“The Place Between” is a speculative piece about death and moving on. It follows an unnamed protagonist who, after a tragic accident, must make the choice between holding on to his old life with all its pain and pleasures or letting go, even if it means losing his memories. The story examines the fear of death and the unknown as well as the importance of memory. It also looks at the pain and complexities present in parent-child relationships. Most importantly, it is a story about what it means to be alive and what we must leave behind when we die.
Adolescence is a period in a person’s life in which one changes from a child to an adult. The ages most commonly agreed upon for this period of life is between 13 and 19, in some opinions, or 10 and 20 in others. It is a period of change: Change in physical shape and size as well as in mentality, all sparked by hormones rushing around in the person’s body. The sexual drive is extremely strong, and the teenager must come to grips with how to handle this urge, depending on one’s upbringing, parental influences, religious strictures, the mores of the society of which one is a part. The urges are in constant battle with the strictures, causing tremendous stress and strain. Not for nothing does the word adolescence come from the Latin word for “suffering.” When a teenage boy challenges his male teacher, the masculinity of each is threatened.
The following short story focuses on how one learns to accept and heal from the hurt they felt from the most intimate of places — childhood. How do we forgive ourselves and, therefore, others?
Many of us dream of smashing barriers, making people’s lives better, and changing the world. The story of Elizabeth Holmes and Theranos offers a cautionary tale about where good intentions can lead when ego and ambition surpass technical expertise and override all ethical considerations.
How does one visualize the body from outside while living inside of one? How do we take steps in our individual, personal journeys of accepting ourselves for what and how we are? How do we (especially women) fight against the social pressure to be a certain form or shape? In Sanskrit, “kaya” means “physical body.” In this visual art series, the clear lines suggest the acceptance of oneself, while the surrounding cloud represents society. The use of primary colors is intentional, signifying the basic instinct one needs for freedom. The journey of understanding the universe starts from undressing the fears of one’s soul and accepting them unconditionally.
Is procreation and expanding the gene pool still the end-all be-all of human existence? Though more and more people choose not to have children, the assumption remains that the goal in this game of life is to get married and have children. Of course, this is especially true for women. This essay will resonate with anyone who is tired of hearing about biological clocks or of others telling them what they should do with their bodies.
How do our senses help us to categorize and make sense of the world around us? The series, “Punkmetal Abstract,” focuses on the human senses and how visual artwork makes humans associate abstract images with things, places, or feelings they have experienced.
“The Reason Cars Go Fast” relates to the absurdity and complexity of things that we think are important in the moment. A desire or fetish seems like the most pressing thing in the world until it has been satisfied.
“Firsthand Accounts” is a photo series that portrays stories of ordinary people from all walks of life. This project offers a voice to the voiceless — unique individuals seeking to share lessons from their life experiences. In turn, these lessons, or “accounts” will serve as “firsthand” evidence to bridge a connection with a wider audience. All personal anecdotes documented in this series were organically collected through chance encounters in downtown Austin, Texas.
The story, “A Merry Trencherman,” aims to explore a widely held idea about overweight people, which is that they are jolly and carefree, and they know how to enjoy life. Toward the end of the short story, the narrator learns that his obese friend is far from merry, far from happy, even far from contented with his lot. The narrator discovers his friend is deeply dissatisfied with his life because of his condition. It should be obvious to people that obesity cannot march hand in hand with true happiness, yet the stereotype of the merry trencherman endures among many.