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Changes in Snowmelt Runoff Timing in Western North America under a `Business as Usual' Climate Change Scenario
- Iris T. Stewart,
- Daniel R. Cayan,
- Michael D. Dettinger
- … show all 3 hide
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Spring snowmelt is the most important contribution of many rivers in western North America. If climate changes, this contribution may change. A shift in the timing of springtime snowmelt towards earlier in the year already is observed during 1948–2000 in many western rivers. Streamflow timingchanges for the 1995–2099 period are projected using regression relationsbetween observed streamflow-timing responses in each river, measured by the temporal centroid of streamflow (CT) each year, and local temperature (TI) and precipitation (PI) indices. Under 21st century warming trends predicted by the Parallel Climate Model (PCM) under business-as-usual greenhouse-gas emissions, streamflow timing trends across much of western North America suggest even earlier springtime snowmelt than observed to date. Projected CT changes are consistent with observed rates and directions of change during the past five decades, and are strongest in the Pacific Northwest, Sierra Nevada, and Rocky Mountains, where many rivers eventually run 30–40 daysearlier. The modest PI changes projected by PCM yield minimal CT changes. The responses of CT to the simultaneous effects of projected TI and PI trends are dominated by the TI changes. Regression-based CT projections agree with those from physically-based simulations of rivers in the Pacific Northwest and Sierra Nevada.
- Augado, E., Cayan, D., Riddle, L., Roos, M. (1992) Climatic Fluctuations and the Timing of West Coast Streamflow. J. Climate 5: pp. 1468-1481
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- Dai, A., Wigley, T. M. L., Boville, B. A., Kiehl, J. T., Buja, L. E. (2001) Climates of the Twentieth and Twenty-First Centuries Simulated by the NCAR Climate System Model. J. Climate 14: pp. 485-519
- Dettinger, M. D., Cayan, D. R. (1995) Large-Scale Atmospheric Forcing of Recent Trends toward Early Snowmelt Runoff in California. J. Climate 8: pp. 606-623
- Dettinger, M. D., Cayan, D. R., Meyer, M. K., Jeton, A. E. (2004) Simulated Hydrologic Responses to Climate Variations and Change in the Merced, Carson, and American River Basins, Sierra Nevada, California, 1900–2099. Clim. Change 62: pp. 283-317
- Eischeid, J. K., Baker, C. B., Karl, T. R., Diaz, H. F. (1995) The Quality Control of Long-Term Climatological Data Using Objective Data Analysis. J. Appl. Meteorol 34: pp. 2787-2795
- Leavesley, G. H., Lichty, R. W., Troutman, B. M., and Saindon, L. G.: 1983, 'Precipitation-Runoff Modeling System: User's Manual', U.S. Geological Survey Water-Resources Investigations Report 83-4238, 207 pp.
- Maurer, E. P., Wood, A. W., Adam, J. C., Lettenmaier, D. P., Nijssen, B. (2002) A Long-Term Hydrologically-Based Data Set of Land Surface Fluxes and States for the Conterminous United States. J. Climate 15: pp. 3237-3251
- Payne, J. T., Wood, A.W., Hamlet, A. F., Palmer, R. N., Lettenmaier, D. P. (2004) Mitigating the Effects of Climate Change on the Water Resources of the Columbia River Basin. Clim. Change 62: pp. 233-256
- Pupacko, A. (1993) Variations in Northern Sierra Nevada Streamflow: Implications of Climate Change. Wat. Resour. Bull 29: pp. 283-290
- Roos, M.: 1987, 'Possible Changes in California Snowmelt Patterns', Proc., 4th Pacific Climate Workshop, Pacific Grove, California, 22–31.
- Roos, M.: 1991, 'A Trend of Decreasing Snowmelt Runoff in Northern California', Proc., 59th Western Snow Conference, Juneau, Alaska, 29–36.
- Slack, J. R. and Landwehr, J. M.: 1992, 'Hydro-Climatic Data network (HCDN): A U.S. Geological Survey Streamflow Data Set for the United States for the Study of Climate Variations, 1874-1988', U.S. Geological Survey Open-File Report 92-129, 193 pp.
- Stewart, I. T., Cayan, D. R., and Dettinger, M. D.: 2003, 'Changes towards Earlier Streamflow Timing across Western North America', in preparation.
- Wahl, K. L.: 1992, 'Evaluation of Trends in Runoff in the Western United States', AWRA, Managing Water Resources during Global Change, 701–710.
- Washington, W. M., Weatherly, J. W., Meehl, G. A., Semtner, A. J., Bettge, T.W., Craig, A. P., Strand, W. G., Arblaster, J., Wayland, V. B., James, R., Zhang, Y. (2000) Parallel Climate Model (PCM) Control and Transient Simulations. Clim. Dyn 16: pp. 755-774
- Wood, A.W., Leung, L. R., Sridhar, V., D. P. Lettenmaier, D. P. (2004) Hydrologic Implications of Dynamical and Statistical Approaches to Downscaling Climate Model Surface Temperature and Precipitation Fields. Clim. Change 62: pp. 189-216
- Title
- Changes in Snowmelt Runoff Timing in Western North America under a `Business as Usual' Climate Change Scenario
- Journal
Climatic Change
Volume 62, Issue 1-3 , pp 217-232
- Cover Date
- 2004-01-01
- 10.1023/B:CLIM.0000013702.22656.e8
- Print ISSN
- 0165-0009
- Online ISSN
- 1573-1480
- Publisher
- Kluwer Academic Publishers
- Additional Links
- Topics
- Industry Sectors
- Authors
- Iris T. Stewart (1)
- Daniel R. Cayan (1) (2)
- Michael D. Dettinger (1) (2)
- Author Affiliations
- 1. Scripps Institution of Oceanography, 9500 Gilman Drive, La Jolla, CA, 92093-0224, U.S.A.
