santa clara review since 1869
E d i t o r joshua fredkin
A s s o c i a t e E d i t o r dana nialis
P r o d u c t i o n E d i t o r sara phillips
F i c t i o n E d i t o r stephanie mita
N o n -‐‑ F i c t i o n E d i t o r eliza lamson
A r t E d i t o r kristen rieke
M a r k e t i n g D i r e c t o r taara khalilnaji
P o e t r y E d i t o r stephen layton
P u b l i c R e l a t i o n s D i r e c t o r hannah miller
ȱ ȱ
A s s i s t a n t E d i t o r s aven satre-‐‑meloy lauren donati hallie mcknight eric ackerman ȱ ȱ ȱ Ȭ Ĵ jenny vandenbelt carolyn jones joseph forte felicia fregoso mara mayora katie simmons ȱ Ĵ ȱ ȱ E d i t o r i a l B o a r d michael haney lauren johnson joe kerwin hillary ruddell claire smith victoria yap F a c u l t y A d v i s o r kirk glaser
volume 98 number 1 fall/winter 2010
Cover art by Annamarie Leon and Kristen Rieke The santa clara review is published biannually by Santa Clara Uni-‐‑ versity in Santa Clara, California and accepts submissions of poetry, ę ǰȱ ę ǰȱ ǰȱ ȱ ȱ¢ ȱ ǯȱ ȱsanta clara review ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ -‐‑ ȱ ȱ ȱǞŗŜǯŖŖȱ ȱ ȱ¢ ȱ ȱǞřŘǯŖŖȱ ȱ ȱ¢ ǯȱ ȱ ȱ ȱǞŞǯŖŖȱǻ ȱǞŗǯŖŖȱ ȱ ȱ ȱ Ǽǯȱ ȱ -‐‑ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱǞśǯśŖǯ Please send correspondence, including address changes, submis-‐‑ ǰȱ ȱ ǰȱ ǯǰȱ DZ santa clara review Santa Clara University śŖŖȱ ȱ ȱ ǰȱ ¡ȱřŘŗŘ ȱ ǰȱ ǰȱşśŖśřȬřŘŗŘ ǻŚŖŞǼȱśśŚȬŚŚŞŚ To facilitate accurate reproduction of your piece, we highly encour-‐‑ ȱ Ĵ ȱ ȱ ȱ ȱ DZ ǯ ǯ No manuscripts or artwork can be returned unless accompanied ¢ȱ ȱ Ȭ ǰȱ ȱ ǯȱ ȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ santa clara review may not be reprinted, in whole or part, without ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ǯ Thank you to Kirk Glaser, Jonathan Gray, Arcelia Rodriguez, and
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ¡ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ě-‐‑ ȱŜŖǛȱ ǰȱǻŗŖŖƖȱ ¢ ȱ ȱ ȱ ǼDzȱ ǰȱ ȱ ȱ ȱ ȱŞŞǛȱǻŞŖƖȱ ¢ ȦŚŖƖȱ ȱ ȱ ǼDzȱ ǰȱ ȱ ȱ ȱ Ĵ ȱşśǛȱ ȱǻŗŖŖƖȱ ¢ ȦśŖƖȱ ȱ ȱ ǼDzȱ ȱ ȱ ȱ Ȭ ǯȱ The santa clara reviewȱ ȱ Ğ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯ
contents volume 98 number 1 fall/winter 2010
poetry ȱ
¢ȱ ǯȱ ȱ
Řȱ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ
¢ȱ ǯȱ ȱ chris caruso shoshauna shy ě ¢ȱ ę ȱ ě ¢ȱ ę ȱ ¢ ȱ ǯȱ ȱ ȱ Ȃ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ
Śȱ 15 16 Řşȱ řŖȱ řŗȱ řŘȱ řŚȱ řśȱ ŚŜȱ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ¢ȱ ¢ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ Japanese Lover Gone the Glide ȱ ȱ ȱ ¢ȱ ¡ ȱǻ ȱ Ǽ ȱ ȱ
ÀFWLRQ ȱ
john haggerty 5 A Pill Named God ȱ ȱ řŞȱ ȱ ȱ ȱ ȱ
ȱ
kelsey inouye 1 Small Things ¢ȱ ȱ ȱ ŚŖȱ śȱ ¢ ȱ ȱ ȱ ȱ ȱ
QRQ ÀFWLRQ
play ȱ
ȱ Ĵȱ ŗŝȱ ȱ
art ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ
ȱ ȱ veronica garcia ȱ £ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ Ĵȱ ȱĚ ȱ ȱ ȱ armando portillo ȱ ȱ ȱ ě ȱ ȱ ¢ȱ eric tseng ȱ ȱ ȱ ¢ ȱ
ȱ
distant dice andrew heringer band ¢ȱ ȱȱ dawson & marie
Śşȱ 50 śŗȱ śŘȱ śřȱ śŚȱ śśȱ śŜȱ śŝȱ 58 śşȱ ŜŖȱ Ŝŗȱ 62 Ŝřȱ ŜŚȱ
Untitled ȱ ȱǛŗ ȱ ę ȱ ȱ ȱ ¢ȱŗşśŖȬŗşŜŝ Self Portrait ¢ ȱ ¢ȱǛŘŖ Portrait of Bill ěȱ
music
65 66 Ŝŝ 68
letter from the editor ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ soil of Santa Clara University, Santa Clara Review now thrives as an ȱ ¢ȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ę ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ Ȃ ȱ ȱ ȱ ȱ ¢ȱ ȱ ě ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ę ȱ ǯȱ ȱ Ȃ ȱę ȱ ȱ -‐‑ sents another year’s growth that both changes and strengthens the ǯȱ As we completed this year’s work, another image came to ǯȱȱ ȱ ȱ ȱ ȱ ě ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ĵ ȱ ěȱ ȱ ȱ ǯȱȱ ȱ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ǯȱȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȱ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ǯ ȱ Ȃ ȱ ǵȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ -‐‑ ȱ ȱ ¢ȱ ȱ DZȱ ǯ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ě ǯȱ ȱ ȱ ȱ the second time proudly presents a music section, which contains ȱ ȱ Ȃȱ ǰȱ ȱ ȱ ȱę ȱ ȱ ȱ -‐‑ ȱ ȱ ȱ ǯȱȱ ȱ ȱ ȱ¢ ȱ ȱę ȱ ȱ ȱ ȱ -‐‑ ¢DZȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ǰȱ ȱ ¢ȱ ȱ -‐‑ membering the small things, a charcoal drawing of a president, a ę ȱ ȱ ȱ Ȭ ǰȱ ȱ ȱ ǯ Though we move forward in many ways, our goal remains ǯȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǰȱ ȱ ¢ȱ ȱ Ĵ ǯȱ ¢ȱ ȱ ȱ -‐‑ ę ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ȱ ǯ
Joshua Fredkin and the Santa Clara Review editors
kelsey inouye |
Small Things ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢-‐‑ ǰȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ feels funny, to read other girls’ stories and see myself in them, the mirrors and constant pinching of thighs, the indescribable cold, ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ £¢ȱ ȱ¢ ǯȱ Ȃ ȱ ȱ ȱ ȱ¢ ȱ DZȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ The mail scale that you used to weigh portions of cereal and rice, ¢ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱę ȱ¢ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ -‐‑ ber of the bathroom scale, strands of hair loose on your white pil-‐‑ ǰȱ ȱ ǯȱ ȱ ȱ ȱ ȱ¢ ȱşȬ¢ Ȭ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ǰȱ ȱ ȱ ę ȱ ¢DZȱ Ĵ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ȱ¢ ȱ head behind a stack of chemistry textbooks and English novels, sip-‐‑ ping ice water because you’re afraid to walk to the snack bar and ¢ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ ǰȱ ȱ ǯȱ
kelsey inouye | 1
¢ȱ ǯȱ |
No one knows what happens on the mountaintop; they only see the shining ÀJXUH GHVFHQG The frog squats on a water-‐‑splashed stone ȱ ȱ ȱ ǯ A girl stands over him, lost in the wilderness ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğȱ ¢ǯ
ȱ ȱ ȱ ȱ ȱ ȱę ǯ ȱĚ ȱ ȱ Ĵ ¢ȱ ¢ȱ ¢ like a fetus splayed presses her dull knife to his freckled throat ȱ ȱ ǯȱ ȱ ȱ ȱ to choose to starve to beg forgiveness but if she does his death will always lie behind her eyes so she presses harder, cracking windpipe, shredding tendons for a long time horrible until at last he lies gaping ȱ ǯ She lays his legs on a rock and watches them dry and watches them dry and washes her hands in icy water looks up at linen sky
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at a hawk ȱ ȱ ǯ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ǯ
ȱ ȱ ȱ ȱ ¢ȱ ǯ
SHJJ\ M NLQFDLG _
SHJJ\ M NLQFDLG _
The Purpose of Some Ravens Ravens come to roost, talons deep-‐‑digging your lungs, beaks jabbing to feed, ȱĚ ȱ ȱ¢ ȱ ȱ ȱ ȱ ¢ȱ ǯ ȱę ȱ¢ ȱ ȱ¢ ȱ ȱę ȱ ȱ ěǰ but when their grip tightens you let them have their way and stumble through your days, smile on your lips, ȱ ȱ ȱĚ ȱ ǯ ȱ ¢ȱ ȱ DZ a son’s graduation, a grandchild’s birth, ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ǰ surprised no one sees ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ Ȃȱ ȱ ǰ you swallow or sound it ȱ ȱ ȱ ȱ ǯ ȱ ¢ȱ¢ ȱ ȱ ȱę ȱ ȱ ȱ ȱĚ ǰ ȱ ȱ ȱ ǯ ǰȱ ȱ ¡ ȱ ¢ȱ ȱ ǯ ǰȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ Dz ¢ ȱ ȱ ȱ ȱ ȱĚ ȱ of wings below your breastbone, ¢ ȱĚ Ĵ ȱ ǰȱ¢ ǰ ȱ¢ ȱ ǯ
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john haggerty |
A Pill Named God ȱ ȱ ȱ ȱ ǰȱ ȱ Ĝ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ Ĝ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ ȱ -‐‑ ȱ ¢ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ǯȱ ȱ was a framed motivational poster on the wall showing a breaching ǯȱ ȱ ȱ ǰȱȃ ȱ ȱ ȱ ě ǰȱ ȱ ȱ achieve the impossible!” Tim found himself idly wondering what the whale had hoped to achieve when the door banged open and a ǰȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȃ ǰȄȱ ȱ ȱ ǯ ȱ ȃ ȱ¢ ȱ ¢ǵȄȱ ȱ ǯȱȃ ¢ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ǯȄ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢Ȭ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ǯȱ ȱ -‐‑ ȱ ȱ ¢ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȃ ǰȱ ǰȱ ǰȄȱ ȱ ǯ ȱ ȃ ȱ ȱ ȱ ǵȄȱ ȱ ǯȱ ȃ ¢ȱ ȱ ¢ȱ ȱ ȱę ǯȄ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ¢ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȃ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ǰȱ ǯȱ
