Search

Issue IX : Welcome to Wonderland was met with a variety of submissions providing some of the most epic reads. From stories of enjoyable carnival rides to tales of something much darker lurking behind smiling faces, we got to experience it ALL!! So, what better way to celebrate these pieces than to share the inner thoughts that the writers had as they created them. We've mainly included pieces where the writers had more to say about their process and inspiration. Keep on reading to know what these pieces meant to them! POETRY A Trip Into Memory Lane - Ivory (@astra_written)  This piece depicts a carnival worker being part of an accident that kills those on the ride they work. I wanted to subtly depict the less glamorous side of wonderland, that still becomes a spectacle. There are a lot cases of inguries and accidents at carvinals, fairs, circus's and some of those are complete accidents, and others were entirely preventable. I think its interesting to consider the specatcle side of wonderland in this darker way, almost like these places entice you in with a sense of thrill and new experiences, and the danger is marketed as part of the fun. Even the performers themselves in circus' train a lot to make sure the risk of harming themselves and other performers is as low as possible. (i love the circus and fairs btw) Beware the Carnival - S. Parmele (@sophiaa_parmele) It’s basically about a haunted carnival wonderland or the downside to it. While it uses characteristics of “wonderland” it’s meant to represent larger themes such as self esteem, addictions, etc. Wonderland - Noor ul Ain Ahmed (@noorativ.diaries) "My poem, 'Wonderland', delves into the unsettling experience of ‘Alice in Wonderland Syndrome’ a neurological disease characterized by a person having an odd perception of their own body or the world around them, making them feel alien and bizarre. Through sensory details as well as an imaginary, almost utopian setting, the poem explores the disorienting voyage of someone slipping into a world where reality bends and wraps. The twisted version of Wonderland becomes a metaphor for the altered states of consciousness, where every step further down the rabbit hole blurs the lines between what is real and what is imagined. Initially, I saw Wonderland as a metaphor for the unconscious mind, where mental illnesses like schizophrenia can emerge, distorting one's perception of reality. But then I added a unique twist, exploring the concept of 'Alice in Wonderland Syndrome', where bizarre physical experiences, like sudden changes in body size, can occur. The title's reference to the neurological disorder suggests connections to Lewis Carroll's story. Yet, subtle undertones also suggest the poem might be about the altered states induced by drugs, where individuals experience a kaleidoscope of emotions, detachment from reality, and a carnival of voices in their minds. My poem leaves the reader questioning its true meaning. Thus, the theme has close ties with my poem, I describe the carnival scene happening in the person's head, an individual stripped far away from reality and red herrings that allow you to add diverse elements to the poem. On the surface, this poem is about Todd's syndrome but as a reader, you have creative freedom to analyze this poem in any direction you want. It can be be about a person experiencing a high-time, euphoric dopamine release from taking drugs or a very ingenious character that might be imaging a bizarre scenario or someone who's just having an unusual dream. The possibilities are endless!“ Roller Coaster - L.R Anderson (@FantasticFantasy._) I wrote this piece with the song wonderland by Taylor Swift in my head and I wanted it to showcase the magic of a new experience and finding love in an carnival under the strung lanterns and stars glimmering above; an experience I consider to be rather forgotten in these modern times. Misfortune - Elizabeth Maxwell (@lizniprose) "My poetry piece is written in the form of a Dizain. It draws on the setting of a carnival most. with the ""lights"" and the ""teeming crowds."" I also included a fortune teller into this idea of longing for love and feeling like it is always out of grasp. The narrator believes her fortune must be wrong if she is present in a place that's meant to be so full of joy and love, and yet she is unable to find her one.” wonderland's call - Chaitra Shidhalingannavar (@imcnonymous) I think this poem represents wonderland not just as a physical place, but a state of mind where the boundaries between reality and fantasy are blurred. It explores the themes of self-discovery, longing and identity. It begins with the search for solace amidst chaos, but ends in harmony with it. Born to Flee - Carrie (@c93rie) "Through using carnivals as a repeated motif, my piece expresses how dreams gradually glow fainter as we grow older. By portraying carnival rides as an imagery of childhood memories, I aim to evoke feelings of nostalgia, allowing the reader to reminisce about the short-lived rides and the fun we associate with them, at last connecting it to the broader theme of lost dreams.  Furthermore, by bringing the sky-wheel to life and incorporating a conversation between it and the narrator, I hope to add a lively touch to the otherwise silent carnival at night. Overall, I believe this small element enhances the sense of mystery and fantasy, which many imagine when reminded of the echoes of a carnival. “ Carnival of the Stars - Rose Phoenix (@blazing_blossoms) Well, I took some of the things expressed plainly in the prompt. Like the carnival setting, for example, the misdirection and distortion. Then I sprinkled in my imagination, and the strange twists and turns of navigation this imagination of mine. It also paints images that flashed in my mind as I read over the prompts.  Cat People - Gabriella pitts (@frankeng1rl) This poem is based upon a film called Cat People, which was a veiled metaphor for the repression of female sexuality and mental health. I believe it suits the theme because of the caged animals of a circus, which is how the narrator views herself. A caged animal who will die where she’s trapped. Neon Faces - Gina Hui (@dollface_magazine) I chose to write about a carnival setting, specifically a carousel and I used it as a symbol of spiralling out of control. It mirrors how me and most people feel, and how we disguise it with superficial joy. Crowd of One - Theodore Gray (@_worlds._.muse_) its from the view point of a person stuck within himself. He surrounds himself with bravado to navigate the stage called life and suffers from paranoia, loneliness and depression{all are mentioned symbolically in the poem. Nothing is expressed vividly, hence i assume no need for disclaimers.}. The poems talks about this duality. The Brightest Star - C. Poserio (@pristineagony) "Instead of all the flashing lights and loud noises one would usually find in a theme park, there are some parts somebody can find some peace with a special person, like at the very top of a Ferris Wheel, right above everyone and everything. And despite all the noise, there's a special feeling when you take a break from the overwhelming nature and find that lovely, silently shared moment.” Take Me Back - Sakura (@drifting_tempest) "Take Me Back" tries to connect the themes of childhood, nostalgia and attending carnivals with friends. While the theme tries to welcome the person into a land of joy and never-ending magic, this poem offers closure by speaking of carnivals as a thing of the past. By counting till 16, and using the elements we see in fairs or festivals, the lines resonate with the childhood part that's stuck within all of us. When things were easy and dreams were like cotton candy, we could go on care free. Carnivals, hanging out with mates and such like, are what implies this poem is connected to a "Wonderland" of childhood.” Portrait of a Contemporary Angel  - Julia Hui-Ming Howe (@justjuliafied) Portrait of a Contemporary Angel captures a darker side of the Wonderland theme by portraying the surreal and exploitative world of child performers. When every aspect of yourself is turned into a spectacle, when your sole purpose is to entertain, what part of yourself will remain?  Not a wonderland. - Radhey (@radhey_mani) Wonderland is often perceived as a positive emotion, to which I agree. At the same time, not everyone's definition of wonderland is co-related to happiness. Through my piece I wish to convey a different, darker version of wonderland, one that reflects the struggle of millions of women who try to rise strong even after experiencing sexual assault (SA). It also aims to reflect their strength and resilience, how they try to defy their pain, and how they reclaim their power and dignity. Welcome to Wonderland - María Miralles Viu (@miralles_viu) The poem tells the story of how sometimes you can get so caught up in the flash and razzle-dazzle of a person that you don't realise it can be all fake. It's about trusting too quickily, getting lost in Wonderland with no way to make it back home because what was home before them anyway? carnival nights - Mee (@mees.quill.pen) I've basically written about how the world itself is a wonderland, a carnival, because there are always new and strange twists and turns that aren't always particularly brilliant and yet people choose to go through them every day and every night. Wonderland’s Wonders - Kalia (@ckrayonkid) It tells of a carnival that welcomes everyone, no matter the circumstance, and allows them a chance to explore what brings them joy. From the performances to the dazzling lights, no soul too weary for this carnival party. PROSE Never-ending Ride - gillian (@gill._.iannn) My piece is about finding both solace and terror in the meaningful memories of the past. In the beauty and chaos of the vivid moments where people continuously come back to, like going through your favorite ride over and over again just to feel something whether it’s the sheer adrenaline rush from the lights and movement or the chilling atmosphere when it makes you dizzy and nauseous.  Inheritance - Lucy Radcliffe (@bylucyradcliffe) My piece plays with the idea of 'wonderland' in a more chaotic space. There is a deeply personal and emotional landscape presented which plays with reality as it blends with distorted realities. The piece pushes the boundaries of what is real and what isn't, with the first person narrative and personal connections, it is even tip-toeing the sometimes blurred lines between fiction and creative non-fiction. The carnival setting is a modern-day wonderland, bright, loud and dizzy. The spinning rides and disorientating experiences within the port-a-potty, (the typical bathroom at these port-a-pottys) reflect the protagonists inner turmoils with grief of a parent, addiction and the fear of inheriting such struggles.  