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Sailing at Night under the Bridge by Anonymous..................1 After the Storm by Anonymous.............................................2 Concessions by Michael Goodman.........................................6 God Bless His New School by Lisa Starr.................................18 Am Mammal by Emma Winsor Wood................................24 Widowmaker by Emma Winsor Wood...............................25 Translation of Alessandro De Francesco by Belle Cushing....28 Almost There by John Richmond.......................................59 Navigation by Luke Taylor..................................................66 Gauging the Invasion by John F. Buckley and Martin Ott....71 My Motherâ&#x20AC;&#x2122;s House by Tess Carroll......................................77 Your Cul-de-Sac at Night by Larry Narron...........................84 July Waxes by Sarah Bence...............................................88 the dahlias on the breakfast table by Sarah Bence...............89


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One by Kevin Pires.............................................................94 Two by Kevin Pires.............................................................96 Confusing the Gods by Bill Wolak.......................................100 How Evil Enters the Body by Bill Wolak.............................101 The Unfaithful Wife by Bill Wolak....................................102 Io by Daniel King..............................................................104 The Siege of Tr채umen by Daniel King.............................106 Poem of Tribute by!"#$%&'&!()*+,-.$/&00000000000000000000000...109


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Claire Read...........................................i; v; 3-5; 16-17; 19-23 (-1&!2&$3455-!*!6#7/4550000000000000000000000000000000000000000000000000089:8; Annika Finne.....................................................................58 Cole Hager....................................................................62-65 Maliya Travers-Crumb...................................................68-70 Maya Mason..................................................................74-76 Carol Kim.....................................................................82-83 Lucy Kissel...................................................................86-87 Eleanor Leonne Bennett............................91-93; 97-99;103 Nicolas Hen......................................................................108


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Sailing at Night under the Bridge

Anonymous 6<4!'&34.!5&=$!&>?!7@.5$!&A&#>$3!3<4!'--? A murmuring evensong in the dark good >#A<30!!B@.!A<-$35*!'4?A4!-C!.@$35#>A!$&#5! $5#?4$!#3$!=-#>3!&7.-$$!3<4!>#A<3!=-#>3$!-C!3<4!$/*0 D!'4?A4!-C!$=.4&?#>A!'&/4!?#$3@.,$!3<4!=&54 +-->E$!+#..-.F!#>!<4.!$=47/54?!,4?!-C!$3&.$0 6<4!<@55E$!$-C3!?.@+!3.&>$=-.3$!3<4!A4>354!$-@>?$F! '<#54!7&.G#>AF!&A&#>$3!3<4!5#A<3$!.4H4734?!E.-@>?F #3$!-'>!?&./!75-$4!<-.#)->0!!D5#4>!7&.$ hum high across the bridgeâ&#x20AC;&#x2122;s distant steel, &!'-.5?!&=&.30!!D>?!A4>35*!*-@!&>?!I &.4!1554?!'#3<!'<&3!'4!<4&.F!&>?!$44!&>?!C4450 B@.!'-.5?!'#3<#>F!7&.4$$4?!,*!'#>?!&>?!$4&F D3!->74!#++4?#&34!&>?!#>1>#3*0

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After the Storm

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Am Mammal

Emma Winsor Wood D+!4K=&>?#>A!@>#: G4.$4!7->3.&734?!#>3-!=-#>3! -C!,4#>AF!$4&:'&34.!$'455#>A! &!1A@.4<4&?!@>3#5!#3!'&$<4$! ashore, dries brittle. Am un4>?4&.#>A!&>#+&5!-C!A5&>?: $74>3F!@34.#>4:$<4?F!H4$<: ,5-&3F!#+=-$$#,54!3-!@>: stain. Am mini&3@.4!?&*?.4&+!-C!<@>A4.! 7@.54?!#>3-!'<-.5!-C!>&7.4: shine, light as bird-bone & ,.#A<34.!3<&>!7&57#34:H47/4? cement. D+!.-=4: 3&@3!V@#G4.F!,4&3#>A!'#3< blood uncongealed as air still bluer than gasH&+40

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Widowmaker

Emma Winsor Wood I!3<#>/!I!/>-'! better than yesterday '<&3!3-!?-!3-?&* ,@3!$3#55!I!&+!$3#55 &3!3<4!'#>?E$!'<#+$*a a severed branch caught I!3<#>/!I!/>-' better than yesterday ,@3!$3#55!I!&+!$3#55 a severed branch caught ,43'44>!,.&>7<4$F!=-#$4? I!3<#>/!I!/>-'! better than yesterday '<&3!3-!?-!3-?&* ,@3!$3#55!I!&+!$3#55 7&@A<3!,43'44>!3.44$F =-#$4?!3-!?.-= I!3<#>/!I!/>-' '<&3!3-!?-!3-?&*a 3-!?.-=!->!'<&3: 4G4.!,5-'$!#>! 3-+-..-'!