ȱ ȱ¢ ȱ ¡ ¢ǵȱ ȱ¢ ȱ ȱ ¡ ȱ ȱ ȱ ¢ǵȱ ȱ ȱ Ĵ ȱ ǵȱ ǵȱ ǵȱ ȱ ǵȄ ȱ ȃ ȱ ȱ ȱ ǰȱ ȱ ǰȄȱ ȱ ǯȱȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ǯȄ ȱ ȃ ǰȱ ¢ȱ ǵȄ ȱ ȃ ǵȄ ȱ ȃ ǰȱ ȱ ȱ ǵȱ ǵȱ ȱ ȱ ȱ ȱ ȱ -‐‑ hole out into the alley and just really give him the business with a Ȭ ¢Ȭ ǵȄ ȱ ȃ ǷȄȱ ȱ ǯȱȃ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǵȄ ȱ ȃ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǰȱ ǰȄȱ ¢ȱ ǯȱȃ ǰȱ ǰȱ ǯȄȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ
john haggerty | 5
ȃ ȱȂ ȱ ȱ ǰȱ ǯȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱȃ ǰȱ ¢ǯȱ ȱ ȱ¢ ǯȱ ȱ ȱ¢ ȱ ȱ ǯȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ££ ȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ǯȱ ȱ ǯȱ ȱ ȱ ȱ ǵȄ ȱ ȃ Ȃ ȱ ȱ ȱ ǰȄȱ ȱ ǯȱȃ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǵȄ Marty leaned back in his chair again, his hands clasped be-‐‑ ȱ ȱ ǯȱȃ ȱ ȱ ǰȄȱ ȱ ȱ Ğ ȱ ȱ ǯȱȃ ȱ ǯȱ ȱ ǯȱ ȱ ǯȱ Ȃ ȱ ǯȱ Ȭ ȱ ¢ȱ ǯȱ ȱ ȱ ǯȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ¢ ȱ ȱ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ ȱ ȱ¢ ȱ¢ Ȃ ȱ ȱĚ¢-‐‑ ȱ ǯȱ Ȃ ȱ ȱ ȱ¢ ǯȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǷȄ ȱ ȃ ȱ ¢ ȱ ǰȄȱ ȱ ǯ ȱ ȃ Ȃ ȱ ȱ ǰȱ ǯȄȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȃ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǵȱ ȱ ¢ ȱ ȱ ȱ Ȃ ȱ ȱ ǯȱ ȱ ȱ Ȃ ȱ ȱ ȱ ǯȄ ȱ ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ę ǯȱ ǰȱ ȱ ȱ ȱ ȱ ǵȄȱ ȱ Ğ ȱ ¢ȱ ȱ ȱ ǯȱ ȃ ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ȱ ȱ ȱ ę ǯȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȄ Marty leaned forward and slapped a vial of pills onto the ȱ ȱ ȱ ȱ ǯȱȃ ǷȄȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ Ȃ ȱ ǰȄȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱȃ Ȃ ȱ ȱ -‐‑ ȱ ȱ ǯȄ ȱ ȃ ȱ ȱ ǵȄȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢Ȃ ȱ ȱ ȱ ȱ ǯ ȱ ȃ ȱ ¢ ǰȱ ǯȱ ȱ ǰȱ ȱ ǰȱ¢ ȱ Ĵ ȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ Ĵ ȱ ȱ ǯȄ ȱ ȃ ȱ Ȃ ȯȄ ȱ ȃ Ȃ ȱ ȱ ǰȱ ǰȄȱ ¢ȱ ǯȱȃ ȱ ǰȱ ȱ Ĵ ȱ Ȭ Ȭ ȱ ǰȱ Ȃ ȱ ǯȱ Ȃ ȱ ȱ¢ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȄȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ǯȱȃ ȱ ǯȱ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ ǯȱ ȱ ǯȄ
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ȱ ȱ £ ǰȱ ¢ǰȱ ȱ ȱ ȱ ¢ȱ ǯȱ -‐‑ where, sometime, that feeling of youthful invulnerability had aban-‐‑ doned him, and now there he was, like a feeble, old Eskimo, stuck ȱ ȱ ȱ ȱĚ ǰȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ¢ǰȱ ǰȱ Ȃ ȱ ȱ ȱ ȱ ȱ ǰȄȱ ¢ȱ ȱ ¢ǰȱ ȃ ȱ Ȃ ȱ ȱ ȱ ȱ¢ ȱ ȱ ǰȱ ȱ¢ Ȃ ȱ ȱ ¡ ¢ȱ ȱ ȱ Ȃ ȱ ě ǯȄȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ¢ ȱ ǰȱ ¢ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ Ȭ Ĵ ȱ · ǰȱ ¢ ȱ Ĵ ȱ ȱ Ĵ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ ing the sun rise over an oily ocean while their dates gave blow jobs to some music producer with a great weed connection but still be-‐‑ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ǯȱ And, in the meantime, Tim, his metaphors hopelessly confused ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ Ĵ ȱ Ĝ ȱ ȱ ¢ǯ ȱ ȃ ȱ ȱ ǰȄȱ ȱę ¢ȱ ǯȱȃ ȱ¢ ȱ ȱ ǯȄȱ -‐‑ ¢ǰȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ǵȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ ǯȱ ȱ¢ ȱ ȱ ȱ ǵȄ ȱ ȃ ȱ ȱ ȱ ę ȱ ǰȄȱ ¢ȱ ǰȱ Ĵ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȃ ǰȱ ȱ ȱ ȱ ȱ ǵȄȱ ȱ ǯȱȃ ȱ ȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ¢ȱ ǰȱ ȱ ¢ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ right out and leave you with your whale and your jewelry and your ȱ ǵȄȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ě ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ Ĵ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ seemed ironic and crazy, almost hip in its hilarious dysfunctional-‐‑ ity, that job, the job he had to get back to, the job that had, he now realized, become disturbingly permanent, that was even now, hor-‐‑ ¢ ¢ǰȱ ¢ ȱ ȱ ȱ Dzȱ ȱ ȱ Ȃ ȱ ě ȱ ȱ ǰȱ and it didn’t pay very well either, and if Mediwell was really going to give him the coverage they promised at the price they promised, ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ę ȱ ǰȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ¢ǯ Marty was looking at him, rocking slowly back and forth in
john haggerty | 7
ȱ ǯȱȃ ¢ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ǰȄȱ ȱ ǯȱȃ ȱ ȱ ȱ ǯȱ Ȃ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ȃ ȱ ȱ ȱ ȱ ȱ ǯȄȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ ȱ¢ ȱ ȱ -‐‑ ǰȱ ǯȱ ¢ȱ ȱ¢ ȱ ǵȱ Ƿȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ǰȱ ȱ Ȭ ǰȱ ȱȁ ȱ ȱ ȱ -‐‑ well screw me up the ass without so much as a drop of lube to get ȱ ȱ ¢Ȃȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ȱ ȱ ȱ ǵȱ ȱ¢ ȱ ǯȱ Ƿȱ Ȃ ȱ Ƿȱ Ȃ ȱ ȱ ȱ ȱ ¢ ǯȱ ȱ¢ ȱ ȱ ȱ ȱ ǰȱ ȱ Ȃ ȱ ȱ¢ ȱ ǯȱ ȱ ǯȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ¢ ȱ ȱ ǰȱ ȱ ǰȱ ·ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ¦ ·ǯȱ ȱ ȱĚ ·ǯȱ ȱ ȱ ȱ ȱę¡ȱ ǰȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ¢ ȱ ¢ȱ ȱ ȱ ǰȱ¢ Ȃ ȱ ǰȱ Ȃ ȱ ǯȱ Ȭ ǰȱ ¢ȱ ǯȱ ȱ ǯȱ ȱ ȱ ȱ ǯȄȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯ ȱ ȃ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȄȱ ȱ ǯ ȱ ȃ ȱ ȱ ǰȱ ǯȱ ȱ ȱ ǯȱ Ȃ ȱ ǯȱ Ȃ ȱ ǯȱ Ȃ dzȄȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ Ȃ dz ǰȄȱ ȱ ǯ Tim realized that his thighs were starting to burn from try-‐‑ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ǯȱȃ ǰȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ǰȱ ȱ ȱ ȱ ¢ǵȄ ȱ ¢ȱ ȱ ǰȱ ¢ȱ ǯȱȃ ǰȱ ¢ǰȱ ȱ Ȃ ȱ ȱ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ Ĵ¢ȱ ȱ ȱ Ȭ ¢ȱ ǯȱ ȱ ȱ DZȱ¢ Ȃ ȱ ȱ ȱ Ĵ ȱ ȱ¢ ȱ ǯȱ Ȃ ȱ ȱ DZȱ ȱ ȱ ȱ ¢ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ ȱ Ĵ ȱ ȱ ȱ Ȭ ǰȱ ȱ¢ ȱ ȱ ȱ ȱ¢ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ¢ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ ¢ǰȱ Ȃ ȱ ȱ ǯȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ǯȄ ȱ ȃ ǰȱ ȱ ȱ ȱ ȱ ěǰȱ¢ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǵȄȱ ȱ ǯ ȱ ȃ ǰȱ ¢ ǰȱ ¢ ȱ ǯȱ Ȃ ȱ ȱ¢ ȱ ȱę ȱ ǰȄȱ ¢ȱ ǯȱȃ ¢ǰȱ Ȃ ȱ ȱ ȱ ǰȱ ǵȱ ȱ Ȃ ȱ ȱ
8 | santa clara review
ȱ ȱ Ȃ ȱ ȱ ȱ¢ ǯȄ ȱ ȃ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȄȱ ȱ ǯ ȱ ¢ȱ ȱ ǯȱ ȃ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ Ĵ ȱ ȱ ȱ ȱ ¢ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ǯȱ ¢ ȱ ȱ ǯȱ Ȃ ȱ ȱŗŖŗǯȱ ǰȱ ȱ¢ ȱ ȱ ȱ ǵȄ * * * Tim sat on the bus back to work, distinctly aware of the vial ȱ ȱ ȱ ȱ ǯȱ ȱ ¢Ȃ ȱ Ĝ ǰȱ ȱ ȱ ȱ ȱ ȱ them into a wastebasket or maybe give them to the chemically ad-‐‑ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ Ĵ ǯȱ ȱ ǰȱ ȱ Ě ǰȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ Ğȱ ǰȱ ¢ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ that she was a thin, depressive goth girl who spent her leisure time ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ center and appeared to be the only person who could stand work-‐‑ ȱ ȱ ȱ ȱ ȱ ¡ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ able, and the biggest drawback was that he hated everything about ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ people, except for the back one-‐‑third, where some young thugs had spread themselves out intimidatingly, placing bets on whether the ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğ ȱŗŝ ȱ ǯȱ ȱ looked around at the red noses and sullen expressions, at the rain ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ¢ȱ ǯȱ -‐‑ out giving himself time to reconsider, he pulled the vial out of his ȱ ȱ ȱ ȱ ǯ The next morning Tim began to wonder if maybe Marty Ȃ ȱ ȱ ǯȱ Ȃ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ě ¡ ȱ ǯȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ -‐‑
