May 2010

Jesuit Journal

Cover by Sebastian Vowell ’11

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Contents & Acknowledgements Articles

Book Review by Mike Flanagan..........................................................................................................4 “Forbidden Love is in My Heart”.........................................................................................................5 Book Review by Michael Gregory.......................................................................................................6 Poem by Tyler N. Hicks.......................................................................................................................7 La Montée de Versailles.......................................................................................................................8 The Rise of Versailles...........................................................................................................................9 L’évasion de la Pire...............................................................................................................................10 Les Jeunes Artistes................................................................................................................................13 The Young Artists.................................................................................................................................14 Cover Art Translation...........................................................................................................................15

Publisher.......................Student Council Editor.............................Jamie Fletcher ’10 Assistant Editor.............Robert Uhl ’11 Layout & Design........... Jamie Fletcher ’10

It’s been a timely project but it’s finally here. Lots of hard work went into this issue so I hope you enjoy it!

Robert Uhl

Robert Uhl ’11 Art Contributors............Ben Galichia ’10 Moderator......................Dr. Michael Degen

Thanks to all who submitted articles to this publication. Many of these articles were produced by Mrs. Stewart’s French classes, who wrote plays and other short stories in French for their final exams. Their translations are provided beside the original work.

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Artwork by Ben Galichia ’10

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The Complete Maus: A Survivor’s Tale

by Art Spiegelman 296 pages $14.95

itself in this image, especially through the juxtaposition Spiegelman uses that is only possible in the Graphic Novel medium. The complete lack of emotion present in the Nazis who killed so many Jews was also present Book Review by Mike Flanagan in those in Poland and surrounding European countries, a fact that essentially allowed the Nazis to purge entire

In Art Spiegelman’s Maus, a graphic novel in cities and eventually countries of Jews. which Art writes about his father’s life during the Holo The ability of the Holocaust to change people, caust by framing himself recording his father’s dictation making them compare every moment to their time in the creates a work about the Holocaust that reveals more than Holocaust, affecting themselves and all those around just the terrible things that occurred in the ghettos and concentration camps. By juxtaposing images of pre, cur- them is clear through the daily interactions of Vladek Spiegelman and his son Art, and the juxtapositions of rent and post Holocaust, Spiegelman illustrates the ways Vladek during the Holocaust and after it. The best exthat the Holocaust truly changed people, forming them ample of this power is illustrated in the first two pages into almost heartless beings, consumed by fright and haof the graphic novel. Art, as a child is rollerskating with tred, and into people who constantly compare their daily some friends, and when his skate breaks his friends call lives to the Holocaust. These changes are embodied by him a rotten egg. When he goes to his father crying, two specific characters, The Spiegelman’s nurse, before mentioning his friends, Vladek stops what he is doing, the Holocaust and during it, and Art’s father, Vladek.

The changes in people, from loving and caring, to questioning, “Friends?”, and cpompares Art’s friends to true friends, saying “lock them together in a room with completely selfish and survival minded, is best exemplino food for a week, THEN you could see what it is, fied by the Spiegelman’s nurse before and during World friends!” (6) In the opening pages of the novel, we get War II, Janina. Janina takes great offense when Anja, some kind of understanding of the vindictive nature of Art’s mother, remarks that “when it comes to Jews, the Vladek, and the harsh childhood Art must have had. By Poles don’t need much stirring up!” (37) Janina, who denying the truth of his son’s friendships, Vladek unthinks of the Spiegelman’s “as part of [her] own famknowingly reveals the power the Holocaust has over him, ily,” takes much offense at this statement, questioning “Mrs. Spiegelman, how can you say such a thing?” This forcing him to always compare his daily actions to those during the Holocaust. Also, the effects of the Holocaust image of Janina before the war pledging her dedication and love for the Spiegelmans contrasts the images later in live on through Art, experiencing its aftershocks through the war, when the Spieglemans are sneaking back to their the ways his father treated him. In fact, Vladek’s changes are emphasized by Art’s juxtaposition of his father, durhomes in Sosnowiec, Poland. Finding Janina’s house, ing and after the war. Just after introducing his father in Vladek and Anja knock on her door in an attempt to find the way that he compared Art’s friends to the ones he was refuge, since Janina had “always offered she would help forced to make in Auschwitz, Art juxtaposes the first imus.” After proclaiming her love for the Spiegelmans so strongly as to her include them in her own family, Janina age of Vladek with an entire chapter dedicated to his father’s personal life in Poland before the war. While this, screams “you’ll bring trouble! Go away quickly!” when according to Vladek, “has nothing to do with Hitler, with her “family” tries to find the help that was promised the Holocaust!”, Art uses these images of Vladek, such them. This image, transcribed verbatim from Vladek as his marriage to Anja, his first meeting with her family, into Maus shows one example of the way the Holocaust and his relationship with her millionaire father who gave transformed people, from someone feeling such love for Vladek his own textile factory to illustrate the normal, another as to include them in their own family, to slamloving life Vladek led before the Holocaust, and use it ming a door in those same honorary family members’ in the juxtaposition of his father before the war and the faces when they are being pursued by German soldiers.