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Translation of Alessandro De Francesco

Belle Cushing

The End _@!>!E!&!A!4!>!?!&`

4-56#5$(7#("8#*+(0-*(.&95:(4-56#5(69/;5#(6-(0#"*<#(=#(7#++#(#>9?#"7#( &0+9@'#(@'9$(=-"*(6-(+5-=9+9&"(&779=#"+-6#$(*&'3#+(=#0'9*(=#*(3966<"-95#*("&+5#(-005&7,#(=#*(7,&*#*(#+("&'*(9".9+#(A(0#"*#5(*&'*(6-( ?-5-"+9#(=#(6-(6'39;5#(&'(*&'*(6-(3#"-7#(=#(68-/*#"7#(=#(6'39;5#: Maurice Blanchot

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The End _&!>!!&!A!4!>!?!&`

B0#-C9"?(9*("&+(*##9"?:(B0#-C9"?(69/#5-+#*(+,#(+,&'?,+(&D(+,9*(&0+97-6(#>9?#"71(+,-+$(9"(+,#(E#*+#5"(+5-=9+9&"$(,-*(D&5(3966#""9'3*( subdued our approach to things and invites us to think under the ?'-5-"+##(&D(69?,+(&5('"=#5(+,#(+,5#-+(&D(+,#(-/*#"7#(&D(69?,+: Maurice Blanchot

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?#++#!7-+4!=-3.4#!?#.3#! 7<4!#>!V@4#!A#-.>#!#-!>->!7E4.-! che i nastri giravano a vuoto e una curva si annidava $-33-!54!7-=4.34! #+,.&77#&G&+-!#5!3454C->-!!!!!.#7-.?#! smettevamo di cercare

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3455!+4!<-'!#!7-@5?!3455!*-@ 3<&3!#>!3<-$4!?&*$!#!'&$>E3!3<4.4 3<&3!3<4!3&=4!'&$!3@.>#>A!#>!G&#> &>?!&!,4>?!'&$!>4$3#>A under the covers '4!,.&>?#$<4?!3<4!3454=<->4!!!!!.4+4+,4. '4!$3-==4?!5--/#>A

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&?!-A>#!&33#G&)#->4!?#!=&.-5&!>45!,@#-! G4?-!@>&!=-.)#->4!?#!1@+4!#>!+-3-! #55@+#>&3-!?&#!5&+=#->#!4!?&554!#>$4A>4!!! 7.4&!=#77-5#!3@.,#>#! $7-..4!#>!=#m!?#.4)#->#! altrove mi stendevo a terra 4+4334G-!G4.$#!#>7-+=.4>$#,#5#

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&3!4&7<!&73#G&3#->!-C!'-.?!#>!3<4!?&./>4$$ #!$44!&!=-.3#->!-C!3<4!.#G4.!#>!+-3#-> #55@+#>&34?!,*!3<4!$#A>$!&>?!$3.4435&+=$ +&/4$!5#3354!3'#$34.$ H-'$!#>!&55!?#.473#->$ $-+4'<4.4!45$4!#!'&$!$3.437<4?!-@3!->!3<4!A.-@>? 4+#33#>A!#>7-+=.4<4>$#,54!'&#5$

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?-=-!7<4!n!&>?&3&!G#&!<-!=.4$-!5E&$74>$-.4! @.3&G&!?-574+4>34!7->3.-!54!=&.43#! continuava a scendere anche ?-=-!7<4!#5!?#$=5&*!$4A>&G&!l! +#!7<#4?-!!!!$4!C-$$4!$74$-!&>7-.&! cosa sarebbe accaduto avrei C-.$4!.#3.-G&3-! 5&!+&77<#>&!?#!=5&$3#7&! =4.$&!#>!@>E&53.&!7#33o!!!! +4>3.4!$=#>A4G-!G#&!5E#>C&>)#&!>455E4.,&! 5&!7->-$74>)&!>->!$&.o!?&3&! 7#!#>#433#&+-!?4#!=#&>#!$4V@4>)&!! A#.#&+-!@>!15+!A#o!+->3&3-! >4#!7-.=#!?4A5#!&53.#! $#!+->3&!@>&!=&>>&!#+=&))#3&

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&C34.!$<4!54C3!#!3--/!3<4!454G&3-. it banged gently against the sides /4=3!A-#>A!?-'>!4G4> &C34.!3<4!l!H--.!,5#>/4? #!'->?4.!!!!#C!#3!<&?!/4=3!A-#>A '<&3!'-@5?!<&G4!<&==4>4?!!!!!!!'-@5?!#! maybe have rediscovered the toy car lost in another city '<#54!#!=@$<4?!,&7/!7<#5?<--?!#>3-!3<4!A.&$$ 7->$7#-@$>4$$!'#55!>-3!,4!A.&>34? '4!#>N473!-@.$45G4$!'#3<!$4V@4>74!$<-3$ $<--3#>A!&!15+!&5.4&?*!,44>!7@3 in othersâ&#x20AC;&#x2122; bodies cutting into a curdled emulsion

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talora il dolore si mostra 7-+4!=.4$4>)&!#554AA#,#54!!!!!!!!7-+4!$@=4.17#4!$4>)&!C->?-! &!V@4$3-!=@>3-!$&.4#!#>V@&?.&3-! ?&55E&53-!!!!!!!#>!=#4?#!?#!C.->34!&!34! >455&!=4>-+,.&!!!!! solo #>!$4)#->4! ?#43.-!54!3&==&.4554!!!!!>455E4.,&! solo #>!=#4?#!?#!C.->34!&!34

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4.#!-$$4.G&3&!?&!@>&!C-.+&! >455&!1>4$3.&!?45!=&5&))-!?#!C.->34! si trattava di una borsa su un armadio 7<4!=4.!>-#!4.&!#5!G-53-!?#!@>&!?->>&! ?#$34$-!&5!,@#-!!!!!>45!5433-!?#!@>E&53.&!7#33o! #-!G4?4G-!7->3.-!54!+#4!=&5=4,.4! un collo allungato a dismisura 4!#>!7#+&!@>!G-53-!&5#4>-!$4>)&!$A@&.?-