john haggerty | 9
gled with thousands of pleasurable shocks, and his muscles moved ȱ ȱ ȱ ȱĚ ȱ Ĝ ¢ǯ ȱ
ȱ £ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ -‐‑ ¢ǰȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ -‐‑ porations, as far as Tim could tell, spent all of their time selling ȱ ȱ ȱ Ğ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ -‐‑ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ they ended up talking to were mostly recent immigrants with an ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ those immigrants up with platitudes and false empathy and send ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǯȱ ȱ -‐‑ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯ Today, though, everything about his job was positively ¡ ǯȱ ȱ ȱ ě ¢ǰȱ ¢ǯȱ ȃ ȱ are rich!” he heard himself saying in a voice much louder than he ȱ ¢ȱ ȱ ǯȱȃ ¢ǰȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ Ȃ ȱ ȱ Ƿȱ ȱ ǰȱ Ȃ ȱ ¢Dzȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ¢ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ¢ ǰȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ěǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ǯȱ ȱ¢ ȱ ȱ ǵȱ Ȃ ȱ ȱ ȱ ȱ ǰȱ Ƿȱ ȱ ȱ ȱ¢ ȱ ǰȱ ȁ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ¢ ǯȱ Ȭ ¢ ǯȂȱ Ȃ ȱ ǯȱ ǰȱ ¢ǰȱ ǯȱ ¢ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ǯȄ ȱ
ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ǰȱ ǰȱ ǰȄȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ Ȭ ¢ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ǯ ȱ ȃ ȱ ȱ ¢ȱ ǰȄȱ ȱ ǰȱȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȄ ȱ ȃ ǷȄȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ Ȃ ȱ ȱ¢ ȱ ȱ ȱ ǯȱ ǰȱ ¢ǰȱ Ȭ ¢ ǯȱ Ȃ ȱ ȱ ǵȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱę ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ě ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ ǰȱȃ ǰȱ ȱ
10 | santa clara review
fucking love this country,” and his lips split even wider, showing ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ǯ That night, on the ride home, he struggled to understand ȱ ȱ ǯȱ ȱ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ǰȱ but he was becoming more and more disconnected from his sur-‐‑ roundings, as though he was swimming through a blissful fog, submerged in it for minutes at a time, only to emerge and discover himself in a completely new location, his body somehow navigat-‐‑ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ Later, as he was brushing his teeth, Tim’s eyes fell on the ȱ ȱ ǯȱ ȱ ȱ ȱ Ě ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ hand remained stretched out at arm’s length, the vial upright and ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ¢ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğȱ ȱ ȱ ȱ ȱ ȱ Ĵ ǰȱ ȱ ȱ ȱ ȱ ȱ tiny blue dots, and popped it in his mouth, while his tongue, com-‐‑ pletely against his will, moved it to the back of his mouth, where ȱ ȱ ¢ȱ ȱ ǯ ȱ ȱ ¡ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ -‐‑ come more and more episodic, as he would swim to the surface of ȱ ȱ ȱę ȱ ȱ ȱ ȱ ě ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ -‐‑ £ ǰȱ ȱ Ȭ ȱ ȱ ¢ ǰȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ ȱ £ ȱ ǰȄȱ Ȃ ȱ ȱ ǯȱ ȃ Ȃ ȱ ȱ Ȭ ȱ ¢ ¢ȱ ȱ ¡ £ ȱ -‐‑ ȱ ę ¢ȱ ȱ ȱ ȱ £ ȱ ȱ ȱ ¡ ǯȄȱ ǰȱ ȱ ȱ ȱ ¢ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ around the verbal swill, pushing his tongue up against the roof of ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ £ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ¢ ǰȱ ¢ ȱ ȱ judge from her face what outlandish line of bullshit his mouth had
john haggerty | 11
ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ -‐‑ ized, to let go, let his body take care of things, ease back into the ȱ ȱ ȱ ǯȱ ȱ ȱ ěȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȃ ǰȄȱ ȱ ǰȱȃ¢ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȄ ȱ ȃ ¢ǵȄȱ ȱ ȱ ¢ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȃ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ȱ £ ȱ ȱ ȱ ǯȱ ¢ ȱ¢ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ǯȄȱ ȱ laughed in a half-‐‑choked way that suggested to Tim that she wasn’t ¢ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ £ ȱ ǰȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ ǯȱȃ ǰȱ Ȃ ȱ ȱ Ȃ ȱ ȱ¢ ǰȄȱ ȱ ȱ ǰȱ -‐‑ ȱ ȱ ǯȱȃ Ȃ ȱ ȱ ȱ ȱ ǯȄȱ ȱ ȱ ȱ ǰȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱȃ ȱ ȱ¢ ȱ ȱ ȱ Ĵ ȱ ȱ ǵȄȱ ȱ ȱ ǯȱȃ ǰȱ ǰȱ ȱ ǰȱ ȱ ǯȱ ǷȄȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ ǰȱ Ȃ ȱ ǵȄ ȱ ¢ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ -‐‑ ǰȄȱ ȱ ǯ ȱ ȃ ȱ¢ ǰȄȱ ȱ ȱ ǯȱȃ Ȃ ȱ ȱ ȱ ȱ ȱ ǯȄ * * * Tim’s life became increasingly kaleidoscopic as timeless pe-‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯ ȱ
ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ¢ ǯȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ě ǯȱ ȱ ȱ ȱ ȱ ȱ ȯ ȱ ǰȱ Ȭ ȱ ěȱ ȱ ¢ȱ ȱ ȱ and chrome things, creatures from the intersection of desperation ȱ ǯȱ ȱ ě ȱ ȯ ȱ Ȭ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ Ƿȱ Ğȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȄȱ ȱ ȱ ȱ ǯȱ ȃ ȱ ȱ ȱ ȱ ȱ ǯȄ ȱ ȃ ȱ ¢ ȱ ȱ ȱ ȱ ǵȄȱ ¢ ȱ ȱ ¢ ȱ ȱ ǯȱ ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯȄ ȱ ȃ ȱ ȱ ȱ ¢ ǰȄȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ
12 | santa clara review
ȱ ȱ ȱ ȱ ȱ ȱ ¢ Ȃ ȱ ǯ ȱ
ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ ¢ȱ ¢ȱ ȱ ȱę ȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ¢ ȱ ȱ ¢ȱ ȱ Ȃ ȱ ǵȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ¢ ȱ ǵȱ ȱ ȱ¢ ȱ ǵȄ ȱ
ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱȃ ȱ ȱ ȱ ȱ ȱ £ ȱ ȱ ȱ ǰȱ ȱ ǰȄȱ ȱ ȱ ¢ ǯȱȃ ǰȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ £ ǯȱ ǯȱ ȱ ǯȄȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱȃ ȱ ȱ mouth of yours is going to get you in trouble,” the man was saying ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ǯ ȱ
ȱ ȱ ¢ ȱ ȱ ȱ ǯȱ ¢ Ȃ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱȃ ȱ ȱ¢ ȱ ȱ ǰȄȱ ȱ ǯȱȃ ȱ ȱ¢ ȱ ȱ ȱ ǯȄ ȱ
ȱ ȱ ȱ ȱ ȱ ȱ Ĝ ȱ ȱ ¢ǯȱ ¢ ȱ ȱ ȱ ȯ ȱ ǰȱ ȱ Ȭ ¢Ȭ ȱ ǰȱ ȱ -‐‑ ȱ ǯȱ ¢ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯ ȱ ȃ ȱ Ȃ ȱ ȱ ȱ ¢ ǰȱ ¢ ȱ ȱ ȱ ȱ ǰȄȱ ¢ȱ ȱ ¢ ǯȱ ȃ Ȃ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ǵȄ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ -‐‑ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ -‐‑ ǰȱ ȱ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȃ ¢ ¢ǰȱ ȱ ¢ȱ Ȃ ȱ Ĵ ǰȱ ȱ ¢ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ǯȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȯ¢ ȱ Ȃ ȱ ȱ ȱ £¢ȱ ȱ ¢ȱ ¢ȱ ȱ ǯȱ ¢ǰȱ ȱ ȱ ȱ ȱ ¢ǯȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ ȱ ǵȱ ȱ ¢ Ȃ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ Ȃ ȱ ȱ Ĵ ȱ ǯȱ ȱ¢ ȱ ȱ ¢ ȱ¢ ȱ ǯȱ ȱ ȱ¢ ȱ ȱ ěȱ Ĝ ȱ ȱ ȱ ǵȱ ¢ ȱ Ȃ ȱ ȱ ȱ¢ ǯȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ǯȄ ȱ ȃ ȱ ǵȄȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ǯ ȱ ȃ ȱ ȱ ǰȱ ǯȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ǯȄ
MRKQ KDJJHUW\ _
ȱ ȃ ȱ Ȃ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȄ ȱ ȃ ȱ ¢ ǯȱ ȱ ȱ Ȃ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ě ǯȱ ȱ ȱ ǯȄ ȱ ȃ ǵȄ ȱ ȃ Ȃ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ¢ ȱ ǯȱȁ ȱ ¢ȱ ě ȱ ȱ ȱ ǰȱ ¡ ȱ ǰȱ ¢ȱ ǰȱę ȱ dzȂȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ǵȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǯȱ ȱ ¢ǰȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ǯȄ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ ¢ǰȱ ¢ ȱ dzȄȱ ȱ ȱ ¢ǯȱ ȱ ¢Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ -‐‑ ǯȱ ȃ ¢ǰȄȱ ȱ ǰȱ ȃ Ȃ ȱ ȱ ȱ ǯȄȱ ȱ ȱ burst open behind Tim, and two uniformed men pulled him up out ȱ ȱ ǯȱ ¢ȱ ȱ ǰȱ ȱ ¢ ȱ ȱ ¢ ¢ǰȱ as if someone inside his skull was trying to send out messages in ȱ ǯ