The Ferris Wheel - Isabelle Villanueva (@izzu_v) Taking place at a school carnival, the story explores magic in perhaps its most realistic form: the power of the present. A magic that the main character, Heart, comes to find for herself by the end of the story. The Ferris wheel in particular is a place that I feel is one of the most transportive places in a carnival. High above the glittering lights and sweet smells, you are quite literally in the middle of all that chaos yet somehow detached from it all at the same time. Anything could happen up there. And sometimes, the thought of those endless possibilities is all it takes for something to be somebody's wonderland.  Not-Eliza - Owl (@owl_writes) Most of the story is set in a carnival where strange things happen to the main character, Eliza. Gooey, black creatures lurk in the shadows and in the maze of mirrors. Yet, these creatures aren't as they seem. The Lantern Holder - Nina V (@kyothena) I wanted to explore the theme of the carnival by mixing it with a magical, eerie feeling, because I feel like it is the perfect setting to add fantastical elements and highlight the wonder that one can feel when entering a circus or carnival. I also chose to add a sadder twist because I think that by its anticipation it allows the reader to feel a sense of mystery and be more intrigued by what is happening, which allows them to be fully immersed in the word made wonderland. Smiles Plastered On - Myra Gupta (@_.myraguptaa) Smiles plastered on explain the bitter irony of the world and how the joys and jollies that were celebrated are cast aside. How demoralizing it must be. Deprecating insecurities bloom into those who don't find themselves a home and lead their lives into a pit of despair. Every human in the world is doomed and yet, everyone waits for their entry to their wonderland.  welcome to the carnival - Yunseo Choi (@writtenbyyunseo) It describes a horror setting of a carnival, with elements that twist reality and give surrealistic elements to the situation. It also portrays a world in which the entire construct of reality is upended, showing a 'Wonderlandian' kind of scene in which the protagonist is victim to the pitfalls and terrifying scenarios of the world. The Once Familiar Place - FJGCSABA (@Malkia Padduyao) Since it has this carnival vibe, I decided to make a short story about a girl who used to love going to the carnival, but, she outgrew it, as she grew up, thats when she realised how much she loved it  red and white and red - Esther Joji (@_estha__x_) I wrote about a mirage of a wonderland tucked into the corner of my mind amidst the chaos that usually goes on there. The wonderland seems all fun and games from the torture and heartache you've experienced, but just when you reach your peak, you come tumbling back down. My poem encapsulates the entrapment and cycling of our intrusive, degrading thoughts- like an ambulance signal, going red and white and red, with very little room to escape. It can also be interpreted as feelings of PTSD or trauma, where the past haunts your present, and where you savor the few moments of peace and forget that comes with it.  The Peculiarities of Ophelia Roux - Joy Hazel (@jonnydapoet.priv) Wonderland is all about whimsy, insanity, things that don't make sense, absurdity and the bizarre - and for the most part in media, that's portrayed in a positive lens, very clean, very demure, very mindful and happy-go-lucky. But simultaneously, insanity and the absurd are scary things, and the notion that you're going insane or that something is wrong with your mind is terrifying at points (believe me, I'd know). Crazy isn't all sunshine and rainbows and tea parties with hares - it's not knowing who you are, loosing your grip on what is the most important in life - life itself. "The Peculiarities of Ophelia Roux" is meant to tackle these themes in a way that isn't as obvious as it may seem - masquerading as a murder mystery, it's actually a story about disassociation, mental health struggles and a fear of insanity - and to me, that's just as valid an interpretation of Wonderland as any other. ART Lustrous Light Show - Adowintry (@Adowintry) My piece is one filled with many little things in it, the chaos supporting the circus theme. There is also a certain darkness and uncertainty in it that makes one notice that it is not all that it seems… Emotions I - shahana saleem khan (@schahnasaleem) My artwork, featuring the ceramic masks displayed in a grid-like fashion, connect to this theme by exploring the idea of identity and transformation—key elements in a ""Wonderland"" narrative. The repetition and variations of the masks symbolize the different personas or faces we encounter (or wear) in a whimsical or surreal environment like Wonderland. Each mask, with its subtle differences, might represent the various identities or emotions that come to life in such an extraordinary world. the strangest things you've ever seen - Lilly Schymick (@lillysch25) The piece includes many traditional carnival inspired themes. The head in the popcorn bucket is very reminiscient of a circus fortune teller in its position. The stars and the eyes show that this is a strange chamber one has wandered into. What is wonderland but just the strangest circus? CREATIVE NONFICTION One Carnival Native to your Heart - Jolene Hii (@jolene.hjx) Somewhat of a personal anecdote that reflects my own fears, wonderland as depicted within my piece exists in a carnival, which also actually only exists within one's mind. It is a lingering memory that persists past youth and pleads to be re-entered. The piece uses a carnival as an extended metaphor for the ache of aging, societal expectations, and loss of childhood. Read Issue IX: Welcome to Wonderland on Gumroad here .

by Skylar Edwards We’ve all been there. You sit down to write with an idea that has been living in your head. It’s vibrant, full of potential, and then, suddenly, when you try to bring it to life on the page, it doesn’t feel right. The sentences come out flat. Your thoughts are disorganized. You begin to erase or delete more than you write. Before long, the momentum you started with is gone, and all that’s left is that frustrating, familiar thought: Why can’t I get this right the first time?  This is the myth that many writers fall for. We believe that the first draft should be clean, coherent, and devoid of any mistakes. In other words, the first draft should be perfect. We feel that the words should streamline from our minds to the page and that they should just work. Yet, good writing is not effortless. The truth is that the perfect first draft does not exist. The belief that it should is one of the biggest lies that holds writers back.  The idea that your writing must be right on the first go creates unnecessary pressure. Pressure, more often than not, leads to paralysis in writing. First, you begin to second-guess every sentence before it’s finished. You try to correct mistakes before they even happen. You start to hesitate when exploring new ideas because you are afraid that they won’t make sense. This paralysis leads the author in a loop of writing and deleting until the original energy disappears. It’s a one-way ticket to writer’s block.  We tend to forget that writing is meant to be messy. The first draft is supposed to be chaotic. It does not mean that you are a failure; it means that you are putting in the effort. The first draft is representative of the larger story inside your head. The ideas may appear in images or in singular words, unconnected and knotted. Yet, what is there from the beginning is the spark that drives the writer’s momentum.  That’s why the first draft should be treated as a private space. In order to begin writing freely, without the myth haunting us, we must understand that there are no rules when writing. This space is safe for us to make mistakes. There isn’t a need to sound smart or poetic, and there aren’t critics that will harp on your grammar. This is where you are allowed to sound unsure and contradict yourself and explore weird ideas.  But despite this understanding that the first draft shouldn’t be perfect, we still have that voice, the one tells you that your idea is dumb and that nobody will want to read your work. It’s our personal inner critic. They will have some valuable points, but they should not be speaking during your first draft. The first draft is about wrestling those ideas onto the page. It’s building the road as you go. The inner critic is after that perfect word, that perfect sentence, and if you keep waiting for it, you’ll never write anything at all. The best ideas show up when you let go of trying to achieve that perfect first draft and speak like yourself.  Revision is where we get to shape the messiness into something meaningful. Clarity emerges, structure forms, and purpose is recognized. That inner critic can finally step in to help guide the piece; they will move paragraphs, tighten up the language, and help the story grow. Yet, none of this can happen without a messy first draft. You needed something to work with before it could be shaped into something better. It is also good to remember that one size does not fit all. Approaching the first draft can look different for different writers; what works for one might be a total disaster for another. Some people feel comfortable outlining their work before writing, while others jump in with nothing but a single sentence. Some writers need complete silence, some need music, and others need background noise. Some revise as they go; others don’t even look back until the last word is out. Another part of dismantling the myth and becoming a better writer is figuring out what works best for you. This means exploring different processes without guilt. The author should not be a mold that you have to fit yourself into. So, the next time you find yourself chasing after the myth of the perfect first draft takes a step back. When you’re stuck, don’t get frustrated. Stop chasing perfection and go after progress. Take baby steps. Get those ideas out, no matter how rough they feel. Remember that bad writing could always be made better, but if there isn’t anything to begin with, there is nothing to improve.