- 2. U.S. Geological Survey, La Jolla, California, U.S.A


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The biodiversity of plant-based fibers and dyes is vast. The University of California Botanical Garden at Berkeley invites you to learn more about the world of natural fibers and dyes. From traditional uses to inspired future innovation in eco-fashion and textiles, a walk through our exhibit illuminates the connection of culture with nature. This year our exhibit features work of local artists and designers.
Cotton, linen, and other natural fibers such as bamboo, hemp, soya, abaca and pina (pineapple) provide a variety of material options for textiles. From basket weaving to denim jeans, plants have allowed for both utility and inspiration in our everyday lives.
Plant dyeing can be an incredibly rewarding and awe- inspiringmethod of creating color. Natural color can be created from everything from daffodils to eucalyptus. The craft of natural dyeing has existed for thousands of years. Natural dyes for clothing and textiles were most likely discovered through the process of cooking and creating medicine from plant sources. Natural dyeing is a craft that holds insight into the science of color and nature, as well as a window into the long history of inspired human creativity and design.
10 a.m. - 4 p.m. Daily
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Saturday | April 13 | 10 - 11:30 a.m.
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Sunday | April 14 | 1 - 4 p.m.

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Gov't Mule frontman/guitarist Warren Hayes says they chose "Simple Man" because it contains some "of Ronnie's most heartfelt lyrics--It's a song Gov't Mule has performed several times prior to this recording. It's amazing what you can do with three chords, if they're the right three chords."
Todd Mohr of Big Head Todd and the Monsters noted "Sweet Home Alabama"
is "one of the great rock songs of all time." The singer/guitarist
admits: "It was very challenging to give the song a new interpretation. The track was a blast to work on and I think we were successful in honoring the song, while presenting it in a completely contemporary setting. Lynyrd Skynyrd is one of the great rock bands of all time, particularly in the guitar realm... They had three phenomenal guitar players. Since Big Head Todd and The Monsters are very blues guitar-oriented, there are a lot of similarities. They are our forefathers, so to speak."
"Lynyrd Skynyrd bridge 60's psychedelic rock to the gunslingers of the 80's like Van Halen," says Cody Dickinson of North Mississippi All Stars. "Long live rock and god bless America."
Here's the track listing for Under The Influence - A Jam Band Tribute To Lynyrd Skynyrd:
1. Call Me The Breeze/LES CLAYPOOL
2. Saturday Night Special/GALACTIC
3. Simple Man/GOV'T MULE
4. Whiskey Rock a Roller/NORTH MISSISSIPPI ALLSTARS
5. Ballad of Curtis Loew/MOE WITH JOHN HIATT
6. Free Bird/BLUES TRAVELER
7. Every Mother's Son/DRIVE-BY TRUCKERS
8. Sweet Home Alabama/BIG HEAD TODD AND THE MONSTERS
9. Gimme Three Steps/DISCO BISCUITS
10. Four Walls of Raiford/YONDER MOUNTAIN STRING BAND
11. Workin' For MCA/PARTICLE
JamBase | Muscle Shoals
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Consistently, one of the more popular stocks people enter into their stock options watchlist at Stock Options Channel is Wells Fargo & Co. (WFC). So this week we highlight one interesting put contract, and one interesting call contract, from the May expiration for WFC. The put contract our YieldBoost algorithm identified as particularly interesting, is at the $46.50 strike, which has a bid at the time of this writing of 63 cents. Collecting that bid as the premium represents a 1.4% return against the $46.50 commitment, or a 10.8% annualized rate of return (at Stock Options Channel we call this the YieldBoost).
Top YieldBoost WFC Puts »
Selling a put does not give an investor access to WFC's upside potential the way owning shares would, because the put seller only ends up owning shares in the scenario where the contract is exercised. So unless Wells Fargo & Co. sees its shares decline 2.8% and the contract is exercised (resulting in a cost basis of $45.87 per share before broker commissions, subtracting the 63 cents from $46.50), the only upside to the put seller is from collecting that premium for the 10.8% annualized rate of return.
Interestingly, that annualized 10.8% figure actually exceeds the 2.5% annualized dividend paid by Wells Fargo & Co. by 8.3%, based on the current share price of $47.82. And yet, if an investor was to buy the stock at the going market price in order to collect the dividend, there is greater downside because the stock would have to lose 2.78% to reach the $46.50 strike price.


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Spectrum Literary Arts Magazine: Fall 2009
A student-run publication at Northeastern University, Boston, MA.