ȱ
14 | santa clara review
chris caruso |
Japanese Lover Â˜Â ČąÂŠÂ•Â•ČąÂ?‘ŠÂ?ČąÂ’ÂœČąÂ•ÂŽÄžÇą A  comb–curve  of  ink,  pretending  to  be  hair Â—ÂŽČąÂŒÂ‘Â˜Â™ÂœÂ?Â’ÂŒÂ”ČŽÂ?‘ŽȹÂ? ’—ȹ‹ž›’ŽÂ?ȹ’—ȹÂ?‘Žȹ‘ŽŠ›Â?ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂ˜ÂŒÂŽÂŠÂ— Change–a  few  pennies,  a  dime,  a  quarter,  refund  for  dreams Â˜ÂžČąÂ?Š•”ŽÂ?ČąÂ˜Â?ČąÂ?‘ŽȹÂ?ŽœŽ›Â?Ç°ČąÂ˜Â?ČąÂ‘Â˜Â you  planned  to  bury  things,  let  them  Â?˜›Â?ÂŽÂ?ČąÂ?Â‘ÂŽÂ’Â›ČąÂ ÂŠÂ˘ČąÂ‘Â˜Â–ÂŽÇŻČąČą ÂŽÂœÂ?Â’Â?ÂŽÂœÇŻČąČą Â˜ÂžČąÂ?˜•Â?ȹ–Ž this  collection  of  stranded,  misplaced Š›Â?Â’Â?ŠŒÂ?ÂœČąÂ ÂŠÂœČąÂ?Â‘ÂŽČąÂ Â˜Â›Â•Â?ÇŻ
chris caruso | 15
shoshauna shy |
Gone the Glide ȱ ȱ ȱ
ȱ ȱ ȱ
ȱ ȱ ȱ dz ȱę ȱ Ğ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ dz ȱ ȱ ȱ Ȯ ȱ
ȱ ȱ DZ ȱ ȱ ȱĚ ȱ Ĵ Dzȱ ȱ with sketchpad and fresh Dzȱ ȱ Ȭ ȱ ȱ ȱ Ĵ ȱ ǯȱ ȱ ȱ ȱ to the clock’s deadpan face, ȱ ¢ȱ ȱ ě telephone, shocked at the dump overboard by what ifs from that lovely canoe ȱ ǯ
16 | santa clara review
claudia barnett |
Till Death
ȱ ȱȱ
ȱ ȱ
Characters ǰȱŚŖ ȬśŖ ǰȱřŖ ȱ
Scene
Ȃ ȱ ¢ǯȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ǯ ǯ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǯ ȱ ȱ ȱ ȱ ǵ
Ȃ ȱ ǯ ȱ ȱ ǯȱ ȱ ȱ ǯ
ȱ ȱ ę ¢ȱ ǯ ȱ ȱ ȱ ȱ¢ ǯȱ ȱ ȱ¢ Ȃ ȱ ȱę ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ǯȱ ȱ ȱ ȱ DZȱ Ȃ ȱ ¢ȱ ȱ¢ ǯȱ ȱ ¢ ȱ ȱ DZȱ ȱ ȱ ȱ ȱ ȱ Ȭ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ěȱ ȱ Ȃ ȱ ȱ ȱ ȱ ǯ
¢ȱ ȱ ȱ ȱ¢ ǯ
claudia barnett | 17
Ȃ ȱ ǯ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ Ĵ ǯȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ¢ȱ ǰȱ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ Ȭę ȱ ǰȱ ȱ ȱ Ȭ ȱ ¢ȱ ¢ǰȱ ȱ ȱ ǯȱ ¢ȱ ȱ ȱ ȱ ǯȱ ȱ DZȱ ȱ ȱ¢ ȱ ǵ
Ȃ ȱ ǯ ¢ǯ
Ȃ ȱ ȱę ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǯ
¢ǯȱ ǯȱ ¢ȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ǯ ǻ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯǼ Ȃ ȱ ȱ ¢ ǯȱ ȱ ȱ DZȱ ȱ ȱ ȱ ǵȱ ȱ ȱ¢ ȱ ǵȱ
Ȃ ȱ¢ ȱ ȱ ȱ ¢ǵ
ȱ¢ ȱ ȱ Ĵ ȱ ¢ȱ ȱ ȱ ȱ ǵȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ¢ȱ ȱ ȱ ȱ ¢ǯȱ
18 | santa clara review
ǻ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ Ě¢ǰȱ ȱ ȱ ȱ ȱ ȱ ǯǼ ȱ Ȃ ȱ ȱ¢ Ȃ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ǯȱ ǻ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯǼ ȱ ǵȱ Ȃ ȱ ȱ Ĵ ȱ ǯȱ
ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ǵȱ ȱ ȱ Ȃ ȱ ǵ
ȱ ȱ¢ Ȃ ȱ ǯȱ ȱ¢ Ȃ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ǯȱ ǻ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱę ȱ -‐‑ ¢ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ǯǼ
ǵȱ Ȃ ȱ ȱ ȱ ȱ ȱ¢ ȱ ǵȱ Ȃ ȱ ȱ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȯ ȱ ȱ ȱ ȱ ȱ ȱdz
ȱ ¢ȱ ȱ ǯ ȱ Ȃ ȱ ǯȱ Ȃ ȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ¢ ȱ ȱ -‐‑ DZȱ ȱ ȱ¢ ȱ ǵ
Ȃ ȱ ǯȱ ȱ Ğ ȱ ǵ
Ȃ ȱ ȱ ȱ ǯ
claudia barnett | 19
ȱ ǵ
ǵȱ ȱ Ȃ ȱ ȱ¢ ȱ ǯȱ ȱ ¢ȱ ǯȱ ȱ ¢ȱ ȱ ȱ ¡-‐‑ ster S, two hundred and ninety horsepower, metallic Malachite ǯȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ¢ Ȃ ȱ ȱ ȱ ȱ ȱ ę ¢ȱ of your retirement account and life insurance, not to mention ȱ ȱ ȱ ¢ ȱ¢ ȱ ȱ ǰȱ Ȃ ȱ ȱ ¢ȱ ȱ ȱ ȱ titanium stilts, with glass walls, umbrellaed balconies, and pearly ȱĚ ǯȱ ȱ Ȃ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ -‐‑ ing, and marry someone sweet and young who’d let me read in ǯ Ȃ ȱ Ȭ ¢ǵ
ȱ ȱ¢ Ȃ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ¢ ȱ ȱ ȱ ȱ ȱ¢ ȱ ¢ǵ
ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ ¢ȱ ǯ
ȱ ȱ ǯȱ
ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ǵ
ȱ Ȃ ȱ ȱę ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǯ
20 | santa clara review
ȱ Ȃ ȱ ȱ¢ ȱ ȱ Ȃ ȱ Ĵ¢ǯ
ȱ Ȃ ǯȱ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ǯ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ǰȱ
ǯ
ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ ȱ¢ Ȃ ȱ ǰȱ ¢ǯ ¢ ȱ Ȃ ȱ Ƿȱ ȱ ȱ ȱ¢ ǯ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ £ ȱ ǯ ȱ¢ ȱ ǯȱ ȱ ȱ ǯȱ
ȱ £ ȱ ǰȱ ȱ £ ȱ ǰȱ ȱ £ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ǻ ǯǼ
ǰȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵ
ȱ Ȃ ȱ ǯ ȱ ȱ¢ ȱ ȱ¢ ȱ Ȃ ȱ ǵȱ
ǯȱ Ȃ ǯȱ ǯȱ
claudia barnett | 21
Ȃ ȱ ¢ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ¢ ȱ ȱ ȱ ǰȱ¢ ȱ ȱ ȱ ¢ȱ ǵ
ȱ¢ Ȃ ȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ Ȃ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ -‐‑ ȱ ¢ȱ ǯȱ Ȃ ȱ ȱ ȱ ǯ
Ȃ ȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ȱ¢ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ¢ ȱ ǯ ȱ Ȃ ȱ ȱ ǯ
ȱ ǯȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ǵȱ Ȃ ȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ǯ
ȱ ǯ ȱ ȱ ǯȱ ȱ ȱ¢ ǯ
Ƿȱ ȱ ȱ ǯȱ ¢ ȱ ȱ ǯ
22 | santa clara review
Ȃ ȱ ȱ ǯȱ ȱ ǵȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǵ
ǰȱ ȱ ȱ¢ ǯ ǻ ǯǼ ȱ ȱ ȱ ȱ ¢ȱ ȱ¢ ǯȱ ȱ ȱ Ȃ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ
My nightmare’s you selling your half on e-‐‑bay to a retired sumo ǯȱ Ȃ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯ ¢ȱ ȱ ȱ ¢ȱ ȱ ȱ Ȭ ¢ǯȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱę ȱ ȱ ǯ
ȱ ȱ ǯ ȱ Ȃ ȱ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ¢ ȱ ȱ ¢ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ
Ȃ ȱ ȱ¢ Ȃ ȱ ȱ ¢ ǯȱ Ȃ ȱ ǰȱ ǰȱ ¢ǰȱ ȱ¢ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ǯȱ ȱ¢ ȱ ȱ ȱ ǰȱ Ȃ ȱ ȱ¢ ȱ ȱ ěǯ
FODXGLD EDUQHWW _
Ȃ ȱ ¢ȱ ǯ Ȃ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ ǯ ǻ ǯǼ ȱ¢ ȱ ȱ ǵ
ȱ ȱ ȱ¢ ȱ ǵ ǯ
ȱ Ȃ ȱ ǯ ȱ Ȃ ȱ ȱ ¢ ǯ
ǯȱ ȱ Ȃ ǯȱ ȱ ȱ ȱ ȱ¢ ǯ Ȃ ȱ ȱ ȱ ȱ ȱ ¢ǵ
ǯ ȱ ȱ Ȃ ȱ ǯȱ ȱ Ȃ ȱ ǯ
ǯȱ ǵ
24 | santa clara review
Ȃ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ¢ ȱ Ȃ ȱ ȱ ȱ ȱ ǯ
¡ ¢ǯ ȱ ȱ ǵ ǻ ǯǼ ȱ Ȃ ȱ ǯ
ȱ Ȃ ȱ ȱ¢ ȱ ǯ ȱ ȱ ǯȱ ǻ ǯǼ Ȃ ȱ ȱ ȱ¢ ȱ ȱ ¢ȱ ǯ ǻ ǯǼ ȱ ǯȱ ȱ ǵȱ
ȱ ȱ ǯȱ Ȃ ȱ ȱ ǯ ȱ Ȃ ȱ ȱ ȱ ȱ ě ȱ ǵ
ȱ ȱ ȱ ǯȱ ǰȱ ¢Ȃ ȱ ȱ ££ ǯȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ¢ ȱ ȱ ǯ
ȱ ¢ȱ ¢ǰȱ Ȃ ȱ Ȭ ǯȱ
claudia barnett | 25
ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ Ĵ ȱ ǯ
ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ ȱ Ȃ ȱ ǯȱ ȱ ¢ ȱ¢ ȱ Ȃ ǯȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ǻ ȱ ȱ ȱ ȱ ǰȱ ȱ ǯǼ
Ȃ ǯ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ¢ȱ ǯ
ǯȱ Ȃ ǯ ȱǻ ȱ ȱ ȱ ǰȱ ȱ ȱ ǯǼ Ȃ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ǵ
ȱ Ȃ ȱ ȱ ǯȱ ȱ ¢ ȱ Ȃ ȱ ǯȱ ȱ¢ ȱę ȱ ȱ ǯ ȱ ȱ ǯȱ
ȱ ¢ ǯ ȱ ȱ ȱ ǯȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ¢ ȱ ǯȱ
ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ¢ȱ ǯ
26 | santa clara review
ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ǯȱ
ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ¢ǯȱ ǯ ǻ ǯǼ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ǯȱ
¢Ȃ ȱ ȱ ǯȱ ȱ ǯ
ȱ ¢ ȱ ȱ ȱ ȱ Ğ ȱ Ȃ ȱ ǯȱ Ȃ ȱę¡ ȱ ȱ ȱ -‐‑ ȱ ȱ ǯȱ ȱ ȱ ¡ ǵ ǻ ǯǼ ȱ¢ ȱ ȱ ¢Ȃ ȱ ȱ Ĵ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğ ȱ ȱ ǵȱ ȱ ȱ ȱȃ ¢ DZȱ ȱ ǯȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ Řǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ǰȱ Ĵ ȱ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢¡ ȱ ǵ ǻ ǯǼ ǰȱ Ĵ ȱ¢ DZȱ ȱ ȱ ȱ ǯȱ Ȃ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ Ȃ ȱ ȱ ¢ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Ȃ ȱ ǵȱ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ǵȱ dzȱ ȱ ȱ Ȃ ȱ ȱ ¢ȱ ǵ
ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱdz ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱdz
ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ Ȃ ȱ ȱ ȱ ȱ ȱ ¢ǯ
claudia barnett | 27
Ȃ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ȱ ǯȱ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱdz ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ DZȱ ȱ ȱ ȱ Ƿȱ ȱ ȱ ȱ Ƿȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǵ
ȱ £ ȱ Ȃ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯ ¡ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ȱdz
ȱ Ȃ ȱ ȱ ȱ ȱ ¡ ȱ ¢ȱ¢ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ
ǻ ǯǼ ȱ ȱ ȱ ȱ ¢ǯȱ ǯȱ Ȃ ȱ ȱ Ȃ ȱ ȱ ¢ǯȱ
