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by Skylar Edwards Looking for a horror novel that’s more than just jump scares and gore? Stephen Graham Jones’ The Only Good Indians is a horror novel that blends supernatural horror with cultural reckoning. Centered on four Native American friends, the novel explores the gruesome repercussions of breaking tradition and the price that comes with it. From the very first chapter, Jones wastes no time. The novel opens with a brutal act of violence typical of a horror novel. What’s most notable, though, is how Jones shifts between different modes of horror: gruesome body horror, creeping psychological dread, and even moments of classic slasher suspense. At first, the changes in style might feel jarring, but they serve a purpose. Each shift reflects how the antagonist interacts with each character. Jones’ choice makes the story unpredictable and keeps readers on edge. The Only Good Indians follows four Blackfeet men, who, as teenagers, trespassed onto forbidden hunting land and slaughtered a herd of elk. Among their kills was a pregnant cow elk. That act of disrespect sets off a chain of consequences none of them can escape. Years later, each man is forced to face the aftermath of that day as a vengeful elk spirit returns for revenge. The narrative unfolds through four different perspectives, one for each friend, which allows us to understand the effects of their mistake from multiple angles. Ricky appears first, and though his section is brief, his violent end sets the tone of the novel. Lewis, who has moved off the reservation and built a life with his wife, carries the heaviest guilt from their hunt; his paranoia pulls the book into psychological horror. Gabe, still on the reservation and struggling as a father, embodies the way that the past bleeds into the next generation through his daughter, Deborah. Cass is rooted in community traditions and seems grounded, but allows anger and suspicion to twist his choices. By the time the story reaches the reservation, it almost feels like you’re reading a new book. The voices of each narrator allow readers access to their unique fears and regrets which turn this into a personal horror. This style not only builds suspense but also forces readers to sit with the characters’ humanity. At its heart, The Only Good Indians isn’t just horror; within it is an important message. It is a commentary on identity and generational responsibility. Jones expands this idea by showing how the younger generation inherit wounds that aren’t their own. Another strength of Jones’ writing is his ability to balance horror with tenderness. Amid the tension, there are moments of love, humor, and hope. These flashes of humanity develop the horror because it seems like something real and fragile is being disrupted. What makes The Only Good Indians stand out isn’t just the scares (though there are plenty of those), it’s the way Jones writes with total freedom, unafraid to break the so-called “rules” of horror fiction. His combination of ordinary characters, genre-shifting, and cultural commentary lends itself to the novel feeling raw and original.. This book will feel like a shock to the system in the best way possible. In the end, The Only Good Indians is more than just a horror story; it’s a novel about memory, guilt, and what happens when traditions are ignored. Readers will find the blood, suspense, and unease they expect, but they’ll also leave with something deeper: the lingering question of how the past continues to hunt us. It’s a novel that unsettles us not just because of what’s on the page, but because of what it forces us to consider about ourselves, our histories, and the debts we can never quite pay off.