by Shreya Bhanuka It is incredibly important for us to be mindful of the kind of media we consume and the kind we produce, especially as writers and artists. Media consumption affects us on multiple levels—cognitively, emotionally, socially, and physically. While it can be a source of entertainment, knowledge, and connection, it also has the potential to influence our mental health, behavior, and worldview, sometimes in harmful ways. Media can change how we perceive the world and shape our beliefs. Therefore, what we consume is what we become. Books, in particular, have a unique and profound impact on our cognitive, emotional, and social lives. Whether we read non-fiction, fiction, or poetry, literature has a long-term effect on us. Books can shape our thoughts, beliefs, and mindset, and they have the power to change us. It is important to remember this while writing and reading. Therefore, it is crucial to consume healthy, uplifting literature. When we write, we must remember that words have great power. They can create a ripple effect—they can inspire, educate, and empower people, or they can have the opposite reaction and harm people by spreading the wrong message. Articles, essays, and all forms of writing have been important for centuries. It is essential to communicate, share ideas, and raise awareness. Through words, we can revolutionize the world and bring about change. But with the great power of words comes even greater responsibility. Books like The Diary of Anne Frank and To Kill a Mockingbird carry important messages about justice, human rights, and our collective struggle for a better society. These books compel us to stop and re-examine our values, morals, and social structures. Words have historically sparked movements, raised awareness about injustice, and inspired people to take action. Whether it’s abolitionist writings during slavery, feminist manifestos, or climate change articles, writers have often been at the forefront of societal change. However, we must also remember that words can be manipulative and distort reality. This was addressed in 1984 by George Orwell, which remains crucial in discussions about government surveillance, censorship, and the loss of individual freedoms. It’s not just books; articles, essays, and reports by journalists and activists have also fought for change and truth with their pens as swords. They’ve battled corruption, supported LGBTQ+ rights, and broken barriers by opening new perspectives and changing mindsets. Essays like A Room of One’s Own by Virginia Woolf have explored femininity and the importance of financial and personal freedoms in the fight for gender equality. Books like The Handmaid’s Tale by Margaret Atwood and articles like Why Women Still Can't Have It All by Anne-Marie Slaughter have sparked reflection on values and women’s place in society. Today, we live in a world rapidly changing due to advancements in AI and technology. The same media and writing that inspire and educate us can also limit our thinking, narrow our views, set social standards, and lead to censorship and bans. This creates an environment in which mental health issues, existential anxiety, and other health problems may rise. For the younger generation, this can be especially concerning, as it could completely alter our worldview, making us vulnerable, full of hatred for one another, and filled with distorted ideas. The trending Netflix show Adolescence beautifully portrays the consumption of media and its impact. It explores the effects of social media, online culture, and toxic masculinity. And our consumption of such media shapes our identities, and we must remember that the media we consume is created by us. Therefore, it’s our responsibility to produce media that is thoughtful, well-rounded, and free from negativity. In conclusion, it’s important to consume and create media that uplifts, informs, and empowers rather than reinforcing negative stereotypes or encouraging harmful behaviors. By promoting thoughtful, reflective consumption of media—whether books, articles, social media, or any form of art—adolescents can be better equipped to face the challenges of growing up and form their own healthy, well-rounded identities.

by Lily It is a truth universally acknowledged that literature has the power to sway opinions and impact lives. Whether someone reads one book a year or 100 books a year, it is more likely that a book has changed his or her perspective on the world at some point in time. Recently, in American politics, mainly within school districts and libraries, books have become a particular point of contention; book bans are occurring with increasing frequency. Book bans are a dangerous form of censorship because they limit access to ideas, stifling critical thinking and personal growth in young adults. When books are banned, especially those addressing complex or controversial topics, it deprives individuals of the opportunity to develop empathy, understand history, and form their own opinions, narrowing their perspectives and perpetuating ignorance. Over time, book bans undermine intellectual freedom, hinder progress, and weaken the foundation of democracy. Politically fueled restrictions on literature have existed for centuries; Jane Austen and Pride and Prejudice , a popular book and author these days, weren't always so well received. Throughout literary history, female authors might not have been entirely excluded, but they were often quickly dismissed. In the 1800s, American women had a strong position in the literary market; despite this it was not until recently that their work was acknowledged by scholars (Gillespie). In Austen’s case, her works were viewed as radical feminist writings until the early 1900s. During Austen’s time, female authors were often censored and poorly paid. Because women were confined to the domestic sphere, many of their writings portrayed stereotypical female themes and roles, and they often had to take on pen names to circumvent this censorship (Peterson). Despite this, these authors, like Austen, Wollstonecraft, Shelley, and the Brontë sisters, would cement themselves in the literary canon and pave the way for not only women in literature but also the science fiction and gothic genres. In modern times, literary censorship in the United States exists mainly in the form of book bans. In schools and libraries across the country, religious leaders, and parents alike have challenged and censored certain themes and books. These books typically include LGBTQ+ characters, themes of racism or oppression, and other “political” messages. One of these books, All Boys Aren't Blue, by George M. Johnson, was challenged in the state of Iowa for what Iowa Senate President Jake Chapman described as a “sinister agenda to normalize sexually deviant behavior, including pedophilia” (Coleman). This book, which was written as a supportive handbook for LGBT/trans youth in Iowa, is now illegal in classrooms and school libraries across the state. Another example of a commonly banned book is The Hunger Games  by Suzanne Collins. This book series contains heavy themes of political dissent, geopolitics, society, and gender. By presenting these things through a complex dystopian story, these books also give young adults a platform to question these themes (Kirby), maybe even before realizing how much they apply to their own lives and the real world. In The Hunger Games,  Katniss (the main character) isn't restricted by her gender and often actively resists our world’s gender roles; she is her family’s sole provider and takes on this role again within the arena as she provides for Peeta (the other main character). Beyond feminism, The Hunger Games is also extremely critical of the government and mass media, often in situations that clearly parallel the actions of our own government in the United States. Attempts to ban this book series show a clear attempt to prevent children from questioning the government. This is especially clear if you see the ways Americans have become desensitized to United States-funded violence in the Middle East and the way this parallels Capitol views of District cruelty in The Hunger Games (Rosenberg).   In a society that has benefitted so much from the profits of mass media and over-dramatized news sources, it is unsurprising that many would attempt to censor dissenters, even if those dissenters are young adult dystopian novels. These bans might seem like they have been contained on a relatively small scale in rural areas. However, they can have a butterfly effect that stretches all the way to politics on a national and international scale. And, even on a smaller scale, can have a profound impact on people’s lives, especially the lives of young people easily susceptible to hateful rhetoric. When the American Library Association conducted a three-month study on book bans across the United States, there were 155 unique censorship incidents found. In those three months there were more censorship attempts reported than in the entire year of 2020 (Rehn). Recently many of these book bans seem to target similar things: LGBTQ+ themes, and “critical race theory.”. Coupled with increased pushback against Trans and LGBT+ protection laws and violence against Americans of color, this points to a troubling shift in “American values.”. In Iowa, these once “isolated” book bans have now moved towards legislation that outright bans teaching about homophobia, systematic racism, and transphobia (Coleman). This points towards book bans as a clear first step towards widespread censorship. These steps towards censorship and hatred become even clearer when links between book bans and bans on gender-neutral bathrooms, gender-affirming care, and trans women in women's sports appear at a state level (Coleman). Media censorship is an obvious characteristic of any authoritarian regime, so dangerous because it not only makes it difficult to access certain information but also creates a culture where citizens do not find it necessary to ask for this information in the first place, which could lead to  the government’s complete control over a whole population's understanding of the world.  As we move through the next couple of years, it is likely we will see more and more cases of book bans in school districts around the United States. These are one of the earliest and most dangerous forms of censorship; what might seem like a few too many book bans can and will lead to widespread ignorance and hatred. To protect our children and their futures, we must all take a stand against censorship in any form. Simply attending school and library board meetings can be one of the most effective ways to prevent book bans in your area.  Works Cited Chen, Yuyu, and David Y. Yang. “The Impact of Media Censorship: 1984 or Brave New World?”  