End of Play Till Deathȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢Ȃ ȱ ¢ ȱ ȱ ¢ǰȱřȱ ǯȬŘȱ ǯǰȱŘŖŖŞǰȱ ȱ ȱ ȱ ȱ ǯȱȱ
28 | santa clara review
jeffrey alfier |
The Wolf Yearling The elk that eluded her as a pup ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǯ The lair she was born one April nightfall ȱ ȱ ȱ ¢ ȱ ȱ ȱ ǯ Ȃ ȱ ȱ ȱ ȱ ȱ ę before yielding to human redolence, fur bristling in wind that carries their scents ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ
jeffrey alfier | 29
jeffrey alfier |
The Harmonica ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ǰȱ ȱę ȱ ȱ to his mouth as if playing an invisible harmonica, perhaps the best–a nickel-‐‑plated
Ȯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ¢ he imagines no musical instrument at all, ȱ ȱ ȱ ȱę ȱ ȱ £¢ ǯȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ so enamored of him, so beautiful she takes his breath away even as she stands on the balcony, listening as she smokes, ȱ ȱ ȱ ȱ ǯ
_ VDQWD FODUD UHYLHZ
carolyn biemer|
Fall Remember when you were high behind the house, ȱ ȱ ȱ ȱ ȱ¢ ȱę ȱ¢ ȱ ȱ ǯȱ ȱ ȱ thick foggy ghosts–and you tapped ashes on the ground and cried like they were lost friends, whimpered ȱ ¢ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ peeled mildewed paint from the porch in painful slivers, patiently ȱ ¢ ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ Ě ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ¢ ȱ¢ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ǯ
FDURO\Q ELHPHU _
john o’reilly |
Patricia Seven times she thumped out one of us ȱ ȱ ȱ £¢ȱ ȱ ǯ ȱ ȱ ȱ Ğ ǰȱ ¡ ǰȱ ȱ ȱ were citizens of empire, but those given ȱ ȱ ȱ ȱ ȱ ȱ ǯ So much sense was spent on what made sense, ȱ ȱ ȱ ȱ ¢ ȱ ȱ ǯ That full house had no alone in it, our father ę ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǯ Behind him, the charcoal John Kennedy portrait, and in front, his fury if plates weren’t oven-‐‑ warmed just before Mom hauled submissive ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǯ Ȃ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ¢ȱ ǯ ǰȱ ȱ ȱ ǰȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǯ Fish sticks like desiccated lizards, God help us, and Salisbury steak, whatever that was, toughened lovingly, ¢ȱ ǰȱ ȱ ȱ ě ǰȱ ȱ ȱ ȱ ȱ ǯ Dad honed in on what conformity called forth, but still demanded to stand out, so he screwed up, ȱ ǯȱȱ ȱ ȱ ȱ he’d declaim at supper, yet never reading anything but the paper, cover to cover, keeping informed, as though he might get pulled over any day now, ȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ DZ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯ Mom reading in the kitchen, hectored past reason, couldn’t reason, not with him, wouldn’t come sit through loud insipid dramas, or what loudly
_ VDQWD FODUD UHYLHZ
ȱ ȱ ǯȱȱ ȱ ȱ ȱ ȱ ǰ ȱ ȱ ȱ ȱ ǰȱ ȱ ǯ
Ȃ ȱ ǰȱ Ȃ ȱ ȱ ȱ ǰ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ Ğȱ ȱ ȱ ȱ ǯ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǯ
ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯ
Ȃ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ Ĵ ǯ She shuts her Updike and turns to the big dish pile ȱĚ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ěȱ ȱ ȱ ȱ ǰ out windows of the foundering house, running under the doomed, green brained elms, spreading out like water ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ǰȱ ǰȱ ȱ ǯ
MRKQ R·UHLOO\ _
james robinson |
Bowls ȱ Like rimless hats balanced over ȱ ě ȱ ȱ ȱ ǰȱ ȱ ȱ ȱȱ Narrowing obtains to width, are ȱ ȱ ȱ ȱ ǯ ȱ A green opens the window doors ȱ ȱ ȱ ǯȱ ȱ ȱ ȱę ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǯ ȱ Gray geese horn on this morning, ȱ ȱ ȱ ȱ ě ǯȱ ȱ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¡ ǰȱ ǯ ȱ ȱ ȱ ȱ ȱ ě ȱ ǯȱ ¢ Ȃ ȱę ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ DZȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ V Merciful god appears nowhere ȱ ȱ ȱ ȱ ǰȱę ¢ Sweet in a white bowl,
ȱ ǰȱ ȱ ȱ ¢ǯ ȱ Just and merciful god is nowhere And white roses make an absence Perfect as the clay wound and rounded ȱ ȱ ȱ ȱę ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ǯȱ
_ VDQWD FODUD UHYLHZ
benjamin drahmann |
Poetry Excercises (Number Five) ŗǼȱ ȱ ȱ ȱ ǰȱ ȱ ȱ Then make a thing like a place and a person like a thing and a place like a childhood memory ȱ ȱ ȱ ȱ ¢ ǯȱ ȱ Ȃ ǯ Keep all comparisons under fourteen periods, thirteen commas and ȱ ȱ ȱ ȱ ǯȱ ŘǼȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱę ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ǵȱ ¡ ǯȱ řǼȱ ȱ ȱ ȱ ȱDEATHȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱȱ Colorfully describe the scraping crunch, crunch, crunchȱ ȱ ȱę ȱ ȱ ȱ ȱ¢ ȱ ȱ ǯ ǰȱ ȱ ȱ ȱ ȱ Ȃ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ Ȃ ȱ ǵȱ ȱ ǯȱ ŚǼȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ǯȱ Pretend to be an expert on the inner hallways of your mind and, under no circumstancesǰȱ ȱ ȱ¢ ȱ ȱ ǯȱ Take us on a tour of your psyche, but be sure to board up the junk ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ǯȱ ȱ¢ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ǯȱ Ȃ ȱ ȱ ǯȱ śǼȱ ȱ ȱ ȱ ǯ ȱ ȱ Ě Ĵ ȱ ȱ ȱ ¡ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ę££ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ Ĵ ȱ Ȭ ȱ ȱ ȱ ǷǷǷǷȱ
EHQMDPLQ GUDKPDQQ_
rick coonrod |
A Suitcase Full of Badger ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ -‐‑ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ in a burlap sack, the oily material pierced from within by demonic ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ They slid it into an old leather suitcase, and we all carried ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ę ǯȱ ȱ ȱ ȱ shook the suitcase up, each holding an end and bouncing it up and ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ȱ ȱ ǰȱ unmoving, either from concussion or a silent resolution to wait for ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ Ğ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱȃ ȱ ǰȱ ȱ ȱ ǰȱ ¢Ȃ ȱ ǯȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱę ȱ ȱ ȱ Ȃ ȱ ǯȱ ȱ ȱ Ĵ ȱ Dzȱ ¢ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ǯȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱȃ ǰȱ ȱ ȱ ȱ ǯȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ ȱ ¢ ȱ ěȱ ȱ ȱ ¢ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ Ğ ȱ ȱ ȱ ȱ¢ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱĚ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǯŚśȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱȃ ȱ ȱ¢ ȱ ȱ¢ Ȃ ȱ ǵȄȱ
_ VDQWD FODUD UHYLHZ
ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃ Ȃ ȱ ȱ ǰȱ ǯȱ Ȃ ȱ ȱ to get me killed!” ȱ
ȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ǰȱȃ Ȃ ȱ ȱ ¢ǰȱ ǯȄȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ
ULFN FRRQURG _
holly teresa baker |
Five Ways of Looking at a Cave ŗǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ǰȱ ¢ȱ ǰȱ ¢ȱ ȱ ȱ ȱ ȱ Ě ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ the metal bench seep through the worn fabric of my jeans, and my ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ ȱęĞ¢Ȭę ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ and at the ankles where there is a gap between my socks and pant ǯȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ -‐‑ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ¢ȱ ȯ ȱ ȱ ȱ ȱ Ĝ ǰȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ Ğȱ ȱ ȱ ȯ ȱ -‐‑ DZȱ ¢ȱ ȱ ȱ Ĵ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯ ȱ ȱ Ğȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ¢ȱ ǯȱ ǰȱ ǯȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ my eyes, straining to see one dark shape against another, a faint ǰȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ǯȱ ȱ ǯȱ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ǯ ȱ ȱ ȱ ȱ ȱ DZȱ ȱ ȱ ȱ ¢ȱ -‐‑ ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǯ ȱ ¢ǰȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ -‐‑ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ story of a man who fell through a sinkhole on the surface of the
