art could tell, How from that sapphire fount the crispéd brooks, Rolling on orient pearl and sands of gold, With mazzy error under pendant shades Ran nectar, visiting each plant, and fed Flow’s worthy of Paradise…” (4.236-241)
Whatever your belief system, Earth’s existence, and your own, is an incredible feat of improbability. What happened to allow us to exist in this moment with just the right circumstances for survival, love, joy, opportunity, and pain? How is the sun just close enough to warm your skin and the flowers? What kind of day was it when your parents first locked eyes? I’d like to think that we live at nature’s mercy, but this haven which fosters existence as we know it thrives under our mercy as well. The Earth’s fragile balance now faces threats brought on by human action.
Climate change is a term most people have heard, but what does it truly mean to you, me, and the people across the globe? In the context of contemporary society, it is an existential issue, marking the intersection of industrialization, overconsumption, and environmental degradation. The Industrial Revolution set in motion the mass consumption of energy—from cars to the heating and cooling of buildings, from overproduction of goods to the unsustainable use of food resources. All of this results in waste, emissions, and the burning of fossil fuels like coal, oil, and natural gas.
supply” (Armstrong, 10). Rising temperatures have caused wildfires, droughts, and storms that ravage communities, destroy ecosystems, and contribute to poor air quality. In addition, the spread of diseasecarrying organisms like mosquitoes and ticks is increasing, with the potential for the rise of diseases such as malaria and dengue fever.
It’s easy to succumb to this temptation—whether it’s ignoring environmental degradation or turning a blind eye to the hardships faced by others. It might be easy to lay in bed all day and avoid the challenges of the world. But if we do not make a conscious effort to address the pressing issues, especially climate change, we risk losing the very environment that sustains us. As with Adam and Eve’s fall, we must recognize that free will comes with responsibility. Ignoring the evidence of climate change, from wildfires to record flooding, and failing to take action will make life more difficult for future generations, if not entirely unlivable. As Milton reminds us in Paradise Lost, we are tasked with tending to the world around us, appreciating its beauty and sustaining its resources. The Earth may not go on forever, but we have a responsibility to treat it with respect and tend to “Nature’s whole wealth” (4.207)
Two men on horseback film Bigfoot as it retreats out of the creek bed and into the woods.
Del Norte County, California
Tuesday. October 17, 1967
Subliminal
Photography by Maya Stewart
Layout by Abby Randolph
Limits
bathtub
is a
by Camryn Mitchell
this is a bathtub. when you came here, began with breathing. and wailing. we are seen then. we do not remember see ing the rolling scenes that lie right ahead. is an untouchable recollection. elusive exclusivity makes all the more beautiful. while we were hidden and small, we tried to create a pool
Pants: Lillian Dent
Shoes: Madalene Leigh
Fur Top: Emily Scott
when you came here, it began with breathing. and wailing.
we are seen then. we do not remember seeing the rolling scenes that lie right ahead.
it is an untouchable recollection. elusive exclusivity makes it all the more beautiful.
while we were hidden and small, we tried to create a pool for everyone to swim in.
the expectations of the spectators weigh in on you.
to touch bountiful life and take it with ownership with pride.
it has turned the cycles into riptides. it has turned.
you grew thorned rows to protect the pool so carefully containing you. the weight of the spectators forced them high.
it does not cleanse you.
the same waves continue to lap over you. exhaustion follows too.
then, there was a hand outward and expecting you, through the pierced walls grown tall.
finally, the choice to tear flesh to escape the same cycle is your own to take. the outside is an unfamiliar, ever-changing, flowing pool of its own. a pool that could cleanse you. into the unknown, remember that you came here breathing and wailing and you have not stopped.
around, around, around it will cycle itself. around again, around again, around again.
&
by Camryn Mitchell
The Everyday is an experience of boredom and mundanity. Cycles of repetition create a familiar pallet in which we all lay in. However, in the spaces between the familiar, myth and the avant-garde creep their way in and lead to what humans have been searching for—the sublime. In philosophical and artistic discourses, the sublime signifies moments of awe, wonder, and transcendence, often coming from experiences that are void of clear comprehension or categorization. The mundane, seemingly devoid of significance, can be explored through ambiguity and disruption, allowing us to see the sublime in everyday aspects of existence. Theories from Jean-François Lyotard and concepts drawn from the avant-garde further clarify how ambiguity and disruption act as tools for reframing the ordinary.