S ectr p iterary Arts Magazi mL u Fall 2 0 09 ne um Literary Art ag sM az ine Sp ec tr Spectrum Literary Arts Magazine email@example.com www.spectrum.neu.edu 234 Curry Student Center Mailbox: 434 Curry Student Center Spectrum Literary Arts Magazine showcases the talents of the writers and artists at Northeastern University. All members of the Northeastern community are encouraged to submit works of original poetry, prose, and visual art. For more information, please visit www.spectrum.neu.edu. Spectrum Literary Arts Magazine, Fall 2009 edition. Copyright � Spectrum Literary Arts Magazine and respective authors. All rights reserved. No part of this publication may be reproduced without the permission of Spectrum Literary Arts Magazine and/or respective authors. Spectrum Literary Arts Magazine reserves the right to edit submissions for layout, grammar, spelling, and punctuation unless explicitly instructed by the author/artist. Any references to people living or dead are purely coincidental, except in the cases of a public figure. The views and opinions represented in this medium do not necessarily reflect those of Northeastern University or the staff of Spectrum Literary Arts Magazine. Spectrum Literary Arts Magazine is printed by www.uni-graphic.com Special thanks to Phil Cara Executive Staff Editor in Chief Layout and Design Financial Manager Adver tising Manager Secretar y Assistant Editor Josh Olejarz David Nadeau Miriam Laufer Lucia Allen Diana Mai Michelle Alexander Michelle Buchman Mar k Calley Nick DeSimone Andrea Hampel Matt Kline Miranda Paquet Amanda Pr atti Kelsey Ragsdale Tar yn Sadauskas Cour tney Stefanik Magdalena Szalowski Mick Thibodeau Anna Westendorf David Wong General Staff Layout Committee MacKenzie Cockerill Aylish O'Sullivan Alyssa Sullivan Peter Tran Cover and theme art adapted from "Feet" by Ryan Tucker and "Individual, Indivisible" by Sierra Smith, found within this issue of Spectrum. From the Editor You're not reading the coolest version of this issue. Driven by an odd obsession with feet and floor imagery, we printed this issue with two different covers. Both of feet. Both provocative. And the other one's better. e artwork in the following pages is themed around the textures of floors, carpets, and surfaces--the things we walk on and by every day. We aren't sure why or how this happened, or even what it means. All we know is that we like it. And we hope you will too. anks for reading, Josh Olejarz 2 "Feet" by Ryan Tuck "Iris" by Jessica O'Neill "Isolation Intensifies Ever ything" by Abby Zorbaugh 6 "Nonchalance is His Allure" by Abby Zorbaugh "Hunted" by Carolyn Meer s In this issue: 26 "Gr ass Impressions" by Timothy Str ange 4 "Hustle and Bustle" by Gina Bollenback "The Reason for the Season" by J.M. Olejarz 10 "Water Wor ks" by Natasha Mbabazi "Train" by Ryan Tuck 8 "Central Per k" by Natasha Mbabazi "Columbus Ave." by Miriam Laufer 30 "Shatter" by Jason Jedr usiak "wor king title" by Caroline Steuer nagel "Life Doesn't Fit in a Spreadsheet" by Rebecca Payne 32 "The Ar t Professor" by Ana Roth 34 "Aubade" by Timothy Strange "Papyr us" by Natalie Schack "Let it Rest" by Cait Madden 36 "Thought I'd See You One More Time" by Gina Bollenback 38 "Orient Point" Athulya Aravind "Specula" by Carolyn Meer s 40 "Jesus and White Dresses" by Natalie Schack "Wedding Day" by Natasha Mbabazi 42 "Wonder land" by Rachel Zar rell 44 "15 Drive" by Megan Var anyak "Dawn Looks to Dusk Looks to Dawn" by Carolyn Meer s 45 "Individual, Indivisible" by Sier r a Smith 28 "Land on Me" by Carolyn Meer s "Incognitus" by Tar a P. Vilk 16 "Seagull" by Anna Westendorf "Flight" by Ryan Tuck 14 "Leaving Ground" by Lauren Chapman "Well It's About Time" by Magdalena Szalowski 12 "The Yellow Line" by Jason Jedr usiak "Red Brick Anonymity" by Natalie Schack "Tailor Made" by J.M. Olejarz 18 "The Clash" by Jessica Moog "On the Far m" by Jake Stains "dear dr. Anxiety, dance" by Jason Jedr usiak 20 "Trainwreck" by Addya Bhowmick "Looking Through" by C. Benedix 24 "Por trait" by Cait Madden "She Thinks Her Middle Name is Danger" by Abby Zorbaugh 22 "Stain of Blackness" by James Cucchi "Feet" by Ryan Tuck Isolatio Isolation intensifies everything. n Intensifi es Everyt hi I often go for aimless walks, inventing fictive destinations just to get outside and breathe my thoughts, inner monologue audible without chatter. Cooking alone, I savor the sharp knife slicing squash crisp and even. I heat meat various ways, the grill sizzles and sputters, or I stir-fry up a storm, and bake things to warm the very heart of me with taste. I soap the fridge interior, sponging dirt no one else thought to look for, checking jellies' dates; it's a strange victory when I discover rancid food. But I eventually need to again bask in the presence of people and try to live out my daydreams. ing Abby Zorbaugh 2 Iris Jessica O'Neill I wish all love was limitless and every day the aroma of it saturated the air and emanated from every person's pores to float up forming molecules of love and cloud the skies, to rain down upon burning cities, burning with the fires of love-- burning, burning flames engulfing structures built with love-- and the tears of love tearing apart freckled cheeks would fall to the loving black asphault to be loved by the soles of filthy shoes, the souls of filthy men, to be loved by fearless women whose perpetual love would fill the burning buildings with fuel for the fire... unstoppable fuel, never to be staunched by earthly water, only by the rain and tears of that love emanating from those pores-- those poor, fragile hearts broken. 4 J. Reason for the SeM. O on as The the most wonderful time of the year is December, our month-long submersion in xmas, the mass waterboarding of the population with a torrent of holiday cheer. goodwill is converted into truckloads of snowflake and gingerbread garbage that gets littered, inches thick, around the country. it snows not weather, but white and red potpourri, as if the plumbing burst in the xmas factory, spewing candy cane vomit and reindeer guts up against the walls and all across the floors. it's wrapped up, then, and shipped out worldwide-- gifted to children who learn to love the yearly boxes of soggy goo that puddle beneath the sludge-choked tree. carolers sing, slogging through the stuffed santa claus dolls that clog the gutters, and parents shopping for presents kick and wade through knee-high grinning elves in hats green like dollar bills. the country becomes a boggy swampland, a hazardous scumpond of predators quick to cash in on the people mucking through it. and when the calendar strikes January, the whole mire is sucked up and stored in monstrous large vats somewhere-- lurking, scheming, licking chops waiting for its inevitable release next year. lejarz "Hustle and Bustle" by Gina Bollenback Z or Abby baugh N ailance onch s His Allure Party boy makes me breakfast omelettes after sleeping sweaty and naked. I pad around the messy room in his plaid pajama pants, not wanting to retrieve my discarded (now pot-scented) jeans from his floor. He's a hippie in the worst way, bragging nonstop about musicfests; passionate he loses himself as the bass throbs. His shit-eating grin says he usually gets what he wants. A friend writes his paper, freeing his time for god knows what. Connecticut-bred politeness tempered with "dude" and "yo." Though less ambitious than I wish, I can't resist: he sure knows how to have fun. His hands are golden, strumming me guitarlike, foreplay unforgotten. Drunk me begs like never before: words women coo into phones only when paid by the minute. I crack when he calls me sexy; I'm well aware I'm not: cute maybe, sexy never. This rebellious mystery might be lying, but I enjoy every minute. 