_ VDQWD FODUD UHYLHZ
ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ -‐‑ ǯȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱę ȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ě ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ Ȭ ȱ ǵ ȱ ȱ ȱ ȱ ȱ ȱ ǵ ȱ ¢ȱ ȱ ȱ ȱ ǵ The unfortunate man, in such perfect silence, had begun to ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ see shapes, hallucinations, tricks of the memory of sight, even as ȱ ¢ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ǰȱ ǰȱ ǯȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯ ȱ ȱ ȱę ȱ ȱ ȱ Ȃ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ -‐‑ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ ǯȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğȱ ȱ ȱ ȱ -‐‑ ¢ȱ ȱĚ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ a tour group passes through, to maintain the pristine quality of the untouchable calcite deposits, gypsum and dripstone formations, ȱ ȱ ǯ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ down at my hands until my eyes adjust once again to the ability to ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ DZȱ ȱ ¢ȱĚ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ¢ȱ ¢ȱ ȱ ȱ ȱĚ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱĚ ǯ Řǯȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ¢ ȱęĞ¢ǰȱ ȱ ¢ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ
KROO\ WHUHVD EDNHU _
ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ along the walls, brushing free the dust and feeling every bump as it guided me forward, deeper inside the world, to discover what ȱ ȱ ȱ ȱ ȱ ¢ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ are no mountains, no rises of land, no gaping entrances to suggest that there are hundreds of miles of tunnels and massive air pockets ȱ ȱ ȱ Ȃ ȱ ȱ ȱ¢ ȱ ǯȱ ȱ ǰȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȯ ¢ȱ ǯȱ ¢ȱ ȱ ǰȱ ȱ -‐‑ tary explorers, men pressed forward by the human need to wonder ȱ ǯȱ ¢ȱ ȱ Ğȱ ȱ ȱ ȱ DZȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ ǯ The black rock is part of the story, the evidence of humans ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ -‐‑ ȱ ȱ DZȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ǯȱ ȱ ȱ Ĵ ȱ ǰȱ ȱ ȱ Ě ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ wondering to the professionals, the scientists and sanctioned work-‐‑ ǯȱ ȱ ȱ ȱ ȱ ǰȱ Ȭ ȱ ¢ȱ ȱ ȱ ¢ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ name to the millions of other guests, placing my name in a book that ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ¢ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ mind us to keep our hands in our pockets and to mind our chil-‐‑ ǯȱ ¢ȱ Ƿȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ¢ ȱ to form, and it is our responsibility, now that we’ve discovered it, ȱ ȱ ȱ ¢ǯȱ Ȃ ȱ Ƿȱ ȱ ę Ȭ Ȭ¢ Ȭ ȱ soda straws hanging from the ceiling in tight clusters, like creatures ȱ ȱ ȱĚ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱę -‐‑ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ of earth-‐‑formation, as if our interference with the world will halt it ę ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ ǯȱ Ȃ ȱ ȱ ǰȱ ǰȱ ȱ Ğ ȱ ȱ ȱ ȱ ǵȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ ǵ ȱ ȱ ¢ȱ ȱ ȯ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ ȱ
40 | santa clara review
ȱ ȱ ȱ ȱ ¢ǯ ȱ ȱ ȱ ȱ ěȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱǻ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ȱ ěȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ǽǰȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȯ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ and self-‐‑reliance, of fortitude of conscience and willpower, and of a heroic, even miraculous, escape from the depths of the tomblike ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ¢ȱ ȱ ȱ ȱ ¢ȱ aware of the others to feel any of the danger of true isolation in this ǯȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ǯ řǯȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ Ğ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Ě ȱ ǰȱ ȱ ǰȱ ȱ ȱ ¢ȱę ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ DZȱ ȱ ¢ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ¢ȱ -‐‑ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ Dzȱ ¢ȱ ȱ ȱ ǯ ȱ ȱ ȱ ¢ ǰȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ had already been discovered and collected, so on this day the man walked a mile or two, torch in hand, to a certain spot where he had ȱ ǰȱ ȱ ȱ ȱ ȱ ȱę ȱ ǯ ȱ
ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ¢ȱ Ĵ ȱ ¢ ǯȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ě ȱ ȱ ¢ȱ ¢ȱ ȱ ǯȱ
holly teresa baker | 41
ȱ ȱ ȱ ǰȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ǯȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ǰȱ ȱ ȱ ę ȱ ǰȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¡Ȭ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ Ȃ ȱ ȱŗşřśȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ¢ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ and humidity, and thanks to the niter salt in the soil, his body nev-‐‑ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ Ȭ¢ Ȭ ȱ ¢ȱ ȱ ȱ ǰȱ ǰȱ ȱę ǯȱ ȱ ȱ ȱ -‐‑ ¢Ȃ ȱ ȱ ȱ ȱ ¡ ȱ ¢ȱ ǯ The mummy, once encased in glass for the touring public to ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĝ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ¢ȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ museum somewhere for the mildly interested to gawk at for thirty ȱ ȱ ȱ ȱ ȱ ȱ Ğȱ ǯȱ ȱ ȱ ¢ȱ Ȃ ȱ ¢ ȱ ȱ can still see him wedged beneath the heavy rock, only his head and ȱ ȱ ¡ ǯȱ ȱ ȱ ȱ ¢ǵȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ǵ ȱ ȱ Ĵ ȱ ¢ȱ Ĵ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ have been like watching a car turn over on the freeway or a tidal ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ǯȱ ¢ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ¢ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ They had had no choice but to leave their friend in the dark, never ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ
42 | santa clara review
Ȃ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ Ĵ ȱ ǯȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ¢ȱę ȱę ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ȱ¢ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ¢ȱ ȱ Ƿȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ¢ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯ Śǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ŗŞřşȱ ȱ ¢ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ -‐‑ ę ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ -‐‑ mined that the cave air had some sort of a healing, or preservative, ¢ǯȱ ȱ ȱ ȱ ȱ Ȃ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ Ě ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǯȱ ȱ ǰȱ ¢ȱ ȱ ȱ ȱ ǰȱ Ĵ ȱ ¢-‐‑ be, than normal cabins, but it may just be the low cave ceiling and ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ electric candle standing on a wooden table to light the interior, and on a faded red towel lies a loaf of bread beside a knife and a clay ȱ ȱ ǯȱ ȱ Ȭ ȱ ǰȱ ȱ ȱ ¢ȱ -‐‑ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ę ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǯȱ Croghan, thinking he had hit upon a cure, began drawing up plans ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ Ȭ ǯȱ Ğ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ Ĵ ȱ ¢ȱ ȯ ¢ȱ ȱ ¢ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ that they were dying, many begged to leave the cave and see the sunlight again, but he encouraged them to stay, insisting that it ȱ ȱ ¢ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ě ȱ ǯȱ