Jean-François Lyotard’s exploration of the sublime, specifically in relation to the avant-garde, offers an understanding of how these tools can function. Lyotard, in his work The Sublime and the AvantGarde, suggests that the avant-garde plays a critical role in breaking from the traditional, comfortable, and expected. By emphasizing the limitlessness of human expression, the avant-garde does not aim to provide answers but rather generates questions and creates space for uncertainty. In Lyotard’s view, the sublime emerges precisely because the work of the avant-garde defies total understanding. It is a fight between our desire for comprehension and the vastness of the unknown that we experience the sublime.
When applied to the mundane, the avant-garde’s disruption reveals a way to reframe ordinary existence. In everyday life, people often fall into predictable patterns- commuting, working, and resting. These cycles are comforting, even if they eventually become monotonous. By introducing ambiguity and disruption into these patterns, a space
opens for the sublime to emerge. A disorienting experience can force us to confront the unknown and the uncanny, reminding us that even the most common experiences can contain profound depth. This experience could be triggered by a shift in perspective, an unexpected encounter, or even a piece of art that disrupts one’s understanding of daily life.
These moments invite the mind to see past the surface, to transcend the ordinary, and to experience wonder where there once was predictability.
The notion of identity is continually de stabilized through ambiguity. The everyday understanding of one’s self can be locked into rigid categories but moments of disruption can break these labels apart. Identity, when confronted with the su blime, becomes fluid. These shifts enable individuals to experienc e a broader, more expansive sense of self that cannot be neatly ca tegorized. Just as the avantgarde introduces complexity and am biguity into art, it does the same with the understanding of who w e are. The mundane becomes a canvas for new ways of being and e xisting.
In these reframings, wonder and awe are not external experiences; they are the internal effects of disruption. When the mundane is refracted through the lens of ambiguity, the boundaries between the ordinary and the extraordinary blur.
Ambiguity allows for a deeper questioning of what is real, what is significant, and what is possible. The avant-garde becomes the means by which the mundane is reimagined. What was once ordinary becomes extraordinary.
Ultimately, the tools of ambiguity and disruption are not merely philosophical concepts or artistic techniques; they are practices that allow us to engage more deeply with the everyday. By embracing the potential of these tools, we break free from the monotony and predictability that so often define the mundane. The sublime, once confined to distant, abstract experiences, becomes a tangible part of everyday existence—showing us that the extraordinary is always present, hidden in plain sight.
Ultimately, the tools of ambiguity and disruption are not merely philosophical concepts or artistic techniques; they are practices that allow us to engage more deeply with the everyday. By embracing the potential of these tools, we break free from the monotony and predictability that so often define the mundane. The sublime, once confined to distant, abstract experiences, becomes a tangible part of everyday existence— showing us that the extraordinary is always present, hidden in plain sight.
Creature was observed stepping up and over a fir sapling.
Columbia County, Pennsylvania
Wednesday. August 20, 1975
his anthology is fueled by an innate desire to explore the unknown and explain human experiences through storytelling. Legends invade our daily spaces, dictating how to approach life and being. As we question fundamental ideas of the universe, it is our hope that readers challenge the notion that myths are just bedtime stories for children. These narratives are rich with cultural context, proving to be exceedingly relevant to contemporary humanity and the circulation of modern
myth. We ask that you look in the spaces between heroes and monsters, night and day, lace and leather. But beware and mind the gaps.
RAY TORI EMILY KAT
MAYA SOPHIA MADALENE
LILLIAN
In an area surrounded by rural landscapes, tight knit creative communities are so rare and must be cherished. Despite the era of digital platforms, the role of the magazine as a significant site for artistic production remains stoic. Strike Magazine Chattanooga prides itself on fostering a forum for cultural criticism and continues to be a place where new ideas can be imagined.
Intrinsically collaborative, this magazine hosts a team of artists and prolific thinkers who are dedicated to keeping print alive and well. Each semester, it is such a pleasure to watch the team share my passions for the issue. Leading this cohort alongside Emily Redden, Maya Stewart, and Sophia Nimmo has been a dream. These amazing women, paralleled by our incredible assistants, Madalene Leigh, Kat Ray, and Tori White, is what has allowed this issue to be the largest, most ambitious Strike Chattanooga issue to date.