6 "Hunted" by Carolyn Meer s "Central Per k" by Natasha Mbabazi Columbus Ave. "Hey, baby, wanna save the polar bears?" doesn't even merit a reaction these days. Two seconds later I've usually got a snazzy line about how I'd be a fan of global warming on Facebook if I could. Attention-whoring bicycles are getting blas�, and I am heartless in regard to a certain family of seven. I'll admit to some slight curiosity about what the mustachioed Hispanic man on the bicycle insults me with every morning, but I've never stopped to inquire. I've never met the one-arm push-up man, but, after the stories, I doubt he could surprise me. She was a true original. She blended in with the crowd in an urban-professional outfit and meticulous makeup. One wouldn't suspect her of designs of accosting innocent strangers. She may have noticed my slight hesitation, as I couldn't help but notice her slightly-aboveordinary beauty. She took advantage. Miriam Laufer was vulnerable in an early-morning daze. "I know this is kind of random, but do you read the Bible?" e first get-out-of-jail-free card that occurred to my hazy mind was, "I'm Jewish." at may have daunted her a bit, but she recovered quickly. "Well, Jews have the Bible, too, right? I'm talking about the Old Testament," she clarified. Darn, I thought, as everybody else on the sidewalk swarmed to either side of us, abandoning me to my predicament. "Genesis 1:27. It says He created them in his Image; male and female he created them. What do you think that says about the original?" It took me a moment to pick apart her words. She knows what verse she's quoting from--the "Excuse me." Her tone was beguiling, and I fanatic! Or did she just stay up all night read- 8 ing it? It triggered something in my memory, a thought I had once about humans created in the Image of God, male and female....but what about the original...what? I hoped my expression conveyed my confusion accurately and we could just nod and move on with our lives. She was persistent. (Aren't those types always?) She nodded emphatically. "That's what I was thinking," she added in a (dramatized?) tone of deep reflection, "thank you." And, with that, she finally glided out of my life. I couldn't stop thinking about her all the way home and all that day. I found the exact verse on the internet; her eerie precision was a strike against her. Her face, though, the earnestness of her brown eyes, the fact that she was walking just like everybody else--she only stopped She repeated her question: "What do you for me--made me wonder. think it says about the original?" I'll never know what motivated that woman to at memory was back. A memory from a ask me that question. Whether it was a ranperson who used to take God and his Word se- dom thought that occurred to her in an instant, another moment in a lifelong search for a God riously. I knew the answer she wanted. that looked like her, or an outreach of feminist "at the original...must be both male and fe- evangelism, does it matter? A stranger affected male." I felt the relief like when a professor my day, and isn't that the goal of all those peosmiles and nods heartily to let you know you're ple out there? Maybe an ambiguous difference, on the same wavelength. is woman was like an androgynous God, is something to hope for. searching not for an ultimate truth, but for a similarity of thought with another human. "Water Wor ks" by Natasha Mbabazi 10 "Train" by Ryan Tuck Red Brick Anonymity Natalie Schack e city is red brick gardens with streetlight trees, enveloping the pedestrian in sheets of intimacy. e ivy walls are closeness, pressing firm, like swaddlings, cool like absentminded breezes coming off a faraway shore, filtered through someone's woods. Cupping the bay in one hand and arching her back to the vastness of the west, she cradles the lives and lives twisted around each other in the crannies of her bosom, in the unending apartment buildings. In the city, my fingers are entwined around everyone else's, my feet jostle for space with everyone else's, my eyes hold conversations with a thousand everyone elses. ere is no prairie of low-lying sun-bleached homes that stretch themselves flat and exposed, revealing you as their blemish, their child and stranger, the uncertain paint spatter on it--faultless white canvas-- as you pivot and slide directionless: either a coy modernist expression, or an artist's clumsy mistake. 12 r Made Tailo J.M. Olejarz full orange at sunset are the colors of a common autumn-- it drapes silken from the sky, and velvet down the city walls like a curtain, like too much fabric left to bunch in circling, pillowed folds --it slowly turns the leaves to match-- oranges by default, yellows that haven't quite yet, deep reds that drift from trees to river, land and floating on the surface. they join the sunset's sparkling waterlights--an embroidered sapphire tapestry of diamonds and opals, all set gleaming in the intricate nautical arrangement; all raw materials waiting to be used. a small sailboat drifts lazily, gently nudging a path between the gems like an indiscriminate jeweler picking through his vast collection --jib and main raise casual claim to the surrounding riches-- the mate and captain recline on deck, lifejackets for cushions, surveying and appraising the surrounding natural showroom. they gather in the bolts of fabric, reach down and scoop handfuls of liquid thread, to pencil mark the dimensions of the skyline, to fashion their own existence: craftsmen, they are, who take the varied textures of the season, and snip trim stitch them into something somehow personal, a chance individual fit. craftsmen, both, they are innate tailors, born to the task, who can cut the living world to suit them. "The Yellow Line" by Jason Jedrusiak "Leaving Ground" by Lauren