Composition of Columbus

A.
This is a beginning
under the oak trees

where midwestern
boys burned their throats

with their father’s liquor
bottles. Girls came to

kiss at night, leaving cigarette burns
to scatter the ashes of their innocence.

This is a beginning in the quiet town
where we know real architecture

and real sounds of bullets. Both arch
over our heads and we embrace

these strange halos.

B.
This is a resolution
that we’ll leave the soil

where southern twang top
sour songs like syrup.

where everyone knows how to
strum a guitar,

and every girl sings Dolly Parton
for the elementary pageant.

This is a resolution
that we’ll fly to great cities

where skyscrapers make
us feel minuscule.

Magnificent things will seep into our minds,
all the urban ideas and emotions.

A.
This is a return
to the town where she never

thought she belonged. But
mother’s hand grew feeble,

fingers like brittle bird bones.
Father drove off into the

southern night years ago,
gone when the midnight ink

drenched his silverado.

Sarah Nachimson is an emerging writer with only a small scattering of published pieces. She hails from sunny California and is currently a sophomore at Yeshiva University Los Angeles Girls School. She is a reader for Polyphony H.S. and an editor for Siblini Journal. Her writing has been recognized by numerous organizations, including Scholastic, and published in the Los Angeles Times and New York Jewish Week, among other places.

Visual Art by Audrey Carver.

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Blue Eyes

In an old Chinatown classroom

she uncaps dried markers

and folds scratch paper.

I lean forward to see her name,

pinned, crooked, to her shoulder.

Yihua.

That’s a beautiful name, I tell her.

She shakes her head.

You should

call me Charlotte.

 

Six years ago I drew only thin girls

in floral dresses. They

always frowned with

purple lips and porcelain eyes.

Each had a name,

sprouting across the

page in inked plumes:

Anastasia, Evangeline, Coletta.

 

She drops a chewed pencil into my hand.

Can you draw me?

With graphite, I sculpt her eyes,

round as lychee seeds.

Do you want me to color them?

She nods, hand hovering over

a torn box of washable markers.

She picks up a blue pen.

Blue? I say. Are you sure?

She pries open my fist,

an oyster of flesh, and lays the

marker inside, a still-warm pearl.

 

In the bathroom, I hung my drawings,

pencil smearing with soap.

Each morning as I brushed

my teeth with sweet toothpaste

and bent to spit out foam,

I flinched at my reflection.

 

She watches as I uncap the marker,

the plastic click echoing.

I fill each bullet-sized hole

blue.

 

I was lucky.

During my elementary years,

I was surrounded by freckled

dolls packaged in silk bows.

But for ten years, I forgot

the color of my own hair and eyes.

I held only icy marbles in my palms and

and four-syllable names with rolled r’s

that I could not pronounce.

 

She smiles, takes the drawing,

scrawls Charlotte at the bottom,

tucks it into her bag.

 

Bye, I say. When she turns, I drop the

brown marker into her backpack.

 

Keep drawing, Yihua.

 

Visual Art by Heidi Songqian Li.

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Ivy Prison

Perfectly manicured nails claw at ivy wrapped iron
Flawlessly maintained cuticles
Cultivated during hours of never-ending lectures
Perhaps on Proust or Bohr or the Meaning of Life
Peel and crack beneath the institution’s fiery underbelly

What happened to this girl?
Bedroom wallpapered with certificates and honors
More awards of merit than rooms in her expansive high-rise
A violin ―never practiced, never prized
Yet somehow always perfectly performed―
Leaning against a petal-pink window lauding skylines and promise

Her path was paved before she was born
Her conception an unspoken agreement of the creation of a legacy
How effortless her journey must have been
How painfully, obviously, unbelievably simple
A beacon of light illuminating a gold-paved path
How dare she think to complain

So she sits in a prison of her own submissive making
A leader in print, a child in practice
Her mouth sewn shut by years of watching friends and neighbors
Envy the privileged, nauseating life she leads
That she would give anything to escape

Julia Cook was born in Edison, New Jersey and moved to Norwich, Vermont when she was six years old. Now, at fifteen, she is spending a year abroad in Passy, France, nestled in the valley under Mont Blanc, where she is exploring French art, culture, and language. When not writing, Julia enjoys singing, acting, reading, cooking, learning, and playing with any animal in her sight.
Visual art by Heidi Songqian Li. 
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Not Coming

It was a lot of events in my life
I thought people wasn’t going to show
When Amari was born
Keva, Shay-Shay, and Major was my only support in the room
I thought my mother and my father was going to show
I thought my friends was going to show
Only friend that came was Day-Day
Visits was at 7:00
But 6:59 the screen didn’t pop up
I knew ain’t nobody coming
Going in my room thinking
Who was the visit supposed to be
It wouldn’t matter
Because ain’t nobody come for me
By: T.I.
T.I. is a 17 year old who is currently incarcerated. He discovered how much he loved to write while behind bars and uses it to express himself.
Visual Art by Cristobal Alaya Tagged : / / /

A Woman at Veradero

At 15 I watch her buy Cuban cigars
and I can tell that she carries the taste of smoke
wherever she goes. Its richness hangs
about her like sleep,
a golden mist of many suns and hieroglyphs:
she reads hands and cocked hips
like they are a language that is not dead,
only resting.