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al tavolo di vetro guardo le nuvole .#H4$$4!&55&!.-G4$7#& #5!7#45-!?455&!7#33o C&!5@74!&>7<4!?#!$4.&

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in the glass table #!'&37<!3<4!75-@?$ .4H4734?!@=$#?4!?-'> city skies $3#55!A5-'!4G4>!&3!>#A<3

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+&!#>!@>&!A4-+43.#&!>->!4@75#?4&!!!!!!!!#>!@>-!$=&)#-!7@.G-! 3@!$&.4$3#!4!>->!$&.4$3#!V@#!7->!+4! le nostre mani si incontrerebbero #>!@>&!$3&>)&!$4>)&!-77<#!!!!!!54!=&.-54! G4..4,,4.-!#>V@&?.&34!#>!=.#+-!=#&>-! =4.!?#.7#!1>&5+4>34!7->!7<#&.4))&! V@&>?-!7#!$#&+-!=4.$#

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ogni concetto era scosso come un albero &5!,@#-!$#!3.-G&G&>-!&=4.3@.4! nellâ&#x20AC;&#x2122;estate era tutto rosso tutto calmo #5!>-$3.-!15+!$#!$&.4,,4!#>3#3-5&3-! del tornare a casa $#!$&.4,,4!$G-53-!$@!=#&>#!#>1>#3#! 7-+4!=.-3&A->#$3#! ?4554!)->4!?#!=&.34>)&! @>!=&.&5@+4!7->!5&!$=#>&!&33&77&3&!>455E4.,&! e le lettere del mio nome $7.#33-!$@554!=&A#>4!?455&!3@&!&A4>?&! +&!&55&!$-5&!C.&$4! $4>3#!?4G-!&>?&.4!=4.!$&=4.+#!G4.-! 7En!$3&3&!@>&!?#$3&>)&!3.&!54!7-$4! >->!<&!34>@3-!!!!!!!_4?!n!$3&3-!>474$$&.#-`! 5&!,@77#&!=-.-$&!?455&!=4.&

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4G4.*!7->74=3!'&$!$<&/4>!5#/4!&!3.44 #>!3<4!?&./!3<4.4!'4.4!-=4>#>A$ in the summer 4G4.*3<#>A!'&$!.4?!!!!!!4G4.*3<#>A!7&5+ -@.!15+!'-@5?!,4!3#354?! on going home #3!'-@5?!,4!@>.&G454?!->!#>1>#34!=5&>4$ and as leading actors ?4=&.3@.4!)->4$ &!5&+=$<&?4!#3$!=5@A!$3@7/!#>!3<4!A.&$$ &>?!3<4!54334.$!-C!+*!>&+4 '.#334>!->!3<4!=&A4$!-C!*-@.!&A4>?& but at one single sentence 5--/!#!<&G4!3-!A-!3-!/>-'!#!&+!.4&5 things became distanced 3<4!=4&.E$!=-.-@$!$/#>!!!!!!!_&>?!$-!#3!<&?!3-!,4` did not hold

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invecchiando entra in giardino .#=434!$4+=.4!&57@>4!C.&$#!!!! 5E&$74>$-.4!?&!.#C&.4! la musica della vicina gli scalini il selciato si ritira 7-+4!&5!3&33-!54!C-A5#4!?455&!C4574! n!#>V@&?.&3&!?&!?#43.-!+4>3.4! $#!$=-$3&!->?4AA#&>?-! =4.7-..4!54!?#$3&>)4!7->!54>34))&! una sacca deborda dallâ&#x20AC;&#x2122;armadio V@&57-$&!$#!&A#3&!&5!$@-!#>34.>-

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A.-'#>A!-5?4.!$<4!4>34.$!3<4!A&.?4> &5'&*$!.4=4&3$!74.3&#>!=<.&$4$ the elevator to be redone the neighborâ&#x20AC;&#x2122;s music 3<4!$34=$!!!!!!3<4!=&G4+4>3 C@.5$! 5#/4!3<4!54&G4$!-C!&!C4.>!'<4>!3-@7<4? $<4!#$!C.&+4?!C.-+!,4<#>?!'<#54 she moves rocking 7-G4.$!?#$3&>74$!$5-'5* &!,&A!-G4.H-'$!C.-+!3<4!'&.?.-,4 something stirs inside

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+&!=-#!G#4>4!&=4.3&!5&!G&5#A#&! >->!n!>4&>7<4!5&!+#&!+&>-! $->-!A5#!-AA433#!7<4!7-+#>7#&>-!&!153.&.4! #5!+-$3.#7#&33-5-!?#!=45-!.-$$-!-$$4.G&!&!G@-3-! A5#!&==@>3&+4>3#!$7.#33#! $@!@>&!3@&!&A4>?&!?#!?@4!&>>#!C&! sembrano ancora urgenti ogni lettera si tiene stretta &55&!=&A#>&!7->!.#77#-5#!4!&.&,4$7<#! -A>#!&>A-5-!<&!@>&!=.-=.#&!A4-A.&1&! cerco di descrivere il tracciato delle dita $@5!3&==43-! 5&!74.>#4.&!C&!#5!=4.7-.$-!#>G4.$-