I am so proud of our creative team who has worked tirelessly to bring my wildest ambitions to life. From the hours poured into an indesign file to the early mornings preparing sets for photoshoots, our staff’s commitment to disturbing conventional standards of image, content, and design is unparalleled. It has been a pleasure to watch our external teams flourish, captivating local businesses and minds, with the inevitable goal of platforming young creatives. Driven by an impulse to create, with each issue our team is able to explore new ways of seeing, examining, and documenting the world around us, or in this case, beyond us. with magic,
Lillian Dent
LILLIAN
EDITOR IN CHIEF
When I first heard about Strike Magazine Chattanooga, it felt like something far beyond my reach. It was bold, exciting and creatively charged. Being part of this team has been one of the most fulfilling opportunities I’ve ever had and I’m so grateful to be surrounded by such passionate and talented people. Strike has not only helped me grow as a creative, a teammate, and a collaborator, but it has also shaped me into the person I am today. Stepping into a leadership role has been a meaningful journey,
SOPHIA NIMMO CREATIVE DIRECTOR
and I’m learning more every day. It’s taught me so much about working with others, supporting a shared vision, and discovering the kind of artist I want to be. Everyone involved in this issue has poured so much heart and energy into bringing it to life. It’s inspiring to watch ideas grow into something real and beautiful. You can see a piece of each
person on our team in these pages. The collaboration and dedication behind this magazine are what make it so special.
This issue feels like magic not just because of the result but because of the community behind it. Watching everyone come together for a shared vision shows just how powerful creative teamwork can be. I feel really lucky to be a part of it, and I hope you enjoyed experiencing this issue as much as we loved creating it. with love, Sophia Nimmo
STEWART CREATIVE DIRECTOR
It’s funny how life can lead you to places you never expected. I accidentally stumbled into a Strike launch party one cold winter night, over a year ago. My parents were with me, and my mompersistent as always- begged me to apply as a photographer. I was nervous, of course, but I did it anyway. Little did I know, that moment would mark the beginning of one of the best decisions I’ve ever made. After getting hired as a photographer for the next issue, I never could’ve predicted I’d end up here, writing this as one of the Creative Directors for Cavity. It’s been an incredible journey. I have loved working with such a talented, passionate team, collaborating with individuals who truly push each other to create something magical. Being a part of Strike has deeply shaped me as a creative, and I’m so grateful for the experiences and connections it’s brought me. To the Strike staff: I hope this issue has helped you all notice the myth that resides in the everyday. Each page is a testament to our collective energy, vision, and effort. I hope you all feel the same pride in this issue that I do. Thank you to everyone who’s been part of this journey. I can’t wait to see where we go next!
Sincerely,
Maya Stewart
Finding the right words to sum up the past three years of my life with Strike feels nearly impossible. It’s hard to remember who I was before this journey or what my life looked like without it. And now, as I prepare to leave, it’s even harder to imagine saying goodbye. Before I joined Strike, I was a creative spirit in search of direction. My first issue, I took on the role of Marketing
Assistant with more curiosity than confidence, unsure of what exactly I was getting into—but that uncertainty quickly faded. I found myself captivated by the world of Externals. It was the perfect place for me: a behind-the-scenes space that allowed me to stretch my ideas while slowly pulling me out of my shell. As my confidence grew, so did my love for this work.
I stepped into the role of Marketing Director, and eventually Externals Director—a position that has become my life for nearly two years. Being part of a team of such talented, driven, and wildly inspiring creatives has been the most fulfilling experience of my life. Strike challenged me, shaped me, and gave me purpose in ways I never could have imagined.
EMILY REDDEN EXTERNALS DIRECTOR
I owe an immense debt of gratitude to the three Editor-in-Chiefs I had the privilege of working under—Aisy Nix, Sophie Hamblen, and our current leader, Lillian Dent. Each of these women is nothing short of extraordinary. Each left a profound mark on me, likely in ways they’ll never fully realize. Each played a role in reinventing Strike Chattanooga, leaving their unique and beautiful imprint on it. Though different in their own ways, they share the same qualities of leadership, creativity, and unwavering dedication that I admire oh so deeply. The lessons I’ve learned from them will stay with me for a lifetime, and I feel incredibly lucky to walk away stronger—both personally and professionally—because of them. Being Externals Director has been a dream. Strike has been my sanctuary. For the last time…
Strike.Out.