by Prisha Mehta Content Warning: This analysis discusses themes and scenes involving graphic imagery, including gore, blood, self-harm, sexual violence, and psychological trauma. Reader discretion is advised. When we hear the title The Vegetarian by Han Kang, one assumes it’s literally about vegetarians. However, there’s a much more profound meaning behind it. It shows how an ideal life begins to fracture after the protagonist becomes vegetarian. It isn’t about whether one eats meat or not, it is about how a vegetarian is perceived in society. As a novel itself, it’s a difficult read, and I had to re-read a couple of parts to truly grasp the intensity of the meaning and understand the finer nuances of the book. The language was easy and simple, yet the way it's written evokes a myriad of feelings in the reader's mind. The novel is set in South Korea where shifting to vegetarianism is seen as an act of social rebellion. Yeong-hye is first shown as an ordinary, submissive housewife, living quietly and never questioning social expectations. Her life begins to unravel after a series of violent dreams compel her to give up meat, setting the stage for her eventual mental transformation into a tree. The novel is centred around Yeong-Hye, yet her voice is never directly heard. The book is divided into three parts, initially we see it through the protagonist’s husband’s lens. The story starts with perfect domestic scenes, which shifts when the usually docile Yeong-hye gets a grotesque dream and stops eating meat. The moment her refusal and opinions are seen, we see how quick he is to dismiss her. He entrenches this objectification when he says “My wife, in other words, was completely unremarkable in every way.”, erasing her individuality. His callousness towards her is shown when he asks her to stop dreaming, as if she could attempt to control the unconscious. Furthermore, his insensitivity emerges when he insists she attend the dinner with his boss, dismissing her discomfort, and again when he forces himself upon her at night, as though her resistance were irrelevant to his desires. In the second part, she is yet again decentralised. Part two is narrated from her brother in law’s perspective, and she is once again seen as an object. Her brother-in-law sees Yeong-hye as a sort of means to an end, since he fantasised about her Mongolian mark, an apparent artistic obsession. We see his indifference towards her mental health and emotional well-being or consent to an extent. His interest lies in her as a sexual object, fantasising about her and her emaciated body. The third part is narrated by her sister In-hye, and she takes us back to Yeong-hye’s childhood through flashbacks. These flashbacks show how patriarchy impacted their household, from being brutally beaten up by her father to the silent compliance from the mother. This early violence, both physical and psychological, had such an impact on Yeong-hye that we see the sudden traumatic dreams she’s inflicted with. The psychological effect must have run so deep that it inadvertently led to her refusal to eat meat. The author’s incorporation of the graphic imagery, particularly in the vivid details of Yeong-hye’s dream, leaves an imprint in the reader’s mind; it reinforces the violence’s allegorical significance. The grotesque sequence “A long bamboo stick strung with great blood-red gashes of meat, blood still dripping down. Try to push past the meat, there’s no end to the meat, and no exit”, creates a claustrophobic confrontation with flesh. This is once again intensified by lines like “Blood in my mouth, blood-soaked clothes sucked onto my skin” and “Pushed that red raw mass into my mouth, felt it squish against my gums, the roof of my mouth, slick with crimson blood.” The repetition of “My bloody hands. My bloody mouth” restates the sensory violation as an identity marker, once again illustrates how deeply the trauma is imprinted upon her body and psyche. It is a mental transformation into a tree rather than a physical metamorphosis, one that unfolds as a psychological and metaphorical process. This transformation symbolizes Yeong-hye’s gradual withdrawal from human society, and it can be read in two ways, either as her descent into complete madness or as a radical rebellion against humanity itself. She begins to reject food, seeking instead only sunlight and water, and comes to describe her veins as roots burrowing into the ground. These moments cause the line between reality and imagination to blur. This is when she reached the point of an absolute breakdown, dissociating from humanity completely. This leaves such a strong psychological impact on her that she not only stops eating meat, we see she thinks of herself as a tree. We see a mental metamorphosis as a result of a mental breakdown. The consequences of her actions percolate and affect her family members mentally, emotionally and physically. This shows us the importance of mental health and lack of concern towards it evolves into a sort of paranoia. The novel fits partly into post-humanism, which challenges human-centred thinking by recognising the agency of the external environment, and then entirely into non-humanism, where animate and inanimate things exist on the same continuum. Yeong-hye challenges the traditional humanist view, that humans are central to the universe. It expands our sense of consciousness to include rocks, nature and even inanimate matter. It also acknowledges animal consciousness and communication abilities. It also challenges how humans have treated animals throughout history. Yeong-hye shifts towards a more fundamental connection with the universe through a simplified almost pre-linguistic mode of being. Ultimately, The Vegetarian is not an easy read. Its unsettling imagery, fragmented narrative, and emotional intensity require patience and reflection. But it is precisely this difficulty that makes the novel unforgettable. Kang forces us to confront questions about autonomy, gender, violence, and what it means to exist beyond humanist boundaries. A disturbing yet profound meditation on the body, identity, and freedom, The Vegetarian lingers long after the last page leaving readers questioning not just Yeong-hye’s world, but their own.