When she breathes tobacco dust,
it is not escaping but returning to the earth,
to the leaf and the burnt orange field.
I think for a moment,
I should cover myself in a blanket of fertile soil
and only ever bathe in rain,

but I remember I have heaped
my bags with some sea glass
I found alone on a murky beach
and held to my eye, looking inland from the shore.
Miles away a stone-carved saint
scowls at the skyline smog.
She smacks a stick of chewing gum
and cracks her teeth on concrete.

It comes from deep caverns
in subterranean whispers
and it comes on the breath of a woman:

return.

By: Madeleine Quirk

Madeleine Quirk lives in Kingston, Ontario. She is in her senior year of high school. In her spare time, she enjoys reading poetry and singing with her choir.

Visual art by John Michael Dee

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Om mani padme hum

What would Buddha be like if he were roaming the soil today?
Would he still wander India?
Or leave due to atrocious air quality and mass population?
These are things Siddhārtha never had to put up with

Would he still believe in putting up with everything?

The world is much too cynical, and we’d designate him as a cult leader
Or if he’s lucky, a trendsetter
Marketplace Buddhism seems to have consumed the West
At least the East remains pretty pious and punctilious
The West has just managed to pervert our daily meditation between Sunday brunch and our afternoon run
What would Buddha think of T.S. Eliot’s, Allen Ginsberg’s, and others’ flirtations with his doctrines?
Subverting them to their gyration and needs for transgression
(Though some engage with honesty)
America has seemed to distort Buddhism into chic leisure
If Siddhārtha was from America, he could’ve shown L. Ron Hubbard how to get the people clear without an E-meter
Buddhism could’ve been fantastic for capitalists if it was American
Would Buddha indeed remain so abstinent with all this hegemonic global marketing for intemperate gluttony?
A little leniency would’ve been helpful since there was no way he could have predicted what was to come
Would he have preferred the religious miscellany of Taiwan where temples amalgamate various beliefs, counting his developments?
Or favored the autonomous institutions of the West?

He’d have the intellect to discern the perpetual profit of unification

In our unified globalist world would he find bona fide social union?
Or technological excuses for minimal concrete interaction?
The traditional Buddhist wouldn’t bother with the strange portable hypnotic machine
But there’s the possibility that Buddha would shiver at the notion of it being away from him
Maybe we could’ve received texts of sutras personally from Gautama
His works on simplicity would align with Apple’s philosophy quite well
What would the political Buddha look like?
Would he lean left or right?
Or would he find it all to be in vain?
What would he have to say to the people of Myanmar who commit atrocities in his name?
What would he have to say to the tension-fueled relationship between the two Chinas?
Or about American carpet-bombing in the Middle East?
Would he find the will to keep on instructing in his ways?
The meditation to stay mindful in these mindless times
Or would he find it all hopeless
And see nothing human left
All that was left was humanity’s struggle to survive
And billions of zombies craving blue light and higher reception
Recording instead of listening to the monks in Taipei chanting the last of the meaningful matter

II

I’ve been set free
I’ve accepted the truth of suffering, and thus I’m free
I’ve rolled up to Buddha’s crib, and I’ve come out free
I’m unchained from the dead and the living
Free of the light and the dark
I’m free of linguistic oppression, and I now enumerate the beatitudes in Sanskrit
and chant mantras in Latin
I’ve fled to Taiwan only to find America
I’ve been working on a fifth noble truth; corporations
I’ve been lobbying Congress to send out presidential alerts for any metaphysical trembling
I’m set free of association, and I now use rosaries to recite the buddhavacana
I’ve never had so much spiritual rebellion and defiance
The rounds of suffering have left us tired and imprisoned to some fate
We’re only safe in the world we create

III

If you listen real close, you can hear the om
Just put your ear to the speakers of the universe, and it’ll resonate through you
The banging of the unseen echoing drum
The beat that we always go to
You don’t need to buy it on iTunes for $0.99
You don’t need to stream it either
Just listen to the flexing air void of suspense
And reach a little deeper

Gabriel T. Clément is a junior at Jersey City’s Saint Peter’s Preparatory. He was born in Montréal, Québec, and lives in Hoboken, New Jersey. His influences are mainly those from a Québécois background (Leonard Cohen, Émile Nelligan, Irving Layton) and others like Allen Ginsberg, T.S. Eliot, and Eliot Katz.

Visual Art by Sarah Little.