Chapman ki Magdalena Szalows Well It 's About Time 14 ey laughed when I died. I told them they would. I jumped out naked, so shield your eyes and giggle. I forgot my parachute, or ripped it out when no one was watching, I can't remember which. But the fall was clear as day and no accident. I fell and fell and fell and fell some more, And reached the grounds of the Barbary lions. ey're still alive, I swear! But I'm not, for they mauled me. e whole scenario was an act, Read through but never rehearsed. Razzle-dazzle, hula hoops, and even circus lions! Oh how spectacular the show was, And for the grand finale I spewed blood Like communist communist communist confetti, And still in the nude. I had some pearls but Sylvia Plath stole them. ey were mine first, honest. I don't want them anymore. ey say she got `em all sticky... ...Skank. Anyway it was like the echo in a grand ballroom made by a mute-- e laughter, e humor found in death, e entertainment provided by the black plague, e sold-out shows for the holocaust. I was still somewhat of a star when my curtain closed-- Less than thirty, more than ten-- Not old enough, just like I promised. I went out without a wrinkle, For most bow looking like those cute Shar Peis. I'm not a dog. e personality of a female, perhaps, But human as far as the eye can see, And I died young and glamorous. I'm dead now and past lovers leave tears at my grave-- Tears of joy, silly! At my funeral, the orchestra played "Barnum and Bailey's Favorite," And the parlor had more vibrancy than a San Franciscan gay pride parade. But my splendid crowd smirked and smiled, hollered and hooted, clapped and cheered and roared and giggled and... Laughed. Oh how they laughed! I know this road. I have driven it countless times with you--windows down, music up. Casual California summers always seemed so fresh, so new--so alive... Time is fluid as memories rush over me. I feel them flooding the car and I am overwhelmed as stagnant nostalgia is replaced by an understanding of this new world I must adapt to. Seagull Anna Westendorf Now taking slow, shaking breaths, I look at you for the last time. I become dizzy with the reality I can no longer ignore. Lightheaded, I slowly step away from you, each tear a moment, a memory. I try to remember to breathe (I wish I could for you) and voices hover in the static air, fading in and out of my consciousness. ey close the lid. I close my eyes. I am aware of someone holding I know this road. But I have not turned down me, but I have to struggle to feel something other that side street, taking the slow curves, anxiety than this unfamiliar heaviness in my chest. building as I round the last one. I have not before seen this peaceful and eerie expanse of grass I take a flower. It is so bright...the way you had stretching before me in the parking lot. I glance been. With an unsteady hand I reach out to drop up at the clear blue sky and silently curse the it. I let go of the stem, but can't seem to convince cruelty of a beautiful day in March. myself to let go of you. I sit in my car for what seems like hours (or perhaps only a fleeting second) before I realize I must get up (pick myself up again, move on). I catch my reflection in the window and swear I can see my heart nearly beating out of my chest. I feel the sun warming my bare shoulders as I reach for my jacket. I remember one chilly December night on a friend's back porch: a few friends, a few drags off a clove, a few drinks. I remember your arm around me, keeping me warm as my head rested on your shoulder. I remember I settled into the comfortable and familiar happiness that comes with being home (home will never be the same), letting the laughter and chatter wash over me. I I narrate my motions in my head. Inhale, exhale. remember. I will always remember. Close the door. Deep breath...release. Repeat. One, two steps. Hesitate. Here lies a truth I am It's late--you need to go home. Another ciganot prepared to face. Whispering to myself to rette, another hug, and you're gone. the rhythm of my slow, painful footsteps--why, why, why... You're gone. I am not surprised by how loved you are. I recognize the faces, but do not process their presence. I feel alone in a mind-numbingly silent world. Everything is a surreal dreamland, and I am floating. I can feel myself choking as I reach you too soon. "Flight" by Ryan Tuck 16 On the Farm And the way the girl moves-- A hippie dreamer, Peace believer, Dancing naked --Reborn; free. Oh how her hair-- Strands of gold honey, Sticky with sweat --Flies through the heavy air. And the feet-- With ten long toes, Covered in brown --Stomp to the rhythm Of seven brass horns. While the band grooves and sways-- Beats from the soul Pull marionette strings --Eyes follow that girl. But now the song's over-- Brass band offstage Leaves thick silence, Hanging --And the dancer is gone. Jake Stains 18 dear dr. Anxiety, dance & always remember the time we burned sugar. Jason Jedr us iak you said "squeeze the flame & Bite Your Tongue." oh! that dark aroma playfully explores the body of my throat; its sweet lust clutches blood thy Mood looks past the turquoise gray clouds & bathes in the candied bouquet of Envy the garden whispers: taste taste taste I listen. paradise we howl at A waxing moon Of fire thorns of pleasure fever thou skin I escape Again until morning devours our delicious sordid Fancy? "The Clash" by Jessica Moog Trainwreck How many times Can the pieces be put Back together Before the seams refuse to heal? Is it better, then, To run screaming, Scared, In the direction from which you came? Away from what could be either your Salvation or Undoing? Or quite possibly, As it always is, ey are two faces to the same coin. So let's flip-- Heads, You stay, You love, You win. Addya Bhowmick Tails, You run Before you can shatter. So why cut and run When you've never been more happy, When you have not felt so light In so long? Because in the pit of your stomach Sinks a stone of doubt and truth at will never allow you to float too high And will always, Always, Keep you down. 20 "Looking Through" by C. Benedix i o Staan nefss Bl c k James Cucchi thought, and go back to a time when he didn't have a care in the world and had not yet been jaded from years of menial jobs and unfulfilled dreams. As the bus drove onward, omas walked past windows plastered with advertisements for Coca-Cola and Marlboro cigarettes and entered a small convenience store. As he pulled the door open with a ring, the stench of smoke smacked him in the face. He noticed the source almost immediately--the Italian proprietor, Giuseppe, was stocking packs of chewing gum and other assorted candies into the racks behind the stained wooden counter, and smoking a large cigar. He did not look up as omas came