The American Economic Review, vol. 109, no. 6, 2019, pp. 2294–332. JSTOR, https://www.jstor.org/stable/26737888 . Accessed 8 Nov. 2024.. Clausen, Christopher. "Jane Austen Changes Her Mind." The American Scholar , vol. 68,  no. 2, spring 1999, p. 89. Gale OneFile: High School Edition , link.gale.com/apps/doc/A54756994/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid=f02536a3 . Accessed 7 Nov. 2024. Coleman, James Joshua, and Petra Lange. "A Two-Year Timeline to Anti-LGBTQ+ Book Bans in America's Heartland: This article provides strategies for English teachers to resist book-banning education policies in their local contexts." English Journal , vol. 113, no. 6, July 2024, pp. 25+. Gale Academic OneFile , link.gale.com/apps/doc/A813057098/AONE?u=corningcc&sid=bookmark-AONE&xid=b41bf9f4 . Accessed 8 Nov. 2024. Gillespie, Nick. "Literature Lost: Social Agendas and the Corruption of the Humanities."  Reason, vol. 29, no. 11, Apr. 1998, pp. 69+. Gale OneFile: High School Edition,  link.gale.com/apps/doc/A20468736/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid =7cacfd89. Accessed 7 Nov. 2024. Kirby, Philip. “The Girl on Fire: The Hunger Games , Feminist Geopolitics and the  Contemporary Female Action Hero.” Geopolitics , vol. 20, no. 2, Apr. 2015, pp. 460–78.  EBSCOhost ,  https://doi.org/10.1080/14650045.2014.984835 . Peterson, Linda H., editor. “Victorian Women Writers’ Careers.” The Cambridge Companion to Victorian Women’s Writing . Cambridge: Cambridge University Press, 2015. 13–86. Print. Cambridge Companions to Literature. Rehn, Jensen. "BATTLEGROUNDS FOR BANNED BOOKS: THE FIRST AMENDMENT  AND PUBLIC SCHOOL LIBRARIES." Notre Dame Law Review, vol. 98, no. 3, Mar. 2023, pp. 1405+. Gale Academic OneFile, link.gale.com/apps/doc/A747379057/AONE?u=corningcc&sid=bookmark-AONE&xid=0cd22704 . Accessed 8 Nov. 2024. Rosenberg, Alyssa. "'The Hunger Games' warned us that reality TV would take over our  politics." Washington Post , 13 July 2016. Gale Academic OneFile , link.gale.com/apps/doc/A457904175/AONE?u=corningcc&sid=bookmark-AONE&xid=ba46b23b . Accessed 8 Nov. 2024.

by Skylar “She had found a jewel down inside herself and she had wanted to walk where people could see her and gleam it around. But she had been set in the market-place to sell.”- Zora Neale Hurston, Their Eyes Were Watching God .  Zora Neale Hurston’s Their Eyes Were Watching God  offers a unique perspective on what it means to be a Black woman during the early 20th century. Taking place in Eatonville, Florida, the novel follows Janie Crawford through three marriages. It explores a woman’s struggle for self-expression, independence, and agency in a world that seeks to silence her. While these themes are present, the way they exist in Hurston’s novel may not reflect traditional feminist movements. Rather than engaging in overt activism or aligning with 20th-century feminist organizations, many of which excluded Black women, Janie’s journey is a deeply personal and internal fight for self-definition. Through her experiences in love and loss, she challenges societal expectations of Black womanhood to carve out her own space.  The feminist portrayal in Their Eyes Were Watching   God  isn’t a direct critique on patriarchy, nor does it explore the dismantling of patriarchal structures. Instead, Feminism manifests through Janie’s reclamation of her voice and autonomy. She learns, by self-realization, to reject the roles that others have imposed upon her and embrace her desires and sense of self. When Janie is sixteen, her grandmother, Nanny, marries her off to Logan Killicks. In a conversation with Nanny, Janie’s developing ideas about love are curtailed by Nanny’s insistence on the benefits of marriage. Janie believes that love should come before marriage, while Nanny believes that love does not matter in a marriage, only stability and security. In her partnership with Logan, Janie realizes that her marriage won’t be centered around love, but servitude. Logan expects Janie to work the land with him; he disregards her desires and reduces her person to a laborer. Understanding how a life dictated by others will not fulfill her, Janie finds a man who seemingly offers that freedom: aspiring businessman Joe Starks.  Joe Starks whisks Janie away with promises of a better life. He, unlike Logan, is full of ambition and Janie is excited by this; he’s an escape from Logan’s confining ways. Initially, it seems that Joe values Janie as a partner. However, Janie comes to understand that Joe’s vision for their future centers around his power. As the mayor of Eatonville, Joe positions Janie as a trophy wife in his store. She is an extension of his success. Joe deters Janie from engaging with the men on the porch, forcing her to be subservient. Janie endures this suppression for years until, in a moment of defiance, she publicly challenges him, asserting herself in a way she never has before. This moment, though brief, marks a turning point in her journey toward reclaiming her voice. Eventually, Joe dies from kidney failure. His death comes as a relief to Janie as she finally feels unburdened from the control he exerted over her life. In his final moments, Janie confronts him, refusing to be silenced any longer. His death is the beginning of Janie’s self discovery. Shortly after, Janie meets and is courted by Tea Cake, a traveling musician who arrives in Eatonville to watch a baseball game.  Tea Cake is Janie’s final love and is the only marriage that has companionship, adventure, and laughter. Together, they leave Eatonville and she experiences a love that isn’t controlling, but one that has space for her choices. However, Tea Cake is still a man that is characterized by ideologies in the 20th century. He continues to carry remnants of patriarchal ideals, which are evident in his displays of dominance. Yet, this marriage is the first time when Janie is able to exist as herself freely. Nearing the end of their relationship, Tea Cake contracts rabies and Janie is forced to shoot him to protect herself. Tea Cake’s death is what finalizes her independence; Janie is now truly on her own, no longer defined by a relationship. By choosing to protect herself, Janie asserts her autonomy and fully realizes her self-worth and agency. Janie’s ultimate act of feminism is finding her voice. Since she was sixteen, Janie has been restricted to what the world wants her to be, from her grandmother to even her freest relationship. Through it all, Janie refuses to be confined. She leaves Logan to find someone better. She refuses to remain silent for Joe. She chooses to protect herself from Tea Cake. In the end she returns to Eatonville with her head held high. Janie is a woman who has embraced her own identity. She’s found peace within herself, one that does not factor in societal expectations. Returning to the quote, Janie’s “jewel” represents her identity, voice, and self-worth. Though the world tries to place her in a marketplace to be sold, whether through marriage, societal expectations, or male dominance, she refuses to be owned.  Janie’s story remains a powerful feminist narrative, especially for Black women, because it reflects a struggle that is both personal and universal: the right to define oneself. Zora Neale Hurston crafted a protagonist who, despite the constraints of her time, finds a way to live life on her own terms. Their Eyes Were Watching God  presents feminism as self-actualization rather than political ideologies.  Citation :  Hurston, Zora Neale. Their Eyes Were Watching God.  Harper Perennial Modern Classics, 2006

by Carina Mystery novels have always been interesting to me. Their unique storytelling always keeps me interested and allows me to test my detective skills. The interactive storyline never fails to spark my imagination. But it isn’t easy to write such complex stories, with hidden details everywhere. Mystery books have an alluring way of drawing readers in. Typically, they start with an interesting event or cliffhanger that leaves the reader wanting to know more. You could introduce a crime that the protagonist must solve, or something mysterious like an unknown letter or package. The beginning of the story should tell the reader what the book will be about, but leave out some details to leave them intrigued. You can also add emotion to the story by making the stakes high, possibly by giving the detective or protagonist a personal connection to the crime or mystery. Clues are arguably the most important part of a mystery novel, and definitely my favorite. Whenever I’m reading a mystery book, I like to annotate clues, connections, and foreshadowing to help me solve the puzzle. Although clues are very important parts of mystery novels, it can be difficult to make them fit into the story naturally. Clues can include fingerprints, DNA, suspicious behavior, witness testimonies, missing items, traces of items where they shouldn’t be, etc. When writing clues or foreshadowing, you don’t want to make them exceedingly obvious. You should hide them in the text enough so they don’t pop out, but not so much that they go completely unnoticed. This allows the reader to think about the text more, putting together the pieces of the puzzle. One way you can do this is by making the clues correspond well with the detective or protagonist's plan of action, so they don’t seem out of place. You can also hide clues in seemingly insignificant details, such as casual conversations. Of course, there are also times when clues have to seem obvious, like if a secret letter or fingerprint is found. Even when you include these clues, you can add secret underlying details. Oftentimes there are also false clues and dead ends in mystery novels. These could be things such as an unreliable witness or planted or missing evidence. Things like this throw off the protagonist and reader, lead to problems in the investigation, and cause distractions from what’s really happening in the book. These red herrings are often accompanied by a shocking plot twist. Plot twists can have the same effects as false clues and dead ends, and sometimes even lead to an unexpected ending. The well resolved endings found in mystery novels can be some of the most satisfying parts. Readers typically prefer a good, or just, ending to mysteries. Not only should you include who committed the crime or caused the mystery, but the motives and provide answers to questions throughout the story. Seeing the mystery finally solved and all the loose ends tied up is like a breath of fresh air. On the other hand, you could also leave a few loose ends on purpose to prepare for another mystery novel. If you decide to do this, you should still answer questions throughout the book so you don’t leave readers frustrated. In mystery novels, you can always find some key roles that are crucial for keeping the story interesting. The first, most important role, is the sleuth/detective. The sleuth is usually the protagonist, and follows clues to solve a mystery. Alongside the sleuth, the sidekick is someone who helps them along their journey. On the contrary, the villain is the bad guy in the story, or the person the sleuth is chasing. The victim is someone who has been harmed by the villain, and who the sleuth is trying to help.

