A lover of rich food became obese. Rejected by a girl, he could have decided to curb his eating habits; instead, he took refuge in comfort food. Later in life, a woman who showed an interest in him led to his redemption. Obesity is a common affliction today and this fiction piece shows two reactions to rejection: one is negative, the other positive. To those who are conflicted, this story offers a moment of hope.
How does human existence serve to continually alter our environment? Are we destroying the very ground we require to survive? The “Transitory Space” series deals with urban and natural locations that are transforming due to the passage of time, altered natural conditions, and a continual human imprint. It articulates fluctuations in the photographic image and captures movements through time, perception, and space.
This piece speaks to the lasting impact of colonialism within the Caribbean. It shows how degrees of African-ness can be used to separate peoples within a shared narrative. As the witness, the author is an added layer of American diaspora struggling to accept the microaggressions enacted by the fair collector using the pejorative “negra” (black) towards a person of Haitian descent.
The tragedy associated with addiction leaves its mark on those who are left living. But what kind of life is it when grief snowballs into melancholy because of addiction’s unforgiving hold and the ensuing senseless death? The following visual art series details the melancholy created by opioid addiction. The images detail a mourner weeping due to the loss of a friend.
Protests are underway in Russia. Tens of thousands of people are out on the streets. Are the current violations of human rights in Russia on par with Soviet-era abuses of power and misrule? Is Alexey Navalny an earnest reformer or simply a rival of Putin seeking ever greater power? The following journalistic piece hints at Dostoyevsky’s “The Gambler” to shed light on Russia’s unrest.
“Providence, On All Fours” is a surreal screenplay about feeling alienated and paranoid in a space that should be familiar and comfortable. It gets at immigrant tensions and feelings of being watched, of confusion, and of being trapped within a space that has become hostile. The story is about how confusing and impossible to understand our fears really are.
“Can You Believe it?” is a meditation on a weekend the author spent with some friends at a kung fu retreat about twenty-five years ago. Through this personal narrative, the author ruminates on the nature of belief, reviewing how martial arts and religion have had an influence on him and the culture at large.
“Water Striders” addresses the mundane through a surreal metaphor. Focused on the abstract feeling of monotony or depression (or whatever it is the reader can find in it), “Water Striders” juxtaposes this with a fantastical realm, creating a mystical narrative of negative emotionality. Finally, when the protagonist breaks the cycle, the readers are left wondering whether this leads to something better, worse, or just different — we can’t know.
How often do you question your existence or the existence of others? Can we ever feel completely certain of the external world (or even our own inner world)? The following visual art series, “Disintegral,” focuses on the alienating effects of dissociative disorders, in which the sufferer feels fragmented, solipsistic, and unreal. “Disintegral” focuses on this fragmentary feeling through a series of pen and ink drawings.
Do those who live in a democratic state take their freedoms for granted? How does the behavior we exhibit when we travel outside our home country reflect national and cultural values? The following personal history piece is a sketch of life under two brutal dictatorships: François Duvalier (“Poppa Doc)” of Haiti and Rafael Trujillo of the Dominican Republic. Vacationing here in 1961, the author narrowly avoided being shot. “A Tale of Two Dictatorships” records a one-day experience with two very strange American tourists. They should be a lesson on how not to behave abroad.