in. "Giuseppe's" was a neighborhood institution. omas remembered a diverse array of kids flocking to the store in droves during the summertime to take advantage of the dusty old air conditioner in the back window and a variety of hand-scooped Italian ice--lemon, cherry, or blue raspberry. Likewise, an older crowd, all Italians, congregated near the meat counter along one wall. ey sat there talking and admiring the marbled salamis, bolognas, and even a whole smoked codfish hanging from the ceiling. At this hour, though, the store was empty. Sirens whirred by outside as omas Jackson lay on his bed He just lay there, silently watching the blades of a cheap ceiling fan slowly go round and round. It had been a rough day, he thought, raising his hands and staring at the blackness that stained them. is blackness, he reflected, had ruined his life and dashed his hopes. e empty white plaster walls, decaying carpet, and wobbly table were the least of his worries. If he could change one thing in his life it would be the blackness. As the wail of the sirens passed nearby,omas turned on his MP3 player and thought back on how the black stain had affected his life that very night. It all started on Columbus Avenue. omas was trudging home after a day trying to eke out a living. He was currently subsiding on welfare checks, but they couldn't always make ends meet. A man like him couldn't get a job, even in the city of Boston--people took one look and had seen enough. He couldn't keep track of the times he'd heard the phrase, "I'm sorry, these are tough times," or, "We don't think you would fit in here." ey sounded considerate and made sure to come up with a likely story, but it was all lies--he knew the real reason they didn't hire him. omas wandered down the middle aisle, careful to avoid knocking over a teetering magaA yellow school bus rumbled by, full of youths zine rack with his coat. Although he had coming home from the suburbs. Music blared walked past the store countless times over the out of the windows and a cacophony of rowdy past month and a half since moving into the voices echoed loudly as the brakes brought the neighborhood, omas had only gone inside bus to a screeching stop at a red light. If only once or twice. Tonight his legs were too tired he could be one of those kids again, omas for the walk down to the supermarket after the 22 day's hectic events, and he was in need of a quick dinner. In the back of the store, amid racks of potato chips and cheese snacks a month out of date, he noticed several stalelooking sub sandwiches beneath a sign that read "Made Fresh is Morning." Finding one that seemed edible, omas brought it up to the counter. Stooped over behind the counter, Giuseppe was busy placing fresh rolls of lottery tickets into the dispensers lining the back wall. A gruff voice emanated from an old black-andwhite television in the corner, telling of a daring bank heist that had taken place only hours earlier in a nearby neighborhood. Giuseppe did not even look up as omas placed his meal on the counter with a loud thud. "One second, one second," Giuseppe called out as he slid the last roll of tickets into the holder. e thick Italian accent fit the man so well that omas couldn't help but smile to himself. He doubted that he could find someone more Italian in any part of the city, including the North End. Giuseppe's large, pointed nose, which gave him a somewhat patrician air reminiscent of Caesar or a wealthy Medici, leaped out at omas as the man rose to serve him. "at'll be three-fifty," said Giuseppe as he reached for the register to ring in the purchase, still not looking at omas. he stammered, "Get out...get out of my store." "Hey, I'm just trying to buy some supper, chill out," replied omas, taken aback. "No, people like you ruined this neighborhood!" roared Giuseppe, now once again in possession of his faculties as he reached under the wooden counter. Seeing Giuseppe's movement,omas grabbed the sub and ran for the door. Once outside, he sneaked a glance back and saw Giuseppe standing in the window with a short wooden club in hand. omas dashed around the corner, wiping sweat off his forehead, and jogged a block or so until his heart finally stopped racing. omas couldn't keep his mind quiet. oughts of "What does this mean?" and "What should I do next?" popped into his head as he replayed the incident over and over. Once he looked back and thought he saw the old Italian following him from afar, but when he looked again the figure had turned down another street. His mind was playing tricks on him. Clearly, omas thought, he couldn't continue living in this city that he just recently had begun to call home. He couldn't stay, and he had to get out as soon as possible. He made his mind up on the spot to leave the very next morning. His aching back and legs, sore from a long day, were the only things preventing him from leaving that night. e move would be nothing new: omas felt more at home on the road than he did anywhere else. As omas placed the money on the counter, Giuseppe glanced up at him and froze. His eyes locked on omas's hands, slowly made their way over his jacket, and finally settled on his face. Giuseppe's mouth opened, but no He silently slipped into his building's laundry words came out. As redness crept into his face room through the back door and creakily as- cended the stairs to his room. He flung his backpack into the corner, went to the sink, and began scrubbing his hands. "Why won't this blackness just come out?" he thought to himself, almost sobbing. He held up his hands to the mirror and stared at the darkness that would not budge no matter how hard he scrubbed. omas threw himself down onto his bed as the sound of sirens a few blocks away reached his ears. A little sleep might do some good, clear the mind, he thought as he closed his eyes. When he awoke, the beam light from the street lamp was shining against his wall, projecting the gnarled shadow of a black tree branch against the pale plaster wall. omas sighed, turned on his music, and lay pondering his future. e skyscrapers of New York City, which towered over anything Boston had to offer, seemed to be beckoning him to new heights, new dreams of grandeur. In New York nobody knew him--he would blend in with the multitudes of people, get a job, disappear into society, and maybe even live a normal life--one that he could not live in Boston. e sirens had by now come to a halt, and omas heard doors slamming on the street below. Removing his headphones and peering out the window, he saw four squad cars parked on the street and about a dozen officers disembarking onto the sidewalk. His blood froze. omas leaped out of bed, knocking his new cellular phone to the floor, and ran to the sink. He stared at his