by Alin “ German is my mother tongue and as such more natural to me, but I consider Czech much more affectionate, which is why your letter removes several uncertainties; I see you more clearly, the movements of your body, your hands, so quick, so resolute, it’s almost like a meeting. ”  – Franz Kafka, Letters to Milena Despite being born and having lived in Prague most of his life, almost all of Franz Kafka’s works were exclusively written in German. Yet he found Czech to be the language that touched his soul the most and invoked the feeling of closeness. To Kafka, it was the language that was more genuine. Any multilingual person can relate to this feeling that Kafka had. Although many of us may have complex feelings regarding our native language now, whether it’s because of how hard it is or how we’ve grown apart from it, we can’t deny that reading, hearing, or writing in our native language makes us feel the most. Although there is an option to always write an English translation, we don’t want to spend half of our time translating our hearts. If you speak one language, this article is a sign to you that you should learn another. If you already speak more than one, then why not add another into your list?  To Learn A Language is To Be Reborn Elsewhere. Have you ever been curious how different languages view the same subjects?  In French, the saying “avoir une peur bleue” or “to have blue fear” means to be extremely scared, while a saying about the same color in Russian, “быть голубым” or “to be light blue” means to be homosexual. And of course, in English, to be blue means to be sad. Although they are all talking about the color blue, all of them have widely different meanings, stemming from negative emotions to one being homosexual. The different meanings can influence you to view the world differently, whether it is by colors, structure, or time.  “A different language is a different vision of life.” — Federico Fellini. And the quote is absolutely true. When we use a language, we also weave its culture into our expressions. Thus, our perspectives of the world changes and you’d begin to make more ‘unusual’ comparisons between  subjects. To Learn A Language is To Enjoy The Journey When learning a new language, we need to practice writing in that language too. This forces us to get out of our comfort zone and try something new – something that might inspire your greatest work. You’re forced to write, but it’s different, it’s writing in a completely foreign language. Straying away from the regular schedule and trying something new may also help you overcome your writer’s block. It helps you understand the atmosphere of the place as well, especially when you’re writing a story that takes place in another country. For instance, idioms are based of folktales and everyday lifestyles. Learning about the stories behind the idioms will shape how you view the average day-to-day routine of the people in the country. Especially during the old, historical times as that was when the majority of idioms were developed. You can also insert words from different languages into your writing. Similar to Dostoevsky’s novel, Crime and Punishment , despite the characters being native Russian, some speak words of French in between sentences.  Once you’ve mastered the language, you can also try translating English texts into that target language. It’s another exercise that can be used to improve your grammar skills and bring out your creative juices. To Learn a Language is To Find Yourself Again When learning the grammatical logistics of another language, you’re also relearning the grammar rules for English too. You’ll find yourself comparing the constructions of the target language to English. Although I’m not a native English speaker, it’s a language that I’m very familiar with. Yet when it comes to taking an English grammar test, I struggle, mostly because I don’t remember the intricacies of the rules – what ‘adverbs’ or ‘indirect speech’ truly mean. It just comes naturally to me. Now that I’m learning other languages (French and Russian), I am reminded of these terms. Thus, technically, I am learning two languages while reviewing one that I’m TOO familiar with at the same time! Not to mention, you might find new literary devices hidden in other languages. For instance, Russian has a complex grammatical case system, which allows it to have unique sentence structures. You can create a sentence that starts with the verb followed by the subject and object or vice versa, and it would still make sense. That’s because the cases alter the way a word is spelled and pronounced in different contexts, so the sentence would still have the same meaning to switch all the words around. All thanks to the changing endings of the words. That’s why Russian literature and poetry are regarded as majestically beautiful. To Learn a Language… Of course, it’s hard to learn a language, but I promise it is definitely worth it. You bring out your hidden creative side that only exists in that writing script. A new literary field will also be accessible to you now – translating, which might help you land a job, while maintaining your love for writing. Just imagine reading your favorite books in their original language, experiencing the raw emotions that you may have missed through translation. Although it would take a lot of effort, in the end, it will all be worth it. Citations Cranford, Andie R. “Does Learning a New Language Help Your Creative Writing?” Medium , 15 Aug. 2023, medium.com/@andrea_cranford/does-learning-a-new-language-helps-your-creative-writing-b113e98ad961 . Price, Grant. “How Learning a Foreign Language Can Make You a Better Author.” Medium , 13 Dec. 2021, grant-rhys-price.medium.com/how-learning-a-foreign-language-can-make-you-a-better-author-19019d821a79 . Stein, Rob. “Learning a Foreign Language Yields Better Writing | the Writing Cooperative.” Medium , 30 Mar. 2022, writingcooperative.com/how-learning-a-foreign-language-translates-to-better-writing-ee2b1e67d4ba .