Emily Redden
TORI WHITE
ASSISTANT EDITOR IN CHIEF
MADALENE LEIGH
ASSISTANT CREATIVE DIRECTOR
ASSISTANT EXTERNALS DIRECTOR
STRIKE 09 ALL STAFF
ELLA LAUGHMILLER
ABBY RANDOLPH HAILEY CARROLL SOPHIA NIMMO
TAYLOR ROSE CARLY SPICER
MADALENE LEIGH
BREE SCHUT ELENA SAGEN MIA FANSLER
EMMA EIKUM KEIRA THORPE EMILY SCOTT
MIA CADARET
GRACE MAGNINI
IVANA HERNANDEZ
VIOLET HOOD
SKY MEEKS
DEVYNEE O’NEAL
MACKENZIE SWEAT VALENCIA BREWER MADELINE AIKEN
REBECCA MORGAN
ISABELLA PRESTON ERIKA LAMMON CAMRYN MITCHELL
ELIZABETH BRIGHT
KEIRA THORPE ISABELLA WAKEFIELD
SKYLAR ENGLISH
RYLEE RIDNER
LILLIAN DENT
KATE BARNES
VIOLET CARDER
ADAM THIEL
EMMA SOEFKER
LILEE ROSE
SICILY HARDGRAVE
GEKAYLA SHUMAKE
GEISTERT
SHAYLA BROWN
ALSUP
LAUREN YOUNG
LIGHT DAVIS
J’TORY MATTHEWS
CARA FLOWERS
YAZMIN CORTEZ
DEJA AGUIRRE
LOWE
JONES
MORROW
SKYLAR ENGLISH
LUKA MALLO-GUENTHNER
JADAH WILSON
KAT RAY
YAMMAN AZZOUZ
TORI WHITE
ANYA
COLE
SIMONE
EMMA CHAMBERS
MELISANDE CROSS
GRACEE
ALLIE
MAYA STEWART
Sink OR Swim SHOOT 1:
Leader: Production:
EMMA EIKUM
Writing:
MADALENE LEIGH + MIA
FANSLER + ELENA SAGEN + ELLA LAUGHMILLER + CARLY
SPICER + SICILY HARDGRAVE + TORI WHITE
ISABELLA PRESTON + ERIKA LAMMON
Photography:
Hair+Makeup:
Model:
Styling:
Sources:
KIERA THORPE + J’TORY
MATTHEWS + LIGHT DAVIS
+ EMMA EIKUM + ANYA
GEISTERT + MADELINE AIKEN
Nails: Graphics:
SKY MEEKS
SANYA LAMBE + MADELINE
AIKEN
BAILEE FISTE
EMMA SOEFKER
SANYA LAMBE
Beauvoir, S. de. (1949). The second sex: By Simone de Beauvoir. Librairie Gallimard.
Federici, S. (2004). Caliban and the Witch: Women, the body and primitive accumulation. Penguin Books.
Nobody Axed You SHOOT 2:
Leader: Production:
ANYA GEISTERT
Writing:
Styling:
MADALENE LEIGH + GEKAYLA
SHUMAKE + LAUREN YOUNG
+ ELLA LAUGHMILLER + CARLY SPICER + MIA FANSLER
+ TORI WHITE
REBECCA MORGAN + MIA CADARET
Photography:
Hair+Makeup:
Model:
MADELINE AIKEN + VIOLET
HOOD + CARA FLOWERS
+ EMMA EIKUM + ANYA
GEISTERT
Sources: Brown, B. (2001). Thing theory. Critical Inquiry. Fuhrer, J. (2023). The Myth of Meritocracy Runs Deep in America. MIT Press.
Graphics:
DEVYNEE ONEAL
SANYA LAMBE + LIGHT DAVIS
+ MADELINE AIKEN
STAFFORD SHUMAKE + SYDNEE SCHILL + GABRIELY
GARCIA
YAMMAN AZZOUZ
Vulcan SHOOT 3:
Leader:
MADALENE LEIGH
Production:
MADALENE LEIGH + GEKAYLA
SHUMAKE + BREE SCHUT + SHAYLA BROWN + ELLA
LAUGHMILLER + CARLY
SPICER + TORI WHITE
Writing:
MIA CADARET + ISABELLA PRESTON
Styling:
MADELINE AIKEN + COLE
ALSUP + IVANA HERNANDEZ + EMMA EIKUM + ANYA
GEISTERT + EMILY SCOTT + MIA CADARET
Photography:
Hair+Makeup:
Model:
SANYA LAMBE + IVANA HERNANDEZ + MADALENE LEIGH’
OLIVER ITO + AYEN + ADELAIDE SOFOLO
Nails: Graphics:
HAILEY CARROL
SANYA LAMBE + VALENCIA BREWER
MAYA STEWART
Sources: Haraway, D. J. (1985). A Cyborg Manifesto. Socialist Review. Benjamin, W. (1923). Dream Kitsch: Surrealism, Walter Benjamin, and the Agency of the Dream. Harvard University Press.
Plastic Eden SHOOT 4:
Leader:
ELLA LAUGHMILLER
Production:
MADALENE LEIGH + ELENA
SAGEN + BREE SCHUT + ELLA LAUGHMILLER + CARLY SPICER + TORI WHITE
Writing:
EMMA CHAMBERS + REBECCA MORGAN
Styling:
MADELINE AIKEN + KEIRA THORPE + LIGHT
DAVIS + EMMA EIKUM + ANYA GEISTERT + IVANA HERNANDEZ + GRACE MAGNINI
Sources: Milton, J. (1667). Paradise Lost. Samuel Simmons. Armstrong, A.K.(2018). Climate Change Science: The facts. Cornell University Press.
Photography:
Hair+Makeup:
Model:
SWEAT
SANYA LAMBE + YAZMIN
CORTEZ + VALENCIA BREWER
SHUMAKE + WAYLON PRICE
Graphics:
NIMMO
SIMONE JONES + MACKENZIE
SOPHIA
GEKAYLA
Subliminal Limits SHOOT 5:
Leader: Production:
CARLY SPICER
Photography:
MAYA STEWART
Writing:
MADALENE LEIGH + SHAYLA BROWN + ELLA LAUGHMILLER + CARLY SPICER + LAUREN YOUNG + TORI WHITE
CAMRYN MITCHELL
Styling:
MADELINE AIKEN + EMILY SCOTT + EMMA EIKUM + ANYA GEISTERT + COLE ALSUP
Sources: Lyotard, J.F. (1984). The Sublime and the Avant Garde. Artforum Magazine.
Sources: Sutcliffe, J. (2021). Magic: Documents of contemporary art. Whitechapel Gallery ; The MIT Press.
LAMBE SANYA
Sanya Lambe, 26, is a Chattanooga based multimedia artist; they’ve been working with Strike Magazine Chattanooga since their 6th issue, Mimesis, as a makeup and nail artist. They now serve as the magazine’s Beauty Director, overseeing the hair, makeup and nails worn by the models during production.
Some notable works of theirs in the magazine include the cover nails for Issue 08: Body Snatchers, as well as many of the nails seen throughout Issue 09: Cavity
Maya Stewart, one of two Creative Directors, is a photographer, videographer, and fabric artist who navigates intersections of femininity, flesh, and perception. Her current body of work explores the overlap between how we speak about women and how we speak about meat. Raw, juicy, tender. The way a body, once stripped of its identity, becomes just another object to be handled.
Stewart’s images and installations draw parallels between the commodification of the female form and the literal consunption of flesh.
Desire and disgust live in the same breath.
The body will forever be devoured.
STEWART MAYA
RANDOLPH ABBY
Abby Randolph is a multidisciplinary artist with a focus on design and photography. She searches for balance and harmony throughout those mediums, whether that be formal like image and text or analog and digital, or conceptual like feminine and masculine, divine and mundane, or good versus evil. The intersection of these points is where her work hopes to reside.
Hey Strike reader, Dean here, at least thats what most people call me. Strike’s biggest mistake was giving me an opportunity to put my own words in the magazine, I’m a bit of a menace and it reflects in my work, I always find it a bit hard to define it. I got my degree in graphic design but my works span across typography, publication, sculpture, photography, and performance primarily. A through line I see in my work is one of rebellion, I’m on the hunt for some sort of revolution. Maybe it’s internal annihilation, a stampede of moving bodies, or a stack of plywood that’ll shake your bones apart. I’m here and I go hard; if art is meant to inspire, that’s how I want to inspire people: to be loud, to be unruly, and to be bring that energy to the world immediately around you. Our greatest strength is our ability to manifest memories in others, by creating an environment, a relationship, a moment in time that lives forever within someones mind. That’s the quite revolution that moves mountains. Anyways, I hope you enjoyed this issue, I put a lot of hard work and care into it.