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,@3!3<4>!3<4!$@#37&$4!7-+4$!-=4> not even by my hand #3E$!3<4!-,N473$!3<&3!&.4!$3&.3#>A!3-!1534.!-@3 3<4!5#3354!.4?!<&#.4?!+->$34.!'&37<4$!#?5#>A 3<4!&==-#>3+4>3$!'.#334> ->!->4!-C!*-@.!&A4>?&$!3'-!*4&.$!-5? still seem urgent 4&7<!54334.!<-5?$!#3$45C!@=.#A<3 ->!3<4!=&A4!'#3<!H-@.#$<4$!&>?!&.&,4$V@4$ 4&7<!&>A54!<&$!#3$!-'>!A4-A.&=<*! iâ&#x20AC;&#x2122;m trying to describe 3<4!=&3<!3<4!1>A4.$!3.&74 ->!3<4!7&.=43 3<4!)#==4.!3&/4$!3<4!-==-$#34!.-@34

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$3#&+-!$-$=4$#!$@A5#!$7&5#>#! $-=.&!5E&7V@&! &5!74>3.-!7En!5E4$3&34!G#$3&!?&55E&53-! #5!,@#-!?455&!7#33o! =&$$&!3.&!@>!C&>&54!4!5E&53.-! 54!$@=4.17#!?4554!,.&77#&!&?4.#$7->-! e si rivelano lucide sotto 5E#>34.+#334>)&!?#!@>E#>$4A>&! -A>#!=-.-!n!@>&!?#$34$&!&=4.3&! #5!7-.=-!$-A>&!#!7&=455#! $#!?o!>455&!C-.+&!?45!=-$$#,#54! alcuni temerari nuotatori $#!A433&G&>-!>4554!&7V@4!?455&!$4>>&! risalivano la corrente 1>-!&55&!=.#+&!,&>7<#>&

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$4>3#!=-3.4,,4!4$#$34.4!!!!!!?#43.-!5-!$7<4.+-! @>&!$3&>)&! ?-G4!&>7<4!V@&>?-!#5!=&.&5@+4!>->!n!&774$-! e le tende tirate &>7<4!V@&>?-!5&!G&5#A#&!>->!4.&!7<#@$&! sembrava tutto rosso tutto calmo

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5--/!3<4.4!7-@5?!4K#$3!!!!!!,4<#>?!3<4!$7.44> a room '<4.4!4G4>!'<4>!3<4!5&+=!#$!-@3 &>?!3<4!7@.3&#>$!?.&'> 4G4>!'<4>!3<4!$@#37&$4!'&$>E3!75-$4? everything seemed red everything calm

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costruzione di un tetraedro quadridimensionale by R. Courant â&#x20AC;&#x201C; H. Robbins, What is Mathematics? BKC-.?!f>#G4.$#3*!O.4$$F!pqjp

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Almost There

John Richmond

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@5


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END

@6


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Navigation

Luke Taylor

F-.9?-+9&"G(H"(45-9*#(&D(H33#=9-+#(I5-+9!7-+9&"( (All Else Equal) 6.&>$5@74>3!=45543$F!EC-.4!'4!7&>!+-.4!75-$45*!G43!3<4+F O453!@$0!D>?!'4!7&55!3<4+!<&#5F!+-$3!5#/45* Hasting to hide, not thinking our skin thick M>-@A<!3-!3@.>!3-54.&,54!,@+=$0 b43F!$&*!'4!<&#5!3<4!?-'>7-+4F Sleuth out its booniness. We could emerge the more hale. D>?!$<-@5?!'4!1>?!,4&@3*F!3--Y Bc! A halo. At last. _J43E$!$&*F!4G4>F!3<&3!->4!7-@5?!1>?!&'4!#>!&!$7&=4! <-'4G4.+@7<!H&'4?R D!5#3354F!#>$@=4.&,5*F!4K7.@7#&3#>A5*!H&'4?0` b43!$<-@5?!3<4!54A4.?4+&#>#$3!<&G4!54C3!<#$!<&>?$!&3!<-+4F B.!$<-@5?!<4!3@.>!7-5?$3#CC!'#3<!&A4F Or intermittently, D>?!74.3&#>!C&73$!.4G4&5F (@7<!3<&3!$7.-@>A#>A!1>?$!'&.+3<!C-.!->5*!->4!<&>?F

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John F. Buckley and Martin Ott D54.34?!,*!?44=:$=&74!3.&>$+#$$#->$F!3<4!S#A<!2-@>7#5!-C! Qr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only the Geico gecko commercials, the Galactic Constant, =.-G4?!C&+#5#&.!&>?!'-.3<*0!D55!45$4!$44+4?!7<&-$F!3<4!?@$3! -C!&!A&55-=#>A!$4G4>:5#+,4?!$344?!7<@.>#>A!#>!3<4!>&G4!-C!&! 34+=540!T-3<#>A!'&$!$3.@73@.4?F!>-3<#>A!'&$!$3.->AF!>-3<#>A! $@AA4$34?!/>-'#>A!3<4!6<'@N!(*+,#-3#7!S*=-3<4$#$0 The mystics and mathematicians could not understand the 5-$3!*4&.$F!3<4!7&G4+4>!&>?!4*4,&55!+->4*F!?4G#&3#->$!C.-+! 3<4! @.:V@4$3! 3-! .&74F! ,457<! H&+4$! &>?! $44?! 3<4! $/*! '#3<! =-#$->!$+-/40!6<#$!?4$#.4!3-'&.?!?4G-5@3#->!&>?!&!C@3@.4! '<4>!5#C454$$!+&7<#>4$!5&*!.@$3#>A!#>!?#37<4$ .&3<4.!3<&>!<4'#>A!G&3A.-'>!H4$<!#>!A5-.#-@$!A5&?#&3-.#&5! 75&$<4$!$4>3!7<#55$!?-'>!3<4!3.#=54!$=#>4$!-C!3<4!,&3:+&.3*.$! +&>>#>A!3<4!$7&>>4.!&..&*$F!'#55#>A!3-!$@CC4.!&>?!$<.#G4!C-.!