KROO\ WHUHVD EDNHU _
ȱ ȱ ¡ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ǰȱ ǯȱ ȱ -‐‑ ted defeat and returned the remainder of his patients to the surface ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¡ȱ¢ ȱ ǰȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱŗŞŚşǯ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ Ȃ ȱ ǰȱ ȱ ¢ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱamȱ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱę ȱ ǰȱ ȱ -‐‑ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ǵ ȱ ȱ ȱ ȱ ȱ ǵ ȱ ȱ ȱ ǵ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¡ ȱ ȱ -‐‑ ¢ǰȱ ¢ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğȱ ȱ ȱ an empty shell of what used to be ¢ ǵȱ ¢ǰȱ Ȃ ȱ ǰȱ ȱ ¢ȱ ǰȱ ȱ ǯȱ ȱ ǰȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȯ¢ ȱ ȱ ȱ ¢ǯ ȱ ȱ ȱ ǰȱ ȱ Ĵ ȱ ȱ ȱ ǰȱ ¡ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǵȱ ȱ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ my eyes squint and water, the music that made me want to move ¢ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ Ƿ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ¡ -‐‑ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ǯȱ The man who had lost himself in the caves, whose sight had begun
44 | santa clara review
ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ǯ ǰȱ ǰȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ǯ śǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ǰȱ ¢ǯȱ My head swivels from side to side, taking in these last images of ǰȱ ǰȱ ǯȱ ȱ ȱ ȱ ę ǯȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ǯ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ǰȱ ǯȱ ǰȱ ȱ ȱ ȱ in the dark water, gliding seamlessly just below the surface, disap-‐‑ pearing, and materializing once again in imitation of the slow pat-‐‑ ȱ ȱ ǯȱ ¢ȱ ȱ ¢ ȱę ǰȱ ȱ ǰȱ ȱ ¢ȱ spend their entire lives in darkness, waste no energy developing ¢ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱę ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ Ğȱ ȱ ȱ ǯ
holly teresa baker | 45
thad devassie |
Do No Harm ǯ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ǯȱ First, even at this hour we are told, ȱ ȱ ǯȱ ȱ ȱ ȱ there is no mulligan, just soaking rain, ȱ ǯȱ ȱ ȱ ¢ȱ ȱ Ȭ ȱ ǰȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ
ǯ ȃ ȱ ȱ ¢ȱ ȱ Ȅ implies that you, in the singular, are prone to danger, as in leisurely ȱ ȱ ȱ ¢ ǯȱ ǯȱ Nobody has ever been saved by pi, ȱ ¢ȱ ȱ ȱ ȱ ǯȱ Numbers that cling closely– cholesterol, weight, my social– all of which could heed the warning from ę ǰȱ ȱ ȱ ǯȱ
ǯȱ ȃ ȱ ȱ ȱ ȱ ȱ ȱ than they appear” was coined by engineers then embraced by lawyers, one group understanding ę ǰȱ ȱ ȱ ǰȱ £ ȱ ȱ ¢ȱ ȱ Dzȱ the other group adding the retort ȃ ȱǽ ȱ ¢ȱ ȱ ǾȄȱ
46 | santa clara review
ȱ ȱ ȱȃ ǷȄȱȃ ǷȄȱ ȱȃǷȄȱ ȱ Ĵ ȱ ȱ ȱ ȱę ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ Ȃ ȱ ǯ
ǯȱ
Ȃ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ ¢ǯȱ that we’ll be lacking in numbers, ȱ ¢ǯȱ ȱ ȱ ȱ ȱ sink in, hit close to home, closer ȱ ȱ ¢ȱ ǯȱ ȱ ȱ medicine, its preventative qualities, triumphs, what ifs, and how do no harm applies to the woman about to enter ȱ ǯȱ ȱ ȱ ȱ · ǰȱ wondering if misery loves company, ȱ ȱ ȱ ȱ ȱ ȱ ȱę ǯ
ǯȱ ȱ ¢ȱ ȱ ȱ ȱ Ĵ ǰ ȱ ȱ Ĵ ȱ ǯȱ ȱ ȱ Ȃ ȱ ȱ ǰȱ ȱ ȱĚ ȱ ȱ ȱ ȱ Ȃ ȱ Ĵ ǯ Each blessing we count is a fraction ȱ ȱ Ĵ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱ
ǯ
ȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ ǯȱ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ to help, or at least to do no harm, ȱ ȱ ȱ ȱę ǯȱ
thad devassie | 47
ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱǻ ȱ ȱ Ǽǯȱȱ
ȱ ȱȃ ¢ȱ Ȅ to the perfunctory early bird ȱ ȱ ȱ ȱ ǯȱ
ǯȱ
¢ ȱ ȱ ȱ ¢ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ Ȃȱę ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ĵ ȱ ȱ ȱat leastǰȱ ȱ ȱ ȱ ǯ ȱ ȱę ȱ ȱ ¡ ȱ ȱ ¢ Ȃ ȱ ǯȱ
48 | santa clara review
Stir
annamarie leon | charcoal and monotype Âľ E\ Âľ
Untitled
| veronica garcia digital photography Âľ E\ Âľ
Inspiration Piece #1
melina ramirez| colored pencil on paper Âľ E\ Âľ
)ULQJH %HQHĂ€WV
| carol collins linoleum cut print on paper Âľ E\ Âľ
Silence
katherine white | black & white photography Âľ E\ Âľ
Furbelow
| veronica eng watercolor Âľ E\ Âľ
Scars
wendy crockett| silver gelatin print Âľ E\ Âľ
Shopping Cart
| kellie flint acrylic, feathers on canvas µ E\ µ
Made in Germany 1950-1967
julia weber | chromogenic print µ E\ µ
Self Portrait
| armando portillo ceramic sculpture µ E\ µ E\ µ
Walnut
katie larkin | black & white photography Âľ E\ Âľ
Coyote Valley #20
| craig scoffone photography
India
kate bradley | digital photography Âľ E\ Âľ
Portrait of Bill
| eric tseng charcoal on paper Âľ E\ Âľ
Crow
clare nauman | charcoal on paper Âľ E\ Âľ
Cliff Dancer
| patrick lydon oil on canvas µ E\ µ
Distant Dice
Mark Arroyo, Joey Trombly, and Peter Do have been playing music together ȱ ȱŗŜȱ¢ ǯȱȱ ȱ ȱ ȱ ¢ ȱ covers, they decided to form their own ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱŘŖŖşǰȱ ȱę ȱ -‐‑ ȱ ȱ ȱ ££Ȧ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ -‐‑ £ȱ ȱ ȱ ȱ ¢ȱ Ğ ǰȱ ȱ ȱ ȱ Ȭ ȱ ȱ ǯȱȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ǰȱ ȱ Ğ ȱ months of searching, jazz/pop singer/songwriter Jackie Gage au-‐‑ ȱ ȱ ȱ ȱ ȱ ę ȱ from the moment she started ȱ ȱ ȱ ǯȱ ȱ Dice is currently working on ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ online, add them on Facebook, and check out their soulful and ȱ ǯ
santa clara review | 65
Andrew Heringer Band ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Coast building a fan base as much as singer-‐‑songwriter Andrew ȱ ȱ ȱ ȱ ȱ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ his blend of folk, rock and pop independently of any record label to ȱ ¢ ȱ ȱŘŖŖȱ ȱ ȱŘŖŖŜǯȱ ȱ ȱ ¢ ȱ ȱ ȱ ££ȱ ȱ ȱ ȱ ǰȱ -‐‑ inger began to write his own songs inspired by his parents CD collection that contained music legends such as James Taylor, Bob ¢ ȱ ȱ ȱ Ĵ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ -‐‑ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ŘŖŖŝǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱśǰŖŖŖȱ ȱ ȱ ȱȃ ȱ ȱ Ȅȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¡Ȭ ȱ Ȧ Ȧ ££Ȧ ȱ ǯȱ
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱŘŖŗŖǯȱ ȱ ȱ ȱ -‐‑ bum, the band reached out to its fan base for sponsorship and was greeted with an overwhelming response raising $10,000 towards ȱ ȱ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ ȱ ȱ ǯ
66 | santa clara review
Spooky Island
ÂŽÂ•ÂŒÂ˜Â–ÂŽČąÂ?Â˜Čą Â™Â˜Â˜Â”Â˘Čą œ•Š—Â? ›ŽŠÂ?ÂœČąÂŠÂ—ČąÂ˜Â•Â?ČąÂ Â˜Â˜Â?ÂŽÂ—ČąÂœÂ’Â?Â—Ç°ČąÂœÂ•Â˜Â Â•Â˘ČąÂ?ÂŽÂŒÂŠÂ˘Â’Â—Â?ČąÂŠÄžÂŽÂ›ČąÂ˘ÂŽÂŠÂ›ÂœČąÂ˜Â?ČąÂŽÂĄÂ™Â˜ÂœÂžÂ›ÂŽČą Â?Â˜ČąÂ?Â‘ÂŽČąÂ‹Â›ÂŠÂŒÂ”Â’ÂœÂ‘ČąÂŒÂ˜ÂŠÂœÂ?Š•ȹŠ’›ǯȹ ‘˜žÂ?‘ȹÂ?Â‘ÂŽÂ›ÂŽČąÂŠÂ›ÂŽČąÂ–ÂŠÂ—Â˘ČąÂœÂ?›Š—Â?ÂŽČąÂ?‘’—Â?ÂœČą about  this  island  shrouded  in  mist,  this  sign  is  one  of  the  most  pe-Ââ€?‑ ÂŒÂžÂ•Â’ÂŠÂ›Ç°ČąÂŠÂœÇ°ČąÂžÂ—Â?Â’Â•ČąÂ›ÂŽÂŒÂŽÂ—Â?•¢ǰȹÂ?Â‘ÂŽČąÂ’ÂœÂ•ÂŠÂ—Â?ȹ‘ŠÂ?ČąÂ—Â˜ČąÂ•Â’Â?Ž›ŠÂ?Žȹ’—‘Š‹’Â?Š—Â?ÂœÇŻČą —Žȹ also  questions  its  purpose,  as  the  whereabouts  of  this  island  have  remained  undiscovered  for  centuries,  its  location  known  only  to  its  natives,  an  odd  people,  whose  deity  is  a  blue  colored  misshapen Â Â‹Â˜Â Â•ÇŻČą ČąÂœÂ‘Â˜Â›Â?ČąÂ?’–ŽȹŠÂ?Â˜ČąÂŠČąÂ?Â›Â˜ÂžÂ™ČąÂ˜Â?ČąÂ˘Â˜ÂžÂ—Â?ȹ–Ž—ȹ‘Š™™Ž—ŽÂ?ČąÂžÂ™Â˜Â—ČąÂ?Â‘Â’ÂœČą mystical  place  and,  without  much  thought,  decided  to  make  it  their  œÂ?ŽŠÂ?ÇŻČą ÂŠÂœČą Â?Â‘Â’ÂœČą Šȹ Â›ÂŠÂœÂ‘Čą Â?ÂŽÂŒÂ’ÂœÂ’Â˜Â—Čą ÂžÂ™Â˜Â—Čą Â?‘Ž’›ȹ ™Š›Â?Ǿȹ Ž›Žȹ Â?‘Ž¢ȹ Â?Â˜Â˜Â•ÂœČą Â?Â˜ČąÂŒÂ‘Â˜Â˜ÂœÂŽČąÂœÂžÂŒÂ‘ČąÂŠČąÂ™Â•ÂŠÂŒÂŽČąÂ˜Â?ČąÂ–Â˘ÂœÂ?ÂŽÂ›Â˘Ç°ČąÂŠČąÂ™Â•ÂŠÂŒÂŽČąÂœÂ˜ČąÂ?ÂžÂ•Â•ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂžÂ—Â”Â—Â˜Â Â—ÇľČą ÂŽÂ—ČąÂŠÂ›ÂŽČąÂ˜ÄžÂŽÂ—ČąÂšÂžÂ’ÂŒÂ”ČąÂ?Â˜ČąÂ–ÂŠÂ”ÂŽČąÂ?ÂŽÂŒÂ’ÂœÂ’Â˜Â—ÂœČąÂ˜Â?ČąÂ Â‘Â’ÂŒÂ‘ČąÂ?Â‘ÂŽČąÂŒÂ˜Â—ÂœÂŽÂšÂžÂŽÂ—ÂŒÂŽÂœČą ŒŠ——˜Â?ȹ‹ŽȹÂ?Â˜Â›ÂŽÂœÂŽÂŽÂ—ÇŻČą ÂŽÂœÇ°ČąÂ’Â?ČąÂ’ÂœČąÂŠČąÂ™Â•ÂŠÂŒÂŽČąÂ˜Â?ČąÂ?›ŽŠÂ?ȹ’—Â?›’Â?žŽǰȹŠ—Â?ČąÂ˜Â—ÂŽČąÂ˜Â?Čą immense  beauty,  but  as  they  explore  the  depths  of  the  island  and  of  their  own  minds  they  may  discover  that  this  place  is  not  as  they Â Â˜Â—ÂŒÂŽČąÂ‹ÂŽÂ•Â’ÂŽÂ&#x;ÂŽÂ?ÇŻ Â‘Â’ÂœČąÂ’ÂœČą Â™Â˜Â˜Â”Â˘Čą œ•Š—Â?ÇŻ