face in the old mirror--it was as pale as a ghost. He attacked his hands again, scrubbing futilely at the black ink. As footsteps thudded up the stairs, omas dashed to his backpack and opened it, frantically ripping out bundles of ink-stained bills and stuffing them under his mattress. He had almost finished by the time the door was smashed in. e End n me s SheidiNaks iHer M d le Danger Abby Zorbaugh I hear about her face before I see it; his punches must have been painful. Was this a mere mosh pit casualty, or did her belligerence spark concertgoers' violence? Not till midafternoon does she amble out squinting and groaning, brown bathrobe hanging limply from her naked frame, dead-eyed. Her curly hair reaches new heights: it's matted and tangled like Edward Scissorhands-- near the movie's end, when he stops trying to fit in. e lock clicks on the bathroom door. We count the minutes she showers, afraid she'll pass out in there again. Leaving our apartment would require explanations, so she doesn't. I hear her lie on the phone, saying she's fine but worries she has a concussion. I have places to be, but feel guilty leaving: her immaturity makes me protective. She meets inquiries with one-word responses or teen angst, depending on her mood. A volatile mess, she's not the first I've wanted to fix. I've got to stop clutching fireworks. "Por trait" by Cait Madden 24 Grass Because of the warm sun and the evening air we held class outside on the dew-damp grass, my students' books and bags transversed by little insects intent on the completion of insistent secret tasks-- e wet grass seemed to grow beneath stained denim and wet cotton, heavy limbs making strange beds of the green fibrous blades, which pointed in all directions and sometimes down to earth where under grass and sod lay a cemetery of children long asleep beneath the living-- Impressions Timothy Strange Tonight I recall the sounds of uncorrelated words my students shared in that grassy twilight Babel while for 200 miles down gravestones of lost children rose in mournful clusters of marble and forgotten words, the voices of the children murmuring in dark graves of the searing sweetness of waking on summer mornings to the din and delight of a thousand thousand hours wasted joyfully while supple hands turned into cold stones-- And when they went back to tiny rooms and cots, leaving behind strange impressions in the green-bladed yard like monstrous, deformed grass angels, ghosts of their hour spent there, all I could think was how nice to go home and sit in half-light, drinking coffee while the sun disappears, holding back the trickle of terror that has welled up into the cellar of my brain while that field of grass, emblazoned with the impressions made by unwary youths, holds down the rising stones of children's graves underground. 26 "Land on Me" by Carolyn Meer s Incognitus Tar a P. Vilk Coils of light reflect back, slithering along pavement ordained with gum and broken patches of concrete filled with green life. Home for so long, the past stretches and arches its back; the dips and valleys flow like sound waves. Future is voracious, and I without a shield fail to find clarity in a blurry sky. Growls from below hunger for motion as snakes turn to shadows. Weather waivers as my moods, dictated by Climate's schedule, vacillate, minute lightning bolts which spear, spewing stars from Midnight's belly. Why return for answers that will not be? Why wait for resolution that will not come? ese diamond freckles offer no value but to enhance the beauty of the face they lie upon. e outlook, ever evasive, is observable only after its creation. As a loyal dog follows its owner, so does our history follow us. 28 "Shatter" by Jason Jedr usiak working title e little self-worth that I have has been shattered. Who do I think I am? I can read a poem. I can write a paper. I can watch a bird dip and dive through a cloudless sky and know the true meaning behind it, or at least relate it to something of substance. I have optic nerves and opposable thumbs. I am not a writer. I am a human who can see, think, feel and articulate. I am not saving children in Darfur or creating means of sustainable energy. I am simply watching evolution day after day and putting it to paper. Anyone can look out their own window and see a girl bicycling or a vagabond begging for change. Anyone can feel the reactions to these images. Anyone can pick up a pen, write them down, add a date and call it poetry. Where do I go from here? 30 Caroline Steuer nagel L ft Doesin'e Fit in a Spreadsheet Rebecca Payne life doesn't fit in a spreadsheet every aspect quantized minutia-ized to the nth decimal place. there's never enough time to gather data consider options; choices are forced. rolling deadlines leave estimates in vital variables and some can never be filled at all ( is love on a scale of one to ten? what is the square root of family ties? ) a haphazard experiment: no control group no multiple independent trials; impartiality's fiction--each run built on the bias before trying to offset these influences with methods and protocols that define interactions, from holding a fork to searching the net from courtship to stages of grief, is an effort at standardization of the inherently unstable process: an ultimately failed attempt to subdivide knowable parts from an infinite whole e I planted your thoughts in my burial plot in the memorial park under the sign that says "Curb your dog; keep off the grass." I drew you a map out of my forgotten notes, my drafts, my dreams and research, and my favorite book that you can't remember. It's been so long since the last time I followed you now and sent a panther to look for you in a desperate way that you live on the tenth floor and it couldn't fit in the elevator. I saw your lights, I found out your inspiration wasn't anything more than a busy street full of rich people and overpriced merchandise, and your music selection for the soundtrack of your failures was something you illegally downloaded from the discount rack next to the register and the can of pins on sale for a dollar that tell you to "Fuck off " and "That's what she said." Your people-watching skills aren't enough to pay the rent on your expensive hole-in-the-wall so you pick up a pencil and pass it on and hope someone cares, but when someone does you don't know what to do with yourself. In a way, it's the saddest thing that's ever happened to you that your mother didn't buy you from a department store with the money she saved from her private enterprise to put to good use her knowledge of what privilege buys from the right people. Someday you'll meet the right person and think that you wish you were young again because now you are too old and your canvases are starting to shrink. In