by Shel Zhou In 1984 , a dystopian novel by George Orwell, Orwell delivers a warning about how the  manipulation of language can affect one’s thinking and control a society. This message, conveyed through Orwellian concepts like doublethink, Newspeak, and the Party’s [in 1984 ] totalitarian regime, speaks to the dangers of governments censoring language and reality to maintain power. However, this warning seems to go unheeded in modern America as echoes of his fictitious story become reality in both political rhetoric and media manipulation. This is evident in two present-day examples: Donald Trump’s Jan. 6th speech and research published by Stanford University that demonstrates how language reinforces stereotypes. Despite Orwell’s clear warnings, modern society, particularly in the United States, seems to follow a path eerily similar to the dystopian future Orwell imagined, where language is weaponized by certain people to gain power and suppress dissent. Orwell’s 1984 depicts a society in which the government, led by the omnipotent ‘Big Brother,’ controls not only the actions of its citizens but also their thoughts. One of the Party’s most powerful tools is the manipulation of language - exemplified by Newspeak, a language fashioned to turn the citizens of Oceania into mindless drones. As Syme, a specialist in Newspeak, tells Winston, “the whole aim of Newspeak is to narrow the range of thought. In the end, we shall make thoughtcrime literally impossible because there will be no words in which to express it” (Orwell 52). This deliberate constriction of language makes rebellion impossible because when the people do not have the words to articulate discontent, it does not exist. This notion is an upsetting parallel to the very real censorship of language today, as language distortion continues to shape our political narratives. For instance, the phrase “fake news” has been weaponized to discredit legitimate journalism and reporting, similar to how Newspeak simplifies and distorts language to prevent independent thought. As Orwell demonstrated, controlling language is the first step to controlling thought, and this is a lesson contemporary political leaders seem to have learned all too well.  The United States, despite its tumultuous and often ugly history, is founded on Enlightenment principles of democracy and liberty. In contrast to Orwell's 1984 , where language is manipulated to suppress freedom of thought, the United States Constitution includes the First Amendment, which protects freedom of speech, press, and assembly—cornerstones of a stable democratic-republic. However, as Orwell explained in 1984 , even systems built on liberty can manipulate language for control, which can be seen in the U.S. today. Political discourse often distorts the meaning of words like "patriotism," "liberty," or even "democracy" to advance specific agendas. This distortion is comparable to Orwell's notion of Newspeak, where words lose their meaning and are repurposed to serve those in power. There is also a historical irony to consider: for all its vehement rejection of socialism and communism, the United States was, in many ways, born in the throes of a rebellion—an idea central to socialist and Marxist principles. Marx theorized that workers should rise up against corrupt governments to secure true freedom, arguing that rebellion against oppression was necessary to dismantle unjust systems. Likewise, the American Revolution itself was a rebellion against British tyranny, with the colonists advocating for freedom from what they perceived as a corrupt monarchy. The rejection of British rule was a violent uprising in the name of liberty, making the early United States' resistance to centralized authority somewhat akin to Marx's belief in overthrowing corrupt systems, despite the nation’s later demonization of anything resembling socialism. This ideological contradiction, therefore, reflects another manipulation of language: the word "socialism" in the U.S. political lexicon has been heavily demonized and misrepresented (Democracy Journal), as is Orwell’s concept of “thoughtcrime.” It is no longer associated with its original ideas of economic fairness but is instead used as a term to stifle discussion and fuel fear in the name of national security. In modern America, the spread of misinformation and the manipulation of facts have become increasingly common, particularly in political discourse. The 2020 U.S. presidential election and its aftermath serve as a prime example. Despite clear evidence to the contrary, many of Trump’s supporters continue to believe the election was “stolen,” a belief fueled by the former president’s rhetoric. This parallels the Party’s manipulation of reality in 1984 , where lies become indistinguishable from truth. In both cases, the Orwellian concept of “doublethink” is at play, as people accept contradictory information without question. Orwell’s warning about the dangers of manipulating truth is especially relevant in today’s era of “alternative facts”, where the very concept of truth is under siege. Trump’s infamous Jan. 6th speech, delivered shortly before the Capitol riot, demonstrates how language can be used to incite action and reinforce dangerous ideologies, much like the Party’s slogans in 1984 . In his speech, Trump repeatedly used words like “we” and “our,” creating a sense of unity and collective identity among his supporters. He declared, “Our country has had enough. We will not take it anymore, and that’s what this is all about” (Naylor). This rhetoric mirrors the Party’s use of slogans like “War is Peace” and “Freedom is Slavery,” which serve to simplify complex issues and foster a sense of collective purpose. By framing the issue as “us vs. them,” Trump’s speech capitalized on a binary worldview, much like the Party in 1984 does. The effectiveness of this tactic lies in its ability to manipulate emotions and create a sense of belonging among supporters, making it easier to suppress dissenting voices and manipulate reality. Furthermore, Orwell’s exploration of the power of language in 1984 is underscored by research conducted by Stanford University, which highlights how even well-meaning statements can perpetuate harmful stereotypes. The study found that phrases like “girls are as good as boys at math” inadvertently reinforce the stereotype that boys are naturally better at math than girls (Shashkevich). This demonstrates the subtle ways in which language shapes our perceptions of reality, much like Newspeak in 1984 shapes the thoughts of Oceania’s citizens. The researchers’ conclusion, that “language can play a huge role in how we perceive the world,” aligns with Orwell’s warning about the power of language to control thought (Shashkevich). Both 1984 and the Stanford study illustrate the importance of scrutinizing language and recognizing its potential to reinforce harmful ideologies or suppress dissent. In Orwell’s dystopia, the Party controls all aspects of life, from the media to personal relationships, using propaganda and censorship to maintain its grip on power. Today, we see echoes of this in the extreme polarization of American politics, where both major political parties engage in censorship and manipulation to further their agendas. The recent bans on books discussing race, gender, and LGBTQ+ issues in schools across conservative states, like Florida, evoke Orwell’s portrayal of the Party’s control over information. The censorship of ideas deemed “dangerous” or “unpatriotic” in modern America is reminiscent of the Party’s erasure of historical events.  Ultimately, Orwell’s 1984 is not just a cautionary tale about a distant dystopian future, but a reflection of the political and social dynamics at play in the modern world. The manipulation of language, the suppression of dissent, and the distortion of reality are not scary stories, confined to the pages of Orwell’s novel; they are realities we face today. The takeaway is evident: if we do not remain vigilant of how media perpetuates bias and how our everyday language influences perception, we risk falling into the same traps as the citizens of Oceania, where thought itself becomes a crime.  Works Cited 1984 . (n.d.). STRAUTNIEKAS Illustration. https://strautniekas.com/1984   Andrew Atterbury. (n.d.). LGBTQ advocates sue over Florida’s “Don’t Say Gay” bill . POLITICO. https://www.politico.com/news/2022/03/31/lgbtq-advocates-sue-florida-00022001   File:EugeneDebs.gif - Wikimedia Commons . (1920, October 11). Wikimedia.org . https://commons.wikimedia.org/wiki/File:EugeneDebs.gif   Naylor, Brian. “Read Trump’s Jan. 6 Speech, A Key Part Of Impeachment Trial.” NPR News , 10 February 2021. https://www.npr.org .  Accessed 28 September 2021.  Orwell, George. 1984 . Signet Classics, 1977.  Shashkevich, Alex. “Some Well-Meaning Statements Can Spread Stereotypes.” Stanford University Website , 10 July 2018. https://news.stanford.edu .  Accessed 28 September 2021.  Stening, T. (2022, July 27). Would a second term save Donald Trump from prosecution–even jail time? Northeastern Global News; Northeastern Global News.  https://news.northeastern.edu/2022/07/27/donald-trump-second-term-prosecution/   The Week Staff. (2017, May 30). Political cartoon U.S. College graduation free speech liberal censorship . Theweek; The Week.  https://theweek.com/cartoons/701847/political-cartoon-college-graduation-free-speech-liberal-ce   nsorship Words, Fighting. “Fighting Words.” Democracy Journal , 19 Mar. 2018, democracyjournal.org/magazine/48/fighting-words/ . Accessed 11 Jan. 2025. ‌ Follow the author on Instagram here!