The power of the Holocaust as more than just an extermi- image of his father after the war. This juxtaposition, only possible through the frames and speech bubbles adorning nation of almost an entire race, but a lack of conscience the black and white pages of graphic novels, reveals the in civilians who turned their backs on so many helpless power of the Holocaust to change people, changing them Jews, and even turned them in for rewards, manifests from loving caring individuals into more selfish, vindic-

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tive people.

The power of the Holocaust to numb people to the voices of others present in Art Spiegelman’s Maus is also a theme of the essay The Cunning of History by Richard L. Rubenstein. This essay essentially reveals another horror of the Holocaust, not another gas chamber or oven or work camp, but the ominous threats to humanity as a whole the Holocaust poses. As Spiegelman does in Maus, Rubenstein warns against the lack of conscience present in the Holocaust, and recognizes this as a recurring theme in history, with the Holocaust as the peak in humanities climb to perfect bureaucratic theory. A place where no emotions or cares for other human beings impair the accomplishment of duties, demonstrated

by Janina, the Spiegelman’s nurse. Rubenstein warns against anything of the sort occurring again, because of the way this idea runs throughout history, from creation to the present day.

perfection I’ve longed for.

And I can’t put her away, but do i really want to.

I can’t.

All I want is to for us to be wrapped together because I think it will work.

This love is starting to feel forbidden, but I refuse to let a sense of destiny take from me what I desire so badly.

The way she walks The sound of her voice Her beauty It all makes me feel colossal, knowing that I’m about to attempt to get the greatest girl ever.

I dig deep, try to feel her, bring us together.

It won’t take its toll until we have had a sip of each other Unless we must dive.

For her an epic will be written, if it must I sense that it will never end, so instead I bend to conform to her ways, I play by her rules until she’s mine, and then I hold her in my peace of mind that is at war for her, But it’s not at ease is it.

I will drive my body, emotion and heart to the length of this piece of universe we lie in for this girl.

Anyway to prove this.

All it takes.

She took what I had left in this heart of mine, and she keeps it.

I can’t help but to run back to her.

Maybe she wants this, but I don’t care do I. I would die with no thought, if the situation arrives.

So I say, Forbidden Love, It’s completely possible.

Come to Me

Forbidden Love is My Heart Tyler N. Hicks My inspiration is the one I say I like.

She keeps me grounded, because flying is so far in my rear view.

We run into problems, but that’s typical of me.

I choose to push, why because it’s who I am, and because I care to much about her to let her go.

She runs through my head and there is no possible way to get her out.

Then again do I really want to.

I think I love this girl.

She makes adrenaline run through my body at the thought of her.

There is no hard breathing. if there is breathing at all.

She sets me on fire inside, but it feels too good.

It engulfs me.

No burning but my heart is on fire.

I don’t care what happens, so I live for the moment.

And I’m able to show how pleasurable it is. n I want to show her how it is to be with me.

She’s the physical embodiment of an emotion created by me.

I don’t know how she came to be, but she is the

Artwork by Ben Galichia ’10

Jesuit Journal 5

The Lightning Thief

by Rick Riordan.

400 pages $7.99

Book Review by Michael Gregory What if the Greek gods were real? What would you do if you discovered that one of them was your parent?

In the Lightning Thief, Rick Riordan presents a captivating world where he mixes mythology and modern day devices to create a world that immerses the reader. The Lightning Thief is based on the idea that the Greek gods still exist, that they have always existed and move with the core of Western Civilization wherever it may be at the time. Also, demigods, children of a god and a mortal, constantly influence our civilization. For example, George Washington was a son of Athena. Percy Jackson, son of Poseidon, finds himself in the midst of a war between gods. A dark threat looms in the background and only Percy can save Olympus and all of Western civilization.