A6


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A4


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Tess Carroll

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This is the guestroom, mother says. The '#>?-'$!5--/!-@3!&3!3<4!.#G4.,&>/!'<4.4! #>!$=.#>A!I!@$4?!3-!?#A!@=!$544=#>A!3-&?$! &>?!=.434>?F!&+#?!3<4!7->$3&>3!$V@&55!-C! $-@>?F!3<&3!I!7-@5?!<4&.!3<4+!,.4&3<#>A0! 6<4#.!$5-'F!,.-'>!.&$=$0

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B5


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The bed is small, mother says, but it is 7-+C-.3&,540!b-@!'#55!A43!@$4?!3-!#30!b-@! '#55!,47-+4!&77@$3-+4?!3-!>#A<33#+4! <4.40!S-'!3<4!,.#3354!$3&5/$!-C!,#.?! C4&3<4.$!=-/4!3<.-@A<!+&33.4$$4$0!S-'! 3<4!=&@$454$$!,54&3#>A!-C!$'&>$!C-.!@$!#$! silence.

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B6


70$'-/03D+1*/"& %')/&+Y(>


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Your Cul-de-Sac at Night

Larry Narron the houses arranged like a smacked mouth 3<&3!$'&55-'$!3<4!5&$3 $3&54!7.@+,$!-C!$@++4.0 3455#>A!5#4$!'4!=.434>?!3-!,45#4G4!#> #>!3<4!-.&>A4!=-=$#754!5#A<3F 3<4!3.4+,5#>A!H#7/4.!-C!&!A&AA4?!C&>3&$#&F -@.!<4&?$!C@55!-C!75#=!&.3!s!$=&+0 3<4!'&*!3<&3!*-@!$=4&/!3-!+4F '#55#&+!$<&3>4.#>A!'-.?$!#>!3<4!'&* our english teachers used to demonstrate 3<4!'&*!3<4*!3<-@A<3!#&+,#7!=4>3&+434. should be read aloud. 3<#$!'&$!*-@.!#?4&F!>-3!+#>4R!&!=@,5#7!=5&74 C-.!'<&3!<&$!,47-+4!&!.#3@&5 ,4>4&3<!&>!&@?#4>74!-C!$3&.$!3<&3!,.@#$4!3--!4&$#5*0 the sky must have contracted some disease. ->!3<4!-3<4.!$#?4!-C!3<4!=5&>43!#!7&>!<4&.!3<4!,.-&? s!4G4>!4K<&5&3#->$!-C!&!'<44)#>A!$@>F *-@.!-'>!,.4&3<#>A!$=44?#>A!@=!3-!$*>7<.->#)4!&!$->A0 +-$V@#3-4$!,4&3!3<4+$45G4$!3-!?4&3<!&A&#>$3!3<4!5&+==-$3$0 '<4>!*-@!5--/!&3!+4!#3!#$!&$!#C -@.!4*4$!&.4!C.#4>?$!=5&*#>A!7&37< ->!&!,@.>4?!145? #>!3<4!$>-'$!-C!&>-3<4.!74>3@.*0 3-!/44=!#3!A-#>A!1.$3!&534.>&3#G4$!3-!,&$4,&55 -77@=*!3<4!+#>?R!#>!7&$4!*-@!<&?>E3!A@4$$4?F!#!&+!3<#>/#>A -C!$3->4<4>A40

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BJ


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July Waxes

Sarah Bence Z@5*!'&K4$!#>3-!&!5&G4>?4.!$/*F #3$!=&>:,&/4?!&C34.>-->$ 5#/4!$3#7/*!$*.@=!?-'>!=-=$#754!$3#7/$R H&3!&>?!$=5#>34.4?!&>?!$@A&.4?0 2-5-.!#$!$#=<->4?!-@3F 4G4>#>A!#$!&!A.&*:$<&?4!&CC&#. C-.!3<-$4!'<-!.47&55!,5&7/:&>?:'<#34!3G Latin mass and kodachrome (#5<-@4334$!A-!,&.4C--3!?-'>!?-7/$ &#+#>A!=&=4.!=&7/&A4$!&3!=&$$#>A!=5&>4$a 3<4.4E$!&>!&.A@+4>3!#>!5&/4$#?4!47<-4$R &>!&#.=5&>4!-.!$/*E$!1.$3!$3&.Y 6--!$-->F!3<4!1.4'-./!1))4$!3-!#3$!3&.A430 MK=5-$#->$!-C!1.4H#4$!&>?!C4..#$!'<445$!-,$7@.4! 3<4!=-$$#,#5#3*!-C!>#A<3E$!1.$3!'#$<0 I>!3<4!>&..-'!.--+ 3'-!?-A$!$<#G4. ->4!=&>3$!&>?!C-&+$ the other cannot hear ,@3!C445$!N@5*!#>!#3$!,->4$