by Mila Long Tales as old as time carry unimaginable influence. Stories that influence every waking breath of the modern literary era are often riddled with questions and misinterpretations. The quintessential male hero, is pitted as the ultimate warrior, strong of mind and heart and body. These characters only seem to strengthen in time, setting in stone their influence over our world and our words. However, the female characters disappear and are altered or set in stone as monstrous, weak, or docile. New translations of classical literature can give room to new interpretations, or clearer visions of what the original work showed, and yet these new translations chose over and over again to keep the female characters as less than the male ones. The complex and clever queen is reduced to a dutiful wife. The strong and mighty are simply discussed as a monstrous hag. This line of new and old becomes blurred as we chose to repeatedly speak of these women in such a diminishing fashion when it would not be against the essence or truth of the story to alter them. The translations of old classics that have carried their stories and influences into the modern era must for the future of complex and equal literature be open to interpretation and clarification.  In Beowulf ,   Grendel's Mother is described as a mighty mare wife or a monstrous hell-bride. These three words influence the reader from the very beginning of her introduction into the story line. It establishes three things: her power, her morals, and her gender. The old English term used to characterize Grendel's Mother is the same term used to characterize Beowulf’s strength, and through their extremely close battle it is shown that this term is more than accurate. Yet still, translators chose to use one of the myriad of other translations like describing her as a  monstrous hag that could be used for the same word, often with more negative connotations, when Beowulf is still described as mighty. It immediately lowers her power from the audience's perspective. It also loses any sympathetic nature that can be applied to her despite the multiple losses she takes throughout the poem, such as her son who is killed by Beowulf and was all she had. Her and her son were simply two inhuman creatures ousted from the world at large. Once Grendel is dead, his claws are displayed like  a trophy. A trophy of the death of the only person who ever had the possibility of understanding her. When the story is read, she is horrible in every word choice despite the intense power and issues she is clearly shown to have. Some modern translations have rectified this, however it is few and far between. Grendel's mother doesn’t even get her own name. She is forever defined by someone else, a man. The extremity in which female characters are defined as monsters, yet still limited in their power, leads characters to be shown as inherently worse than male counterparts or opposites.  In The Odyssey , Penelope is a dutiful and loyal wife or a rebellious and clever Queen of Ithaca. Penelope is Odysseus's wife who, while remaining in Ithaca, has to fight off suitors who want her hand in marriage as they believe Odysseus to be dead. She tells the suitors when she finishes weaving, she will marry one of them, but she takes apart the shroud she sews every night so she doesn’t have to marry a suitor. The interpretation of her central act, of her weaving, severely influences how audiences and the world views her character. An intensely interesting character, Penelope states that she will marry a new man once she finishes weaving a burial shroud for Odysseus’s father. However, every night, she unravels the day's work. This act can be interpreted in so many styles. Is she a wife knowing that her life should be for the man across the sea for 20 years? Is she cunning, wishing only to scheme quietly against the men who believe they can take so much power from her? Is she a hopeful woman wishing and praying that her husband will get home safe? Is she a rebellious and intelligent queen understanding that she is unable to fight in public due to the time period and social norms expected of her? Is she all of this? Her state as a complex female figure often confuses the audiences, forcing them to pick one interpretation or another. Instead, most translations often choose to center their analysis around Odysseus, not Penelope herself. This ultimately disregards an intensely interesting activity to be done by a woman of that time period, especially one who is not a god. The motivation and interpretation change throughout the versions of the Odyssey, but every change even one word influences the outlook on Penelope. Reducing a complex female character to a one dimensional one removes the interest and power carried in such fascinating storylines.  In Doctor Zhivago by Boris Pasternak, Lara and Tonya can be viewed only as catalysts to the male characters in the story due to translation choices. However, they both work to serve as incredibly important characters in the central conflict of the novel. Tonya is removed in the novel to be exiled, and seems to believe that she should not be mad for her husband's blatant cheating due to some of the translations of her letter which lead to her commending Lara for her husband. She can be seen as a push over and even unimportant, however Tonya is an incredibly brave woman. All of this is merely in subtext, which causes translations to fluctuate from sticking exactly to the work or expanding to provide context. Translations chose to make her merely an attachment of her child, despite the main challenge of the translation being to keep even slight faithfulness to the syntax. Lara, however, becomes only an attachment to another character, Yury. She is an incredibly important person and character who works to propel various essential side plots, such as that of consent and of the people left at home during the war. Even when Yury must leave for his safety, the description of her letting him go changes her character from a dutiful lover to a strong woman who must do what she has to for her family. Doctor Zhivago is a work of passion and of large scale battles between ideologies that have set the stage of world history for modern readers. Restricting the interest to the male characters removes vitally important side plots and is ultimately regretful to the vision of Boris Pasternak. It is time to thoroughly analyze the stories of women throughout the classics. Classics are history, reflecting the society of the times they are written in. Every word leaks bias and opinion and influence that future generations will see. As such, how do we want future generations to view us? Will we merely be figureheads of a misogynistic norm to reduce and lessen female stories? Will they be the exact same as us, still carrying antiquated interpretations of stories that reach far beyond simply literature? Literature affects the world. This is a fact proven in every era and every change. Literature portrays the world as it is but also as we wish it could be. Literature spearheads new beliefs and systems of thought, it portrays opinion and disagreement, and ultimately it shows hope and difference. Literature is immortal, so is this really how our time wants to be seen forever? Follow the author Mila Long on Instagram here!

by Prisha Have you ever picked up a book that you physically couldn’t put down, no matter how hard you tried? Is there a book you wish you could read for the first time? Well, this is one of those books. From the moment I started Thirteen  by Steve Cavanagh, I was hooked by a story that masterfully combines law and psychology into a riveting thriller. This book is part of a captivating series featuring Eddie Flynn, a criminal lawyer unlike any other. What makes him unique is his past that is filled with experiences and skills that set him apart since he was once a con man himself. He now uses his unconventional background to defend his clients, making him a capable and highly intuitive figure in the courtroom. By using the skeletons in his closet, he can understand both sides of the courtroom in a way no other lawyer would.  The way Eddie Flynn demonstrates and convinces the jury is truly awe-inspiring through how he can read the jury and understand how best to alter his speech. You then realise that court cases are all a game of manipulation and even the most masterful manipulator will always have some tell that will give them away, all you have to do is find it. Eddie Flynn’s time on the "other side" of the law grants him an almost sixth sense, allowing him to perceive deception, anticipate his opponents’ moves, and work around legal systems that often trap less experienced attorneys. Despite his rough background, he is one of the most compassionate lawyers you can find, in the fictional world. This double-edged insight gives Eddie a depth and authenticity that’s rare to find in legal thrillers. After all, the courtroom’s just like a stage, only here, everyone is trying to steal the same scene. The story kicks off when Eddie is approached by a prestigious law firm with a high-profile case. It's the kind of case that grabs the headlines, the one all lawyers want –– a scandal involving a celebrity power couple, where the stakes are high, and the details are tantalisingly dark. Eddie is brought on board to defend a wealthy man accused of killing his wife and her lover. From the outside, the case seems almost cut and dry, with strong evidence pointing to the husband as the prime suspect. But Eddie is too seasoned to accept appearances at face value, and as he delves into the details, he discovers that things are more dangerously interweaved than what it seems. “ THE SERIAL KILLER ISN'T ON TRIAL. HE'S ON THE JURY” Now that's a really intriguing blurb, reading it made me pick up the book, but how can a killer be on a jury ?Well now we’re also introduced to Joshua Kane, a truly fascinating, but chilling character who is unlike any other. Kane is a meticulous and highly intelligent individual with a dark obsession that drives him to extreme lengths. His perspective adds a whole new layer of tension to the story, as we gain glimpses into the mind of someone who operates outside the usual bounds of morality and law. Calculating and disturbingly calm, Kane plans every move with precision, making him a formidable figure who thrives on manipulation and control. His role in the story injects an eerie sense of danger, as his motives and actions slowly unfold. Not only is Kane conniving, but he also cannot feel any physical pain through a genetic abnormality called congenital analgesia. He is one of the best antagonists of the whole series, showing a completely different way of being a serial killer. After all, what’s the best way to get away with murder? Imitate the victim, so no one ever misses them. As Eddie navigates the convoluted twists and turns of the case, he uncovers shocking secrets and hidden agendas that completely upend any notion of a straightforward crime. The writing is tight and full of suspense, with each chapter building on the last to create an atmosphere of mounting tension. The pacing is relentless, driving readers forward and making it nearly impossible to put the book down for even a moment. One of the standout aspects of the book is its character depth. Eddie Flynn, as a protagonist, is layered and relatable. His past as a conman gives him a rough-around-the-edges charm, but it also means he understands moral ambiguity in a way that more conventional lawyers may not. He doesn’t shy away from difficult decisions or moral grey areas, instead he runs into them. And while Eddie is clearly the hero of the story, he isn’t a flawless knight in shining armour. His struggles, both personal and professional, make him feel real. He wrestles with ethical dilemmas, battles his own inner demons, and faces moments of self-doubt that add to his humanity. Eddie’s character highlights the fact that perfection is just fictional. There are nuances Eddie and that is what makes him so intriguing. And remember, every courtroom is a circus, but Eddie’s one of the few who can juggle law and order. The antagonists are more than just typical "bad guys." Each has their own set of motivations, secrets, and pressures that drive their actions, creating a tangled web of alliances, betrayals, and unexpected twists. It weaves in such a way that it’s nearly untraceable, yet the urge to leave his mark is his downfall. The villains aren’t simply evil for the sake of it, they have their demons and their reason, and yet their actions will still unsettle you to the core.  The author’s writing style is another reason this book is so compelling. The prose is sharp, direct, and laced with wit, perfectly matching Eddie’s voice and perspective. The courtroom scenes are detailed and intense, capturing the high stakes and strategic manoeuvring that define the legal profession. The author’s attention to detail brings the courtroom to life, making readers feel as though they’re sitting right beside Eddie as he faces off against formidable opponents and navigates the intricacies of the law. The dialogue is realistic and engaging, filled with tension and subtext that add to the overall suspense of the story. Themes of power, corruption, and morality give the book much more depth. The case at the centre of the story isn’t just about guilt or innocence, it’s about the power dynamics at play within the justice system and the way wealth and influence can shape outcomes in ways. Eddie’s fight isn’t just for his client’s freedom, it’s for the integrity of the system he believes in, even as he faces its flaws. It’s one of those books I wish I could experience for the first time all over again, diving into the characters’ minds, dissecting every emotion and thought, savouring every twist as it unfolds. It’s a perfect read for fans of John Grisham or The Lincoln Lawyer  by Michael Connelly, blending legal suspense with psychological depth in a way that grips you from start to finish.