santa clara review | 67
Dawson and Marie Two local artists of the Sacramento indie/folk scene have joined forces on a musical collaboration that is far too charming not ȱ ǯȱ ȱ ȱ £ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ an acoustic singer/songwriter duet that simply cannot be compared ȱ ¢ ȱ ȱ ȱ ȱ ¢Ȃ ȱ ȱ ǯ ȱ ȱ ȱŘŖŖŞǰȱ ȱ ȱ £ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ £ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ £ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ -‐‑ cided to create a two man band solely for the creation of a MySpace ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱȃ ȱ Ȭ Ȭ Ȅǯȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ¢ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ Ğ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ğ ȱ ȱȃ ȱ ȱ ǯȄȱ ȱę ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǯȱ ȱ ȱȁ ȱ ȱŗȂȱ ȱ ȱ ȱ ȱ ǯ ǰȱ ǰȱ £ ȱ ȱ ȱ ȱ ȱ ǯ
68 | santa clara review
Contributors’ Notes ě ¢ȱ ę ȱ ȱ ȱ Ȭ ȱ ȱ £ ȱ ǯȱ ȱ ȱ -‐‑ book, ȱ ȱ ȱ ¡ , a collection of bar poems, will be ȱ ȱ ŘŖŗŗǯȱ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ -‐‑ ǯ ¢ȱ is an essayist and instructor at the University of South ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ has appeared in journals like LIT Magazine, ¢ȱ , and In-‐‑ scape. ȱ Ĵȱrecently worked with Venus Theatre Company to develop her play ȱ Ĵ for a staged reading at the Ken-‐‑ ¢ȱ ǯȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ¢ǯ ¢ ȱ ȱMy goal is to go to medical school but sometimes ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱ Ĵ ȱ ¡ȱ ȱ ǯ ȱ ¢ is an alumnus of Santa Clara currently pursuing de-‐‑ ȱ ȱ ȱ ȱ ȱ ǯȱ Ğ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱŗŚȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢-‐‑ friend Mikhail and friend Shelley for their encouragement and pas-‐‑ ȱ ȱ ǯ chris carusoȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȱ ȱ ȱ by working as a substitute teacher and lives in a cabin by an empty ȱ ȱ ȱ ¢ǯȱȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ -‐‑ ¢ȱ Ȭ ȱ ǯ ȱ escaped her high-‐‑tech management job to become a ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ǰȱ ȱ ǰȱ ǰȱ ȱ ȱ ¢ȱ ¢ ȱ ȱ ȱ ǯ
ȱ teaches writing at Boise State University where he is a ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ £ , ȱ , the ȱ ȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ because they totally rock! ¢ȱ Ĵȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱ She holds a BA in Fine Arts from the University of California Santa £ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ǯȱ
ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯ thad devassie’s work has appeared in ¢ȱ , ȱ ȱ -‐‑ ¢, ȱ , Sentence, and Ğ¢Ȭ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ Ȭ ȱę ȱ ȱ -‐‑ ǯ ȱ is a Junior English Major at Santa Clara Uni-‐‑ ¢ǯȱ ȱ ¢ ȱ ȱ ę ǰȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ veronica eng ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯ ȱĚ ȱ is a SCU alumni now living and working in Santa Cruz, ǯȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱŘŖŗŗǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯ veronica garcia is a Junior double Major in Communications and ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¡ ȱ ȱ ě ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱȱȱȱ ȱ ¢ȱ ȱ ȱ ȱ Ğ ȱ ȱ ȱ ȱ ȱ ǰȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ -‐‑ , ȱ ȱ , ȱ Ĝ , Opium Magazine, Santa ȱ , Vestal Review, and ǰȱ ȱǭȱ ȱ , among ǯȱ ȱ ȱ ¢ȅȱ ȱ ȅȱ ȱ ȱ Ȭ ȱ ȱ ȱŘŖŖŝȱ ȱ £ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯ
¢ȱ ¢ ȱis a senior majoring in English and psychology at the ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ the Hawaii Reviewǯȱ ȱ ȱ ȱę ȱ ǯ ¢ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱȱ ȱ ȱ ȱ appeared in ȱ and American River Reviewǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ǯ ǯ ȱ is a senior studio art and art history double major ȱ ȱ ȱ ¢ǯȱ ȱ ¢ȱ ȱ ȱ ȱ sculpture, her current work seeks to explore the universally restric-‐‑ tive natures of fear and insecurity and their impact on the indi-‐‑ ǯ ȱ ¢ is a member of the Santa Clara University class of ŘŖŗŘȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ ȱ ę ȱ ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ǯ ȱ Ȃ ¢ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ -‐‑ lished or accepted for publication in the Red River Review, the ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ is a senior at Santa Clara University and will graduate as a Studio Art major with a minor in Latin American ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ǰȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ǯ ȱ ¡ ȱ £ is a Studio Art Major and Religious Studies ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ǰȱ Ĵ¢ȱ ǰȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ Ĵ ǯ
ȱ ě ȱ ȱ ȱ ȱ ȱ ȱę ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǯȱȱ ȱę ȱ ȱ ȱ ȱ from painterly landscapes primarily taken in and around Santa ȱ ¢ǰȱ ȱ ȱ ǯȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȃ ȱ ǰȱ ǯ ě Ȭ ǯ ȱ ¢ is the author of four poetry collections, the most ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ -‐‑ ¢ȱ ȱ ěȱ ȱ ȱ ǯ eric tseng is currently a Psychology Major at Santa Clara Univer-‐‑ ¢ǯ ȱ is a MFA student in Photography at San Jose State Uni-‐‑ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ¢ȱ ǯ ȱ ȱ ǯȱ ǰȱ ȱ ǯ
Folio
A Literary Journal at American University
Now accepting fiction, non-fiction, poetry, and art. http://american.edu/cas/literature/folio/
Hawai‘i Pacific Review An annual literary magazine publishing outstanding poetry, fiction, and personal essays by authors from Hawai‘i, the mainland, and around the world. Individual subscriptions $8.95 for current issue t $16.00 for two issues $22.00 for three issues Institutional subscriptions $10.00 for current issue t $18.00 for two issues $25.00 for three issues Best of the Decade, 1986-1996 (double issue) $10.00 Best of the Decade, 1997-2007 (double issue) $10.00 All other back issues $5.00 Manuscripts accepted September 1 through December 31 Patrice Wilson, Ph.D., Editor Hawai‘i Pacific Review Hawai‘i Pacific University 1060 Bishop Street, LB7 Honolulu, Hawai‘i 96813 E-mail: hpreview@hpu.edu Web site: www.hpu.edu
A Journal of Literature and Art " Phoebe is a nonprofit literary journal edited and produced by students of the MFA program at George Mason University. We welcome submissions of fiction, poetry, nonfiction, and artwork via our website or traditional mail. Our reading period is August 15 to April 15. Our subscription rate is $12 for one year or $20 for two years. Individual issues are available for $6 and back issues for $4. Phoebe sponsors annual contests in poetry and fiction ($1000 prize and publication) and an inaugural nonfiction contest ($250 and publication) in 2010. For complete contest and submission guidelines, please visit our website: http://phoebejournal.com. " Phoebe, MSN 2C5 George Mason University 4400 University Drive Fairfax, VA 22030-4444 phoebe@gmu.edu http://phoebejournal.com