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Two Poems by Armaan Bamzai

Liebchen

white allegory
of woman walking through forest
redclothed, basketed, smiling
and inside the forest in Germany
from the black shadowfolds
of old trees / the sun is a chandelier
unpolished, growing yellower
& less yellow / fur coat sharp smile
and I must love this man?

and I must walk this mulch path
with his eyes my iron chains
i’ve heard it said that my body
is a renewable resource. what
that means is that it is infinite
it makes more of itself at every
touch. Dear, your resurrection
is old news / tell me about that
sofa you bought, PreLoved
white tartan cover / upholstery
bleeding medicine smell. springs
sticking out / like a brown boy
at a new school

oh, nevermind / we’re here, see
what a pretty cottage this is
in the middle of these blue woods
and what big teeth you have.

Noor

heiress of nothing
white pickup,
how many fires
in your wilderness
before you realize

your jeweled lines:

brow heavy gold
eye, sapphired

lips;
silk, silk,
silk, again.

hand on window
cigarette, trailing smoke
between pink fingers

your eyes are black
like cherry pits,
like dark dripping wounds

the women of Kashmir have faces.
translucent skins
They are stepping out of,

our women are filled full
with love.
love, and
hunger.

 

By: Armaan Bamzai

Armaan Bamzai is currently a high school at the International School Bangalore, in India, and has been unfailingly writing poetry (in whatever media he can) for the past four years now. The poem “Noor” is an homage to his Kashmiri heritage and “Liebchen” is a distorted narrative of the German folktale of Rotkaeppchen.

Visual art by Frankie Song 

 

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Red Planet

and they say
that mars was once like earth
but now i see mars is earth
blackened red and barren
and once mars burned as we do now

and it’s always california
the blazing state
the deadly scorching state
the martian state

and people are fleeing
from cities, from homes
from smoke and choke

and they say good for her
fighting back
but it’s futile
and within 30 years our planet will black and blue

all salt
and ash and embers
blue melting sea
and red, sizzling land,
sinking, sinking, sinking

 

Delany Burk is a four year senior at Idyllwild Arts Academy who loves watching the stars, drinking coffee, and getting snuggly in cold weather. In her writing, she enjoys exploring the philosophical, scientific, and emotional side of writing.

Visual art by Reah Eunji Kang.

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The Sky Apnea Collection

Apnea

Spasm of noontime yellow

Atop aching valley of strawberry root.

The wafting of pumpkin sun

ribbons

across dimpled doughy green.

To collapse here,

To become just a thing

Compressed under heavy

brilliance of air.

The heart balloons as does

The oak

And sparrow.

 

Here also lays wing, broken.

Bumbling oramagmied bird hungry

For carbonated sky,

for a hushed god

In this kneeling.

This building again

Amongst red bulb berries

Dangling from shrub

Swallowing the scent of sunset.

Cartilage cocoon spools

Through and out,

Wing mends as does the

Drunken maid and

Womb.

 

Sky Junction

The ivory’s obsidian counterpart:

Minor exhale twinges to

splinter compressing grey

And red

Dripping down a spine;

Matted fur in a ruffled song.

Do we dance slower now

Or speak underwater,

Where time slips

And gurgles through a palm.

Or

is it the heart allowing it,

A caven cry and leap

In love, I do

The birdwatcher and stargazer

Find mirrors under athick curdling sky

In adeafening dance with liberty,

beheading of gravity

30 feet above

A blistering suburb

Plagued and shredded into sun

And cement

Waiting for return of yesterday.

 

 

Summer’s Sister

Everything new under a young

Blue shadow.

Gasoline rainbow

Cracks under rubber boot. an

October lays her head heavy

Upon sharp wet road,

The brittle dead

Succumb to weight,

Gasped into swirling

Rust and orange.

Fold into the

courtesy after summer.

A quieter bomb, shaggy

And burrowing. the

Frothy atmosphere

Licks bare arms.

Night bites further into afternoon and

sun yolk drips quicker,

Heavy and crumbling with submission.

 

Ariel Serene is a 17 year old aspiring poet and screenwriter living in Los Angeles. Although new to the poetry scene, this determined young writer quickly fell in love with the art and is currently applying to major in English at UCLA.

 

Visual art piece titled “Looking Through The” by Meicen Deng.

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Baptized in Fire

Prometheus shaped us from the Earth,
but I have one rib fewer than my mother. My hidden
self cuts me open to look for what is missing,
finds my energy too precious to sign away.
Still, I sign in spit. In spite is how I spread
my words: paranoia, betrayal and loss.
There is no difference in what I say, only
how I say it. I learned this from the burials
and burnings in my nightmares keeping
me from closing my lids. They say we all seep
back to clay one day, but I see Cudi in the flames.
His muscles hardened, his skin pink and luminescent.
Baptized in fire. He crashes from a high place,
splinters into a million particles, blessings
spilling from him, a now broken pot.
The fire that once contained him blesses
over my skin. Then, I shape myself.

 

 Cole is a student who learns as much from failing as he does from his teachers. His favorite poets include Andrew McFadyen-Ketchum and Reginald Dwayne Betts.
Visual art by “Yuga” Yujia Li.
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