by Skylar Edwards Writing can be challenging, especially when it comes to choosing the perfect word. We’ve all been there, in the middle of a sentence, with a word on the tip of our tongues. You find a placeholder, but it’s not the right one. It doesn’t correctly emulate that feeling that lies within. You find yourself wishing that you could translate yourself without any hindrance. A solution to this problem is to learn more vocabulary words.  Expanding our lexicon is beneficial to us as writers because it allows us to have a greater understanding of our craft. Sharpening our understanding of language allows us to effectively communicate with our audience; you will be better equipped with terms to accurately express yourself and your characters. Additionally, when we are searching for a word, we will have a wider word bank to choose from.  Learning vocabulary doesn’t have to be this big, scary thing. It doesn’t have to be all-encompassing—unless you allow it to be. You may ask yourself these questions: is this word specific to a certain genre? Am I looking for an emotion? Maybe you are just trying to describe how a character looks. There are many literary blogs, like those on Tumblr, which are created for this exact purpose. For example, I may be trying to describe how a character walks into a room. I see it in my mind, but I need some help. Therein begins the search for the perfect expression. Tumblr is a great resource for learning words that are specific to your situation. I’ll browse a blog and learn how I can accurately relay the image in my mind. For example, “he walks into the room” becomes he bounced, ambled, ran, or lurched etc.  Sometimes, you might just need a word that sounds more appropriate. You might find yourself composing a poem that calls for polished words. You’re trying to find another word for cat, but you’re blanking. In this situation, a thesaurus would aid you. Additionally, there are sites like WordHippo that provide synonyms, antonyms, and definitions. Using these resources, you may realize that feline fits into the poem better than cat.  In general, the best way to learn unfamiliar words is to read. Reading can include short stories, novels, poetry, or whatever your heart fancies. Find words that intrigue you, and that fit with the vibe of your writing. As you read, it’s important to keep track of unfamiliar words and words that you know but find interesting. When I read a novel and come across new words, I jot them down in a notebook with their definitions. Yet, there is much more that goes into the expansion of your literary knowledge. Learning must be interactive, or it won’t stick. There are a multitude of apps waiting—like Quizlet—to help you study. These expressions should also be used in writing exercises. For example, do a short story, drabble, or poem using five of the words. Writing is a convenient way to commit the new terms to memory. In addition to writing, use them daily: in email, in conversation, and in text messages. The more you use, the more comfortable you will be.  Remember that while expanding your vocabulary can affect your work tremendously, it is completely acceptable to have what may be considered a small vocabulary. Great writing does not always include what we may think of as sophisticated vocabulary. Distinctive styles require different words. Nevertheless, an expanded vocabulary can benefit you as a writer.