The Lightning Thief is seamless blend of Greek and Roman mythology with the modern day world. For example, the gray sisters instead of driving a chariot, now operate a taxi cab in the New York area, a taxi you never want to ride in ,or Zeus’ master lighting bolt isn’t actually lightning but “God level explosives”.

Riordan’s immersion isn’t limited to characters and objects, he puts Mount Olympus on the “600th floor of the Empire State Building” and Typhon the father of all monsters is imprisoned under Mount Saint Helens. Moreover, Riordan adapts the gods ability to manipulate nature to modern day technology as well. Hermes uses a cell phone, Poseidon a fishing rod, and Zeus controls airplane travel while wearing a trim business suit. In addition, Riordan also takes many aspects of school that your average High/Middle schooler will understand, such the cool teacher, or the really annoying student who never seems to get caught. The rich and mysterious plot though not extremely complicated keeps you engaged with unexpected twists and turns and draws you further into the book. However, a simple plot should not stop you from reading the book because in later books Riordan begins to weave together several subplots that reward the dedicated reader and help wrap up several loose ends. Altogether Riordan creates a rich immersive world filled with engaging plotlines and characters.

Untitled Tyler N. Hicks As I listen, soothing music fades in And in the same way, so does my heart While you may be next to me in mind, In spirit I lie inside you Physically I lack you, but a whisper calms my breath And deepens my feeling or sense of touch In such a way that my silent teardrop separates me from my body A blackout leaves a sunset or sunrise in my view My first thought is of whatever “you” love Because I want to make your dream or fantasy reality The emotion felt after fulfilling a desire to make you happy, to the point of a smile makes me tremble Because I am almost there There lying in your affection like any lucky person would die to do Your life is my bed, because I lie and live in it Your happiness is my comfort, because I relax knowing that you are ok and pleased And your smile is my heartbeat because you make me live and love and admire everyday I see it I know I care for you More than birds care for the sky More than music for the world More than nature for life

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Artwork by Ben Galichia ’10

Untitled Tyler N. Hicks There can be nothing that can symbolize you, Or remind me of you, This is not because there is any problem But because only the genuine mind and body of you can lift me off I don’t want to sound cliche but the way you walk and talk Does everything to me to change my complete method of anything Since we met, day to day your were and still are my thought Some would say I’m just infatuated with you But I say I’m just “there” with you If I could give you the universe, I would Creation would be passed from me to you without a thought I’ve contemplated reasons of why I like you so much Nothing comes into the thought of my imagination Except that it’s you Beauty is irrelevant simply because it goes without saying Your personality is in such a way that I don’t lose breath but take too many There is no possible way to gather myself I try to hold the side of me that I know will go insane in Knowing that if I let it out then we probably won’t understand But there is always the instant that I think we should let go Let go, of every emotional Just let the expressive value of each other stream Again and Again, until we feel like leaning Leaning into the ecstasy, emgulfed I make sure I feel you and you feel me Seemingly, I hope we can free ourselves The sound is quiet like a birds wings flapping and as loud as a trumpet sounding But we love it, and accept it So I flow to you and tell you over again The world is yours if you give me a chance and your hand

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Artwork by Ben Galichia ’10

La Montée de Versailles

et lui l’ait dit de planter. Patric est rentré chez lui et a décidé de se rattraper et de replanter la graine magique en dehors. Après avoir planté la graine magique, Patric a commencé à travailler à ses autres ménages qu’il devait faire à la ferme.

Par : Hunter Tatum

Il était une fois, dans la ville de Versailles, une nouvelle ferme s’est ouverte. Le propriétaire, un agriculteur riche de Paris, a amené des moissons à Versailles. Le propriétaire, Patric, était prêt à créer la plus grande ferme du monde, mais d’abord il devait construire une ferme de rien. À côté du palais de Versailles, Patric a construit sa ferme dans la période de temps de la Révolution française. L’argent n’était pas un problème pour Patric parce qu’il était millionaire. Les terres que Patric avait achetées étaient des champs herbeux avec une belle rivière qui avait de l’eau si claire que l’on pouvait voir des poissons en nagent. Avec sa nouvelle écurie, il pouvait avoir un abri pour ses chevaux à dormir dans la nuit. À côté de l’écurie, Patric avait un manoir décoré avec des tulipes rouges et des tournesols jaunes. Il y avait des pommiers arrangés en ligne, avec des orangers, et des pomegrates qui décoraient la cour derrière la maison. Ces arbres étaient pleins de fruits frais qui attendaient leur déménagement à l’épicerie.