the cavern of your inspiration you'll wrap up nice and ArtProfessor Ana Roth neat and tidy the thoughts you were too afraid to live for and pretend that they don't exist, it didn't happen, and in the end you'll know, I'll know, he she it they we all will know what you really meant to do with your time. You keep a box of paints as a pet and know you never really did anything too risky but you're better off than anyone who did because at least you're happy, you tell yourself, because you knew from the start that it was all just a bunch of bullshit, you tell yourself, and you needed something to distract yourself so you bought a book, you took a class, you spent a little too much time alone with yourself and smoked a little too much of something you couldn't afford and waste not want not. Dig a hole in your father's trust fund and get comfortable because it's gonna be a long winter, baby. I remember that you had a plastic tree in your overpriced apartment and it matched your cheap shoes that you owned and bought and paid for and you couldn't remember what you were doing so you did something else. I hope you did enough to keep yourself satisfied. Someday you're gonna find the one and say, "Baby, you're the one, let's get married, let's start our lives because these last few decades were only a practice run. Let's tie our lives together, let's spend all the time in the world, baby, the world is gonna end and it's gonna be too soon. Let's go on a honeymoon, let's go on a cruise. Let's have kids, let's settle down, let's live in the suburbs, let's remember what it's like 32 to be young and in love while we do nothing you say good-bye in the morning with a smile like it. Baby, I love you, you're the only one for and a kiss and maybe the hope that things will me." get better because, God knows, they can't get worse. Crack open a cheap beer and fire up the In your exotic island of faraway plans and joint grill and kiss the cook because your reign of checking accounts and matching the drapes mediocrity is just beginning and, baby, it's with the rugs and picking out your faucets to gonna be a long summer. clean the dishes that pile up at your Hanukkah dinners and pretending not to notice how your Remember your honeymoon and remember world is shrinking you will stop and look that cruise your momma's money bought you around and say, "Baby, nothing's wrong." I hope next to the flatware and the blenders and the your new corporate job supports you enough, monogrammed towels and the tacky albums buys you a new car to park in that garage paid and the thousands of signatures and photos for with your money and freedom and inde- and memories of varying degrees of pain, and pendence you worked for so hard and these your wife got sick from the all-you-can-eat past few decades were just a practice run. Don't buffet on the main deck and your boat hit an forget to put your ring back on, check your face iceberg and your cabin filled with water and in the rear-view mirror for lipstick that she left you couldn't find a lifeboat, and here you are when you left her and when you left yourself all these decades later from the second honeyback in the city all these years ago when I knew moon you find yourself stranded in Sweden you inside a single building and you gave me with a casket and a story to tell your kids over more than I asked for and you didn't know ice cream from the drive-through, and they'll what to do with yourself. Your inspiration was cry but you can't find the room in your soul a busy street with rich people and expensive overcrowded with the memories of your prostores and you paid too much rent for your tiny fessional people-watching and illegal downapartment and you lived with your sister and loads and expensive streets and bad paints and you worked your freelance and goddamn you old canvases and fake plants and dirty sneakers had your freedom and your integrity and the and worn backpacks and bad coffee and the afworld was a big bright place full of opportuni- ternoon you spent in the park dreaming that ties to come knocking on your bolted chained life would be better than everything it turned door you decorated with sketches and stickers out to be when you turned around and said, from bad shows you saw in college with ugly "Baby, you're the one for me." girls and drunk guys because you didn't want to do your homework. Your heart, your house was full of your paintings and your favorite people you saw on your busy expensive street. Their faces bought you your house in the suburbs, your new shiny car, your kids' college education and the hotel rooms you used to cheat on your wife and your electric toothbrush and the way Tim ot h yS A Saturday morning, spring, 1977, I awoke to the music of swingset chains before the sunrise-- Katie Earnest was up before the light, launching herself again and again on rusty chains into the purple air-- (What was she doing out there so early?)-- For no reason at all I was sad, thinking of her waking before dawn, cold and sleepy and descending the stairs, moving into the yard across the field from the muddy Red River, sitting on the white plastic seat, launching herself, launching herself at nothing. tran ge Aubade Papyrus The colors are beautiful, visceral. Gold hurled against orange, in a motion like a murderous fist crushing an object of hate, blending flesh with bone, bone with blood: an ecstasy of color and texture. Its delicate rice paper is kept crumpled to artistic tenderness, filmy edges torn for avant-garde appeal flutter posthumously, exposed fibers waving softly from the AC--deadcold, robot air-- while pasted-on glitter plunges painfully to the floor. All up for sale: another whore on the block. Natalie Sc hack 34 "Let it Rest" by Cait Madden 36 "Thought I'd See You One More Time" by Gina Bollenback Dear N______, as if by some nameless god's command, I've remained shackled here for some time. Mother calls me Bertha, some crazy lady in the attic, The self-sentenced prisoner. Only you know (don't you?) that the thoughts Of you have rendered me immobile. Do you remember (tell me you do!) The night at Orient Point? We played trespassers on someone else's Intimate haven, feigning abandon we never possessed. A starless sky, the roof over our heads, We coveted the miniature block houses Scattered like Lego pieces across the field. Some distant church bell strikes eight, The sun beating on my face, my night has just begun. You must be sprinting up the subway stairs, Your face flustered with concern at That coffee spill on your tie. The creases on your forehead deepen. You are quite the serious man these days. Darling N______, I am a mere shade, My tiny grey particles bonded By the memories of your scent. I think Of Orient Point, muster the strength to think