ISSUES Adam Caar Developer Use this space to introduce yourself and share your professional history. Read More

JOIN US Rewrite The Stars is currently hiring! Scroll down for a full list of the positions that we currently have and the respective guidelines for the same. If you apply when we are closed for applications, we offer no guarantee that you will be accepted to the team. However we are constantly looking for new and innovative ideas so shoot your shot! Please note that as we are a volunteer-run magazine, we appreciate enthusiasm and interest in our magazine and how much time you can dedicate to us rather than your experience. So if you don't have much experience with these platforms, but are eager to learn and explore, please do sign up! We do expect a minimum of 2-3 hours per week though, and thus if you are hired we expect you to keep up to the commitment you signed up for. We look forward to reading your applications! OPEN POSITIONS Social Media Manager (Estimated Time Commitment: 3-4 hours a week) For this post, you will have to make social media (Instagram) posts. These posts will either be excerpts of pieces of writing from our issues, or blog articles posted on our magazine. You will have to have a decent knowledge (or willingness to learn!) about the Instagram algorithm, SEO strategies, and be able to market our magazine well. The social media posts must also be formatted and designed well, so as to be eye catching. Key responsibilities include: Must be able to download tiktok and manage tiktok account Familiairity with social media platforms (primarily instagram and tiktok) preferred Incharge of generating ideas for tiktoks and reels, assisting current social media manager in planning posting schedules, responding to comments and queries Being able to work as a part of team, being organized, and staying on top of deadlines Social Media Volunteer (Estimated Time Commitment: 1-2 hours a week) Key responsibilities include: Creating and scheduling posts, responding to comments and DMs Being able to work as a part of team Following up with social media managers on tasks Graphic Designer (Estimated Time Commitment: 3-4 hours a week) Responsibilities: The graphic designer will have the most amount of work during the publication of the issue. We expect our graphic designers to be well equipped with Canva and be able to design aesthetic issues in a short period of time. We estimate that designers will have to create at least one page a day during the issue release months, however this is subject to change depending on the number of pieces we choose to publi sh. IT and Website Volunteer (Estimated Time Commitment: 2-3 hours a week) Requirements: Experience in full stack development (front end, back end and analytics) Experience in bootstrap Must be able to design an entire website from scratch Knowledge of software and technology, as well as SEO and Growth policies Familiarity with Wixsite as this is where our website is hosted Key responsibilities include: Every week you will need to upload the blog pieces written by our writers to the website, and also market it to increase traction for the website. The website must be updated regularly with news about issues, contests, and change to submission guidelines. (!!New Department!!) Event Management: ( Estimated Time Commitment: 3-4 hours a week) Need people interested in helping RTS coordinate events like open mic nights, release parties, features, mini-issues, etc Need to be able to generate ideas on new events and how to promote RTS, will also have marketing duties Occasionally need to attend other literary events to support the community No event management experience needed, however need to be dedicated, organized and punctual Will be interacting a lot with people and may need to co-host events thus must be comfortable with public speaking and presenting CLOSED POSITIONS Content and Blog Writer (Estimated Time Commitment: 2-3 hours a week) For our blog, we post articles twice a week. These articles are opinionated pieces related to literature, books, and writing, or writing and publishing tips for young writers. They include book reviews, personal narratives, and creative non-fiction relatable to a teenage audience. Key responsibilities include: Write bimonthly articles Generate ideas for articles Review books, newsletters, and other media Communicate with Head of Content regarding edits Prose/Poetry Editors (Estimated Time Commitment: 3-4 hours a week during issue season) Key requirements: Prior editing experience strongly preferred May have an additional copy test Familiarity with the English language, AP style content, MLA citation Must be able to give content edits along with line edits Will edit all accepted pieces Discord Moderator ( Estimated Time Commitment: 2-3 hours a week) Requirements: Must have familiarity with discord moderation Previous experience creating a server preferred Familiarity with bots such as Carl bot and Mee6 or willingless to learn preferred Responsibilities: Set up channels and roles, configure logging bots Constantly moderate server to ensure no wrongdoing or inappropriate behavior What are you waiting for? Apply Now!

Issue I: Look Up At The Stars October 2022 What do the stars symbolise for you? What are you reminded of when you look up at the stars? For RTS's first online issue, we invited artists to submit pieces that revolved around the stars, whether this was through a character, metaphors, symbolism or more. We asked them to let their imagination run wild and send us their best work!! Our contributors went above and beyond with their pieces for this theme. Click the link below to read their beautiful works! Read Now Contributors Poetry Art Prose Creative Non-Fiction Ines Mueller The Stars Comfort Me Laila Asberry Starshaped Shumi My Stars Were Falling And I Caught The Biggest One Zehra Shehzad His Star Yue Hua As The Starlight Shines Through The Leaves A T Rahme Dots Zehra Shehzad Let The Stars Shine Caroline Chou From The Lectern Of Nyx Featured Indie Authors Makayla Jade Captured Dystopia Ishleen Singh Freedom For Eternity Dystopia