Un jour plus tard, Patric s’est réveillé avec une ferme remplie de chaque sorte de récolte imaginable. Le jardin a été rempli de roses, de tulipes, de lillies, et de lavande. Les fleurs ont été ombragées par l’arbre rempli de fruit mûr. À l’autre côté de la ferme, les douzaines de rangs du maïs et du coton attendaient pour être récoltés . Les larmes de joie ont commencé à tomber des yeux de Patric. Dès que la larme a frappé la terre, les nuages ont commencé à former dans le ciel. La pluie a arrosé les plantes en les faisant plus pleines qu’avant. Patric a commencé à vendre ses plantes et était un succès instantané. Tout le monde aimait ses fruits et ses légumes. Tous les petits enfants en France sont devenus gourmands. La ferme de Patric était la plus grande ferme en France. Maintenant, tout le fruit français venait de la ferme de Patric.

Trois semaines avant la récolte, un groupe de ratons laveurs a détruit tous les moissons de Patric. Patric était très fou. Il a saisi son fusil, tiré en air, et fait peur aux ratons laveurs. Pleurant dans sa chambre, Patric était sombre et a décidé d’aller à un sage. Le sage lui a dit : «Allez ramasser tes plantes desséchées et replanter de nouvelles récoltes.”

Le sage lui a levré une graine magique avant qu’il l’ait laissée

Artwork by Ben Galichia ’10

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The Rise of Versailles By: Hunter Tatum

In the town of Versailles, a new farm opened. The owner, a wealthy farmer from Mississippi, brought special crops to Versailles France. The proprietor, Patrick, prepared to establish the largest farm in the world; however, he must construct his farm from scratch. The issue of money was not a factor for Patrick for he was a millionaire. The land which Patrick bought was a grassy plain, which had a river with water so clear he could see the fish swimming along the bank. With his new horse stable, he could have a place for his horses to sleep at night. Next to the stables, Patrick has a mansion decorated with red tulips and yellow sunflower. There are apples aligned with oranges and pomegranate which decorate the backyard. The trees were filled with fresh fruit waiting to be picked and sent to the grocery store.

Three weeks before harvest, a group of raccoons destroyed all of Patrick’s crops. Angered by the raccoons, he grabbed his gun, he fired into the air, and he scared the raccoons away from his crops. Crying in his bedroom, Patrick decided to go to the wise man. The wise man told him: “Go plow your withered plants and replant new crops.” The wise man gave him a magic seed before he left and told him to plant it. Patrick returned home and decided to replant the magic seeds outside in his field. After planting the seed Patrick began to work on his other chores that he must do around the farm.

A day later, Patrick woke up with a farm full of a variety of crops. The garden was filled with roses, tulips, lilies, and lavender. The flowers were shaded by the tree which was full of ripe fruit. On the other side of the farm, dozens of rows of corn and cotton were waiting to be harvest. Tears of joy began to fall from Patrick’s. Once the tear hit the ground, the clouds began to form in the sky.

Water from the clouds started to water the plants causing the plants to grow even fuller than before. Patrick began selling his plants and was an instant hit. Everyone loved his fruits and vegetables. Small children began to eat their Brussels sprouts. Patrick’s farm became known as the largest farm in France. Now, all the fruits and vegetables in France derive from Patrick’s Farm.

Artwork by Ben Galichia ’10

Jesuit Journal 9

L’évasion de la Pire Harrison Crosby

Les allemands ne nous blesseront pas La famille écoute un bruit dehors de leur maison.

Philippe: (chuchotant) Ne parlez pas, ils sont dehors.

Philippe - père Jaqueline- mère Mathilde- fille Julien- fils

Jaqueline: Allez au sous-sol!

Philippe: (chuchotant) Silence ! Allez, allez !

World War II Paris, France

Soldat: Allô? Je peux vous entendre. Sortez maintenant!

Philippe: Nous devons quitter la ville, maintenant!

Philippe: Quand il part, nous allons sortir aussi par la fenêtre.

Mathilde: Pourquoi? Qu’est-ce qui se passe?

Philippe: Nous avons besoin de partir parce que mauvais gens viennent !

La famille quitte le sou-sol sans bruit par la petite fenêtre.