by Prisha Translating works is quite a difficult job since it requires a blend of linguistic skill, cultural sensitivity, and creative intuition. It bridges gaps between cultures - allowing stories, poetry, and narratives to leave the confines of their native languages and find resonance with audiences across the globe. With the globalisation of literature and the increasing demand for cross-cultural storytelling, literary translation has become a fulfilling and viable career option for language enthusiasts and literary connoisseurs alike.  Have you ever read Crime and Punishment by Fyodor Dostoevsky or War and Peace by Leo Tolstoy? Did you know that both of these books were originally written in Russian and what we now read is just a translation of it? Even the translation of Gabriel García Márquez’s One Hundred Years of Solitude into English required not only linguistic expertise but also a deep understanding of Colombian culture, magical realism, and the historical backdrop of the novel. Similarly, translating Japanese haikus into English involves navigating the challenges of brevity, cultural references, and syllabic constraints. So many of these hidden gems would still be well hidden if not for translators. So what is Literary Translation ? Literary translation refers to the process of adapting literary works from one language to another, focusing not only on the linguistic meaning but also on the emotional, cultural, and stylistic essence of the original text. Unlike technical or legal translations, literary translation seeks to preserve the artistry of the source material, recreating its every nuance in the target language. Rabindranath Tagore’s Gitanjali, originally written in Bengali, offers another profound example. When Tagore translated his own work into English, he didn’t merely translate the words but reimagined the poetry to appeal to a global audience, ultimately earning him the Nobel Prize for Literature. His translation highlighted the spiritual essence and lyrical beauty of the original text, allowing it to connect deeply with readers worldwide. It’s more than knowing two languages, it's a delicate balance tipping precariously between fidelity to the source material and the creative freedom necessary to engage a new audience that defines the essence of literary translation. It is more than finding equivalent words but about capturing the spirit of the original work, ensuring its universal appeal whilst preserving its emotional and artistic integrity. How is Translation Important ? Translation of literary works has been essential in many ways. It gives readers worldwide to, allow the novel to overcome linguistic barriers and connect with a global audience. It gives people worldwide the chance to explore stories and ideologies that otherwise would have remained inaccessible. It’s given readers a view into diverse narrative and perspectives, building a bridge into various cultures and communities. Translating historical or lesser-known works ensures that they are not lost to time, preserving their significance for future generations. The Future of Translation? The future of literary translation holds numerous possibilities. It’s not as simple as using tools like Google Translate. Even though AI-powered tools have significantly advanced, they lack the nuanced understanding of context, tone, and cultural understanding that human translators bring. While technology can aid in initial translations or suggest alternatives, the artistry of literary translation remains firmly in human hands. In short, the psyche and creative ideas of the author can only be understood on an emotional level by another person, not a computer. In a globalised world, demand for literary translation is expected to grow, with an emphasis on preserving cultural integrity while appealing to wider audiences. The rise of digital platforms has also expanded opportunities for translators, making literature more accessible than ever before.  In short, translation has been a boon for literature by helping us understand various texts from different backgrounds. Translators can be thought of as cultural ambassadors, bringing stories to new audiences and building global empathy. Each successful translation is a testament to the translator’s dedication and skill, contributing to the ever-growing world of literature.

by Carina Humans have been expressing ourselves through poems for thousands of years, from ancient epics to sonnets. Poetry is arguably one of the most popular forms of writing, and for good reason. Like music and art, poetry allows us to express ourselves. It’s also enjoyable to read, oftentimes including aesthetically pleasing visuals or wordplay. Although I love poetry, I often find it difficult to digest, and especially write. This guide to the many genres of poetry is for anyone like me who wishes to understand more about the different types of poetry. Free Verse: This type of poetry is pretty straightforward. It doesn’t have many rules or guidelines, allowing the poet to express themselves freely. Free verse poems don’t require rhyming, certain themes, and can be any length. Limerick: Limerick poems are some of my favorites, because they are funny and lighthearted. Unlike free verse poems, limericks have some rules. They must be 5 lines, and follow an AABBA pattern of rhyming. This means the first, second, and fifth lines should all rhyme, while the third and fourth lines should also rhyme with each other. Haiku: This genre of poem is short, yet extremely popular. It originated in Japan and is spreading throughout the world. It consists of seventeen syllables throughout three lines. There should be five syllables in the first line, followed by seven syllables in the second, and five again in the last. Also, haikus are usually about nature. Blackout: Blackout poetry is one of the most visually appealing types of poetry. It starts with a page of words, typically from a book or short story, where you will identify words that correspond with a theme or tell a story. Then, you will color in the space around the words with a picture relating to the theme or fill it in with black. Epic: Epic poems tell tales of heroic adventures. They’re typically fictional or historical with some dramatic effect. These poems can be very long, even book length at times. Because of their impressive length, epic poems are very detailed with amazing storytelling. Ode: Ode poems are dedicated, in celebration, to a person, idea, place, or object. They usually have a formal and serious tone, but aren’t very strict with rules such as size and rhyming. Sonnet: Many people have heard of sonnet poems in school, because they were popularised by Shakespeare. They consist of fourteen lines, and typically follow an ABAB CDCD EFEF GG rhyme pattern, although there are other variations. Acrostic: Similar to blackout poems, acrostic poems are also visually pleasing. These poems are very common for exercises in school, so it’s likely you’ve seen one. In acrostic poems, the first letter of each line spells out a word. For example, if the first letter of line one was L, line two was O, line three was V, and line four was E, they would spell out the word love. Oftentimes these poems have a similar theme to the word they spell out. Elegy: Although elegies don't have strict rules, they do have a thematic guideline. They are about death, mourning, and loss, but can contain hopeful messages. Villanelle: This genre of poem has quite strict rules. It has nineteen lines, broken into five tercets (3 line stanzas/groups), and one quatrain (4 line stanza/group). The tercets of this poem follow an ABA rhyming pattern, while the quatrains follow an ABAA pattern. There is also a lot of repetition in villanelle poems. Line one should repeat in lines six, twelve, and eighteen. Line three should repeat in lines nine, fifteen, and nineteen. These poems are usually about admiration and obsession. Reading and writing poetry don’t have to be confusing. Exploring the foundation of poetic genres can help us interpret them and understand how poetry works. As I learn more about poetry, it becomes more enjoyable for me. I hope that you can say the same after reading this deep dive. References: “What Is Poetry? Definition, Characteristics and Types.” Domestika , www.domestika.org/en/blog/11367-what-is-poetry-definition-characteristics-and-types . Accessed Dec. 2024. Kramer, Lindsay. “11 Types of Poetry to Know, with Examples.” Grammarly Blog , 13 Apr. 2023, www.grammarly.com/blog/creative-writing/types-of-poetry/ . Accessed Dec. 2024. “What Is an Ode? Definition and Examples.” Poem Analysis , poemanalysis.com/poetic-form/ode/ . Accessed Dec. 2024. “18 Poetic Forms Every Poet Should Know.” BBC Maestro , 24 Nov. 2023, www.bbcmaestro.com/blog/poetic-forms . Accessed Dec. 2024. Bergman, Bennet. "Villanelle." LitCharts.  LitCharts LLC, 5 May 2017. Web. 17 Dec 2024.