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One

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Confusing the Gods

Bill Wolak A Kurmi bridegroom #$!&5'&*$!34..#14? 3<&3!3<4!A-?$!'#55!7@.$4 3<4!<&==#>4$$!-C!<#$!'4??#>A!?&* ,47&@$4!-C!3<4!,.#?4E$!,4&@3* &>?!3<4!'#5?!&,&>?-> -C!3<4!>@=3#&5!7454,.&3#->0 (-!3-!7->C@$4!3<4!A-?$ &>?!3<4.4,*!?4H473 3<4#.!N4&5-@$*!&>?!4>G*F in a solemn ceremony <4!1.$3!+&..#4$!&!+&>A-!3.440

655


How Evil Enters the Body

Bill Wolak The Berbers believe that evil doesnâ&#x20AC;&#x2122;t enter the body through the eyes or ears, >-.!3<.-@A<!3<4!$4K@&5!-.A&>$F not even through the mouth or nostrils. 6<4*!&.4!34..#14?!-C!4G#5!$=#.#3$ 4>34.#>A!3<4!,-?*!3<.-@A<!3<4!C4430 (-!->!3<4#.!'4??#>A!>#A<3 &>?!C-.!$4G4>!>#A<3$!3<4.4&C34.a '<4>!3<4*!,47-+4!+-$3!$@$74=3#,54 3-!+&54G-54>3!#>H@4>74$a 3<4*!+&/4!5-G4!&>?!$544= #>!3<4#.!$5#==4.$0

656


The Unfaithful Wife

Bill Wolak D+->A!3<4!B$3*&/$!-C!(#,4.#&F!&!<@$,&>?!-CC4.$!<#$!'#C4 &!3@C3!-C!<&#.!=@554?!C.-+!&!C.4$<5*!/#554?!,4&.E$!=4530 IC!$<4E$!?4G-34?!3-!<#+F!$<4!&774=3$!#3F 3#4$!3<4!<&#.$!&.-@>?!&!?-G4E$!C4&3<4.F!&>?!'4&.$!#3!=.-@?5* ?&>A5#>A!->!&!$3.#>A!,43'44>!<4.!,.4&$3$!&$!&!5-G4!3-/4>0 IC!$<4!.4C@$4$!#3F!<4!/>-'$!3<&3!$<4E$!,44>!@>C&#3<C@50 IC!$<4!&774=3$!#3!,@3!<&$!,44>!@>C&#3<C@5F ,4C-.4!3<.44!*4&.$!3<4!3@C3!-C!<&#.a>-!+&334.!'<4.4 #3E$!,44>!<#??4>!-.!,@.#4?!-.!,@.>4?a3.&>$C-.+$!#3$45C #>3-!&!,4&.F!1>?$!3<4!@>C&#3<C@5!'#C4F!&>?!4&3$!<4.0

654


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Daniel King I!7&>>-3!$34=!#>3-!3<#$!$3.4&+!&A&#>F D>?!$-!+@$3!,#?!C&.4'455!3-!I>&7<@$F "<-!#$!C-.!4G4.!7<&>A#>A!&>*'&*0 I!<&G4!,47-+4!&77@$3-+4?!3-!$@7<!7<&>A4F L@3!3-!,4!,@.?4>4?!'#3<!&!<4#C4.E$!C-.+!#$!@>C-.A#G&,540 (@.45*!$-+4!&$=473!-C!+*!4$$4>74!<&$!.4+&#>4?Y (@.45*!$-+43<#>A!#$!-'4?!3-!?#A>#3*Y IC!3<#$!#$!3<4!=.-3473#->!-C!+*!J-.?!t4@$F 6<4>!S4.&!+@$3!,4!3<4!&=4#.->!#3$45CF D>?!I!+@$3!,4!&$!G#A#5&>3!&$!3<.4&34>4?!D.A@$R D!'&37<4.!-C!3<4!'#>?!&>?!-C!3<4!7.-$$:7@..4>3U! A hearer. . . . 6<4!'-.?!.4G4&5$!$<4!<&$!&5.4&?*!#>153.&34?!+*!#?4>3#3*F D>?!I!+@$3!H440 6<4!I->#&>!(4&c 6<4!?&./!>#A<3!75#CC$F!3<4!5#>4$!-C!'&G4$ J#/4!$4>34>74$!#>!$-+4!+*$34.#-@$!7&55#A.&=<*F Q45#+#34?!,*!?#$3&>3!C@3@.4!I3&5*R D!'&>?4.4.!&33.&734?!3-!+*!$#5<-@4334!&3!$@>$43 _6<4!$#5<-@4334!-C!+4!&$!I!'&$` ]#A<3!,4!#>$=#.4?!3-!'.#34!&!=-4+ D>?!=@3!&!3#>73@.4!-C!<#+$45Ca 6<4!WIX!_4*4Y!&*4Y`a#>3-!#3F S#$! -@34.! ,4#>A! &55! 3<4! '<#54! ,4?47/4?! #>! ?&#5*! 5#G#>AE$! bovine garb. D>?!3<#$!4K=&>$4!-C!'&34.!A.&$=#>A!&$!#C!#>!&!1$3!3<4!-7<.4!

65I


!.*+,/"0-

coast ]#A<3!3<@$!,4!C-.!<#+!->5*!$-+43<#>A!,5@4!5#/4!#>/F D>?!3<4!+&??4>#>A!A&?H*F L5#$34.#>A!+*!<#?4!5#/4!,5&??4.'.&7/F 6<4!#+=@5$4!4G4.!3-!7->3#>@4!3-!3<4!5#>4!,45-'F MG4.!3-!7&=3@.4!7<&>A4F I>!$-+43<#>A!>->43<454$$!434.>&50 IC!$@7<!7->74.>$!&.4!&5$-!+#>4!3<4*!&.4!$@,+4.A4?!?44=F P-.!I!&+!C&.!+-.4!&'4?!,*!'#5?!O-$4#?->E$!7<#55!$=#3F Glistening on the shore, "<#7<!I!?4=&.3!&5+-$3!#>!$=#34!-C!+*!?4$#.40 Already the benumbing line has reached my thighs, L@3!I!#A>-.4!3<4!/45=E$!7&.4$$F 6<4!/>-334?!'&34.E$!#>?#CC4.4>3!.4$#$3&>74F D>?!C-7@$!->!3<4!&5A&5!=<-$=<-.4$74>74F O.434>?#>A!3<&3!4&7<!$=&./54!#$!&!$3&. D>?!I!&!$&3455#34!-C!3<4!+-$3!+&$$#G4!=5&>43F D!,5#$34.:=4&.5!#>!#3$!3#&.&0 (@7<! .@+#>&3#->$! +&/4! +*! =&$$&A4! 3-! 3<4! C&.! MA*=3#&>! shore less daunting, MG4>!#C!,*!7-+=&.#$->!3<4*!+&/4!C-.43-5?!4G4>3$ J#/4!+*!.4=.#$4!-C!<@+&>!C-.+F!3<4!$->!I!+@$3!7->74#G4F! ]-.4!=.-$&#7U For their transcendence leads me to believe _6<4!$#5G4.*!+4>#$7@$!$5#=$!-G4.!+4!>-'F D>?!I!#><&54!3<4!'-.5?E$!'&.+!,5--?`! 6<&3!3<-@A<!I!7&>>-3!$34=!#>3-!3<4!$&+4!$3.4&+!3'#74F 6<4!(&+4E$!&==.-K#+&34!.43@.> ]&*!,4!C&7#5#3&34?!,*!$@,+#$$#->!3-!#3$!&,$-5@34!?4=&.3@.40

65J


The Siege of Tr채umen

Daniel King 6<4!D.A#G4$!#>!3<4!<4&.3!-C!6.-*0!(-!B?*$$4@$!<&?!3<-@A<3 "#3<!4G4.*!$5&@A<34.:=&@$4!3-!$7&>!3<4!.&+=&.3$ I>!-.?4.!3-!.4+4+,4.!4G4.*!-,N473!5&34.!$+&$<4?0 D>?!*43!<4!+#$$4?!3<4!P-55*!-C!M55#=$4$ 6<&3!7&$3$!+&.-->!.4H473#->$!#>!3<4!#>/*!.#G4.F Because he missed the river too. 6@.>#>A!?-'>!3<4!'&5/:'&*$!-C!6.4*!<4!+&*!<&G4!7<&>74?! @=->!&!$-5#3&.*!3&G4.> L@3!C&#54?!3-!$44!&!?-)4>U [4=3!<#$!&334>3#->!->!3<4!5#A<3<-@$4!$54>?4.!&$!&!=4>!&>?! high as night b43!>-3!=4.74#G4?!3<4!3.#=54!3-'4.$F!'&34.$=-@3$!-C!3-@.+&5#>4F!#>!3#4.$!&,-G4!3<4!,5@CC$U Q.4&+4?F!#>!3<4!$3.443$!-C!6.u@F!-C!<#$!?4$3.-*#>AF!->4!,*! one, each dictionary-thick abutment, BC!&..-'#>A!3<4!.4$3!-C!O.#&+E$!.43#>@4F I>!&>!&334+=3!3-!A&#>!D7<&4&>!?-+#>&>74!,*!+&3<4+&3#7&5!$@,3.&73#->a B>5*!3<4>!3-!?#$7-G4.!3<&3!&>!&..-'!?-+#>&34$!N@$3!->4! =-#>3 "<4.4&$!&!5#+4$3->4!,&..#7&?4!=.-3473$!&>!#>1>#3*!-C! them; I>!#..#3&3#->!7->4?!<#$!<&>?$!&3!3<4!#><&,#3&>3$!3-!C-55-'! Odysseus, f>&'&.4!-C!4G-5G#>A!G-7&5!5-7#!&$!<4!>4&.4?!3<4!@>$44>! V@&*$F S#$!#+&A4!$=5#33#>A!#>3-!=5&>4$!-C!<&)4F

65@


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D>?!->5*!->4!-.!3'-!-C17#&5$!.@>>#>A!3-!7-+=5*F!&+->A! 3<4!=&$$&A4$!-C!6.*F "#3<!3<4!?4$#.4$!-C!->4!'<-+!$-+4!7->$#?4.4?!3-!,4!&! +&5#A>&>3!=5-334. L@3!'<-+!C&.!+-.4!,45#4G4?!3-!,4!&!$#+=5#$3#7!7->$3.@73#-> BC!&!C-.!4G4.!.4:7.4&3#>A!&>?!$<#C3#>A!34K3@&5#3* 6<&3!+@$3!4G&?4!4G4.*!&334+=3!&3!$@++&.*!,*!$=4&.!-.!=4>a "<#54!$3#55!+-.4F!$#+=5*!&>?!#>4G#3&,5*F!<&?!>4G4.!<4&.?!-C! Odysseus.

65A


K)*0C.+,/'$; Z(C/&'$+S*0


Poem of Tribute

"#$%&'&!()*+,-.$/&!_pq8k:8lp8`

Clouds 6.&>$5&34?!,*!(3&>#$%&'!L&.&v7)&/!&>?!25&.4!2&G&>&A< IE?!<&G4!3-!,4!.4&55*!V@#7/! 3-!?4$7.#,4!75-@?$a! &!$=5#3!$47->?E$!4>-@A<! g!C-.!3<4+!3-!$3&.3!,4#>A!$-+43<#>A!45$40 6<4#.!3.&?4+&./R! 3<4*!?->E3!.4=4&3!&!$#>A54! $<&=4F!$<&?4F!=-$4F!&..&>A4+4>30 f>,@.?4>4?!,*!+4+-.*!-C!&>*!/#>?F! 3<4*!H-&3!4&$#5*!-G4.!3<4!C&73$0 "<&3!->!4&.3<!7-@5?!3<4*!,4&.!'#3>4$$!3-Y! 6<4*!$7&334.!'<4>4G4.!$-+43<#>A!<&==4>$0 2-+=&.4?!3-!75-@?$F! 5#C4!.4$3$!->!$-5#?!A.-@>?F! =.&73#7&55*!=4.+&>4>3F!&5+-$3!434.>&50

65G


Poem of Tribute T4K3!3-!75-@?$! even a stone seems like a brother, someone you can trust, '<#54!3<4*E.4!N@$3!?#$3&>3F!H#A<3*!7-@$#>$0 J43!=4-=54!4K#$3!#C!3<4*!'&>3F! &>?!3<4>!?#4F!->4!&C34.!&>-3<4.R! 75-@?$!$#+=5*!?->E3!7&.4! '<&3!3<4*E.4!@=!3-! ?-'>!3<4.40 D>?!$-!3<4#.!<&@A<3*!H443! 7.@#$4$!$+--3<5*!-G4.!*-@.!'<-54!5#C4! &>?!+#>4F!$3#55!#>7-+=54340 6<4*!&.4>E3!-,5#A4?!3-!G&>#$<!'<4>!'4E.4!A->40! 6<4*!?->E3!<&G4!3-!,4!$44>!'<#54!$&#5#>A!->0

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]-$3!.474>35*F!Z-<>!^#7<+->?!<&$!&==4&.4?!#>!Forge, Slow Trains, Ygdrasil, Syndic Literary JournalF!&>?!#$!C-.3<7-+#>A! in The Potomac and Lalitamba0!!"<4>!<4!#$!>-3!'.#3#>AF!Z-<>! $=4>?$!&!A--?!=-.3#->!-C!3#+4!?#$7@$$#>A!3<4!W$3&34!-C!3<4! '-.5?X!&>?!3<4!W$3&34!-C!3<4!d5-7&5$EX!'#3<!<#$!7--><-@>?F! Roma. J#$&! (3&..! #$! &>! #>>:/44=4.F! +-3<4.F! ,&$/43,&55! 7-&7<F! C-@>?4.! -C! 3<4! L5-7/! I$5&>?! O-43.*! O.-N473F! &>?! ^<-?4! I$5&>?E$!7@..4>3!O-43!J&@.4&340!!S4.!+-$3!.474>3!7-55473#->! -C!=-43.*!#$!3#354?!Mad With Yellow. J@/4!6&*5-.!#$!&!1.$3!$4+4$34.!N@>#-.!&3!L.-'>!f>#G4.$#3*0 Maliya Travers-Crumb is a senior at Oberlin College +&N-.#>A!#>!(3@?#-!D.3!&>?!M>A5#$<0! L#55!"-5&/! #$! &! =-43! '<-! 5#G4$! #>! L-A-3&F! T4'! Z4.$4*0! ! S4! <&$!N@$3!=@,5#$<4?!<#$!C-@.3<!,--/!-C!=-43.*F!Warming the MirrorF! '#3<! 3<4! P4.&5! O.4$$0! ! S4! #$! 7@..4>35*! '-./#>A! ->! &!3.&>$5&3#->!-C!3<4!I3&5#&>!=-43!D>>45#$&!D??-5-.&3-!'#3<! Maria Bennett. Mr. Wolak teaches Creative Writing at "#55#&+!O&34.$->!f>#G4.$#3*0 Emma Winsor Wood is a senior at Harvard College studying Russian History and Literature.


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Editor:

Lucy Kissel

Associate Editors:

Michael Goodman Carol Kim Kevin Pires Jordan Taylor Sylvia Tomayko-Peters [&3#&!t-.#7<

Design Editors:

Lucy Kissel Kevin Pires Sylvia Tomayko-Peters

Webmaster:

Sylvia Tomayko-Peters

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The Round!#$!,&$4?!&3!L.-'>!f>#G4.$#3*0!!"4!7->$#?4.! 5#34.&.*!&>?!G#$@&5!&.3!$@,+#$$#->$!-C!&>*!A4>.4!&>?!$-@.740! O54&$4!?#.473!&55!$@7<!'-./!C-.!7->$#?4.&3#->F!&$!'455!&$!&>*! V@4$3#->$F!7-++4>3$F!-.!$@AA4$3#->$F!3-R! 6<4^-@>?]&A&)#>4wA+&#507-+ Sincerely, The Editors

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Profile for The Round

The Round, Spring 2012 : Issue VI  

The Round is a literary and visual arts magazine based at Brown University in Providence, RI. Spring 2012, issue VI.

The Round, Spring 2012 : Issue VI  

The Round is a literary and visual arts magazine based at Brown University in Providence, RI. Spring 2012, issue VI.

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