Mathilde: Papa, j’ai peur!

Philippe: Il n’y a pas des soldats dehors la fenêtre, allez!

Philippe: N’aie pas peur. Tout marchera bien ; tu verras !

Jaqueline: Nous ne pouvons pas sortir avant de trouver Julien.

Jaqueline: Où est Julien?

Philippe: Oui, où irions-nous?

Philippe: Il était dehors il y a dix minutes!

Cherche-le en haut, Mathilde !

Jaqueline: Il pouvait être n’importe où.

Mathilde: Julian!! Je ne pouvais pas le trouver.

Philippe: Nous devons le trouver!

Jaqueline: Mais les allemands viennent! Julien!

Mathilde: Qui sont les allemands?

Philippe: Mathilde, je vais t’expliquer plus tard.

Jaqueline: Les allemands sont des gens très méchants. Ils peuvent nous tuer.

Philippe: Merci Jaqueline, ça, c’est une explication terrible. Mathilde, ne t‘aie peur pas,

Philippe: Descendez! Les soldats viennent!

Trois motocyclettes passent très vite.

Philippe: Maintenant voila notre chance de sortir et de trouver Julien.

Jaqueline: Nous devons prendre la voiture pour le trouver rapidement.

Philippe: Allez! La voiture est est garée en face de la maison.

Mathilde: Qu’allons-nous faire si les soldats nous attrapent?

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English translation:

Philippe: Ils ne peuvent pas nous attraper. C’est impossible.

World War II Paris, France

Jaqueline: Ils vont nous tuer!

Philippe: We have to leave the city now!

Philippe Merci Jaqueline.

Mathilde: Why? What’s happening?

Mathilde: Nous devons sortir maintenant, je ne veux pas être tué!

Philippe: We have to leave because bad people are coming!

Philippe: Montez dans la voiture! Vite!

La famille monte dans la voiture et elle trouve un petit suprise.

Julien: Bonjour ma famille!

Mathilde: Daddy, I’m scared!

Philippe: Don’t be scared. All will work out, you’ll see!

Jaqueline: Where is Julien?

Philippe: Julien! Où as-tu été?

Julien: Je jouais soldats dehors et tout à coup, beaucoup des gens ont quitté la ville et des vrais soldats sont venus mais j’avais peur et j’allais me cacher dans la voiture.

Jaqueline: Je suis heureux que nous vous trouvé.

Philippe: He was outside ten minutes ago! Look for him upstairs Mathilde!

Mathilde: Julien!! I cannot find him.

Philippe: We have to find him!

Jaqueline: But the Germans are coming! Julien!

Philippe: Nous devons quitter ce lieu avant que les soldats nous trouvent.

Mathilde: Who are the Germans?

La famille finit par échapper les soldats et a quitté la ville en toute sécurité.

Philippe: Mathilde, I will explain it to you later.

Jaqueline: The Germans are very mean people. They could kill us.

Philippe: Thank you Jaqueline, that is a terrible explination.

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Artwork by Ben Galichia ’10

Mathilde, don’t worry, the Germans will not hurt us.

The family hears a noise outside of their house

Jaqueline: They are going to kill us!

Phillipe: Thank you Jaqueline.

Philippe: (whispering) Don’t talk, they’re outside.

Mathilde: We need to leave now. I don’t want to be killed!

Jaqueline: Go to the basement!

Philippe: Get in the car! Fast!

Philippe: (whispering) Quiet! Go, go!

The family gets in the car and they find a little surprise

Soldier: Hello? I can hear you all. Come out now!

Philippe: When he leaves wear going to leave through the window.

The family leave the basement without a sound through the window Philippe: There aren’t any soldiers outside of the window, go!

Jaqueline: We can’t leave without finding Julien.

Philippe: Yes, where are we going?

Jaqueline: He could be anywhere.

Julien: Hello my family!

Philippe: Julien! Where were you?

Julien: I was playing soldier outside and all of a sudden, a lot of people left the city and real soldiers came but I was scared and I went to hide in the car.

Jaqueline: I am happy that we found you.

Philippe: We need to leave this place before the soldiers find us.

The family finishes by escaping the soldiers and leaving the city in total security.

Philippe: Get down! The soldiers are coming!

Three motorcycles pass very fast Philippe: Now here is our chance to leave and find Julien.

Jaqueline: We need to take the car to find him quickly.

Philippe: Go! The car is parked in the front of the house.

Mathilde: What are we going to do if the soldiers catch us?

Philippe: They can’t catch us. It’s impossible.

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Artwork by Ben Galichia ’10

Emmanuel- Plus tôt aujourd’hui, mon père m’a parlé d’un grand peintre de l’Italie. Il s’appelait « Leonardo Da Vinci. »

Les Jeunes Artistes par Santiago Nava

Pendant la Renaissance Française dans une petite ville appelée Toulon, deux jeunes garçons rentraient. Ils discutaient leur passion pour l’art.

Bernard - Salut, Emmanuel. Tu penses que tu peux marcher un peu plus vite? Nous devons rentrer rapidement avant le coucher du soleil! J’adore quand le soleil jette des ombres.

Emmanuel – J’arrive ! Aie de la patience, mon ami !

J’aurais pris mon vélo si je savais que tu voulais peindre aujourd’hui.

Bernard – Trop tard maintenant !

Emmanuel- Tu as raison.

Bernard - J’aime la façon dont le soleil frappe des vagues et des grands champs de blé.

Emmanuel - Je ne vois pas pourquoi tu aimes peindre tous ces tableaux des paysages, Bernard. Ils sont beaucoup trop faciles pour moi.

Bernard- Emmanuel, tu ne sais pas de que tu parles ! La peinture d’un côté prend beaucoup plus d’habileté que tes portraits moches. Tu dois y mettre ton coeur. Tu peux montrer aussi l’émotion avec la façon que tes nuages remontent en air. Tu peux aussi montrer le mouvement dans la façon que le vent frappe les champs de blé.

Emmanuel – Oui d’accord ! Mais dans les portraits, il faut être précis avec la symétrie : tu dois créer chaque détail de la personne en transformant à la main. Tu montres aussi l’émotion dans les portraits. Je trouve que les portraits sont tellement beaux.

Bernard - Comment cela? Le visage humain est ennuyeux.

Je hais les portraits !

Emmanuel – Ce n’est pas vrai, mon ami ! En mettant une légère inclinaison d’un sourcil, tu peux voir que la personne est fâchée ou triste. Tu peux faire des portraits très sombres ou heureux, selon la façon de les dessiner.

Cette technique exige des compétences.

Bernard-Que veux-tu dire, mon ami ?

Bernard- Léonardo? Que savait-il sur la peinture ? Dis-lui que je peux lui apprendre plus.

Emmanuel- Bernard, écoute ! On dit qu’il a fait un beau chef-d’œuvre d’une femme.

Bernard - Une femme? Quel beau projet! (avec de l’ironie) Emmanuel- Oui Bernard. Tu serais fou si tu as jamais vu ce tableau. Il est beau, mon père me dit. Leonardo avait la compétence la plus étonnante en en Italie entière. Il a donné à la femme un sourire divin! On l’appelle « La Giocande » et en Italie, ils l’appellaient « La Gioconda. » Son regard était puissant.

Bernard - Cette peinture m’embête, Emmanuel. Comment un portrait d’une femme souriante pouvait-il être attrayant ?

Emmanuel- D’accord! Si tu ne trouves pas encore cela intéressant, attends et écoute de plus. On dit que la façon dont Léonard a peint yeux de cette femme, peu importe où on se trouve devant la peinture, elle regardera toujours son admirateur !

Bernard – Ça c’est intéressant!

Emmanuel- Alors ! Les portraits peuvent être aussi passionnants, comme tes paysages.

Bernard– Je verrai lorsque cet artiste, nommé Léonardo Da Vinci, est devenu célèbre ! Et, quand on recevra sa peinture au musée du Louvre à Paris ! Ha ha, quelle blague !

Emmanuel- Je t’assure, tu verras, Bernard. Da Vinci est un artiste très doué.

Bernard – Bien sûr, le seul peintre réel est Claude Lorrain.

As-tu vu son tableau « Le Coucher du soleil au Port ? » Il est beau ! Cette peinture sera au musée du Louvre un jour !

Emmanuel - Oui, elle pendra sûrement sous « La Giocande ! » Bernard – Touché, Emmanuel ! Tu as bien gagné ! Dès que tu me bats à cet arbre-là !

Emmanuel- Allons-y ! Bouge !

Jesuit Journal 13

The Young Artists

great Italian painter named « Leonardo Da Vinci.»

by Santiago Nava

Bernard – Leonardo ? What does he know about painting? Tell him I could teach him a thing or two.

During the French Renaissance in a little city called Toulon, two young boys walked home from school. They discussed their passion for art.

Emmanuel – Bernard, listen! People say that he painted a great masterpiece of a woman.

Bernard – A woman? What a great idea! (with sarcasm)

Bernard – Hi Emmanuel. Do you think you could walk a little faster? We have to get home quickly before the sun sets! I love when the sun casts shadows.

Emmanuel – Yes, Bernard. You would go crazy if you had ever seen this painting. It is stunning; my dad told me. Leonardo had the most amazing ability as a painter in all of Italy. He gave the woman a heavenly smile!

It’s named “Mona Lisa” and in Italy, it’s named “La Giocanda”. Her gaze is commanding.

Emmanuel – I’m coming! Be patient, my friend! I would have taken my bike if I’d know you wanted to paint today.

Bernard – Too late now!

Bernard – This painting bores me. How can a portrait of a smiling woman be so attractive?

Emmanuel – You’re right.

Bernard – I love the way in which the sun hits the waves and the large wheat fields.

Emmanuel – Okay! If you no longer think this is interesting, wait and listen a little longer. They say that the way that Leonardo painted the eyes of the woman causes them to follow the person looking her no matter where that person is standing!

Emmanuel – I don’t see why you like to paint all these landscapes, Bernard. They are too easy for me.

Bernard – Emmanuel, you don’t know what you’re talking about! A painting of a coastline takes much more aptitude than your rotten portraits. You must put your heart into it. You can show emotion in the way that your clouds float. You also can show movement in the manner that the wind moves the wheat in the fields.

Bernard – That is interesting!

Emmanuel– Well! Portraits are also able to be fascinating, like your landscapes.

Bernard– I will see when this artist, named Leonardo Da Vinci, becomes famous! And, when his painting hangs in the Louvre in Paris! Ha, ha, what a joke!

Emmanuel – Okay! But in a portrait, there must be precise symmetry: you must create each detail of the person, transforming it by hand. You also show emotion in portraits. I find that portraits are truly beautiful.

Emmanuel– I promise you, you will see, Bernard. Da Vinci is a very gifted artist.

Bernard – What? The human face is boring. I hate portraits!

Bernard – Of course, the only true painter is Claude Lorrain. Did you see his painting “Sun Setting on the Port?” It is magnificent! This painting will be in the Louvre one day!

Emmanuel – That’s not true, my friend! With the slight incline of an eyebrow, you can see whether a person is mad or sad. You can make portraits very dark or joyous, according to the way they are designed. This technique demands skill.

Emmanuel – Yes, it will hang just below the “Mona Lisa!”

Bernard - Point taken, Emmanuel ! You won…as soon as you beat me to that tree!

Emmanuel- Let’s go! Move!

Bernard – What are you trying to say?

Emmanuel – Earlier today, my father told me about a

Jesuit Journal 14

Cover Art Translation Sebastian Vowell

1. You have certainly heard of ‘Liberty, Fraternity, and Equality,’ but I bet you haven’t heard of the Ham Revolution.

2. Once upon a time, there lived three little prince pigs in France. They lived peacefully but a wolf that was called Robbes Pierre, wanted to feed the three prince pigs to the guillotine.

3. The first prince lived in a palace made of straw. One day he went outside to wash his chariot.

4. Suddenly, Robbes Pierre attacked the prince with his guillotine. Before he could flee, the head of the poor prince went rolling down the road.

5. Robbes Pierre cooked the prince pig and devoured his flesh for breakfast. Each time that the evil wolf became hungry, he searched for another prince.

6. The evil wolf found the second prince next to his palace which was made of sticks. Robbes Pierre pounced and the poor prince could not escape. Next, the evil wolf started to eat the delicious ham which he had prepared.

7. The third pig heard about the evil wolf and decided to hide. He built a brick palace and went and hid inside it.

8. The evil wolf found the palace and called for the prince. The prince heard the wolf’s call and decided to hide in his bed in order to escape eminent death.

9. Robbes Pierre snuck into the house and while the pig slept, he cut off his head and trussed his inanimate corpse.

10. Now, you have certainly heard of the Ham Revolution. Beware because the evil Robbes Pierre is always searching for royal ham.

Artwork by Ben Galichia ’10

Jesuit Journal 15

Cover by Sebastian Vowell ’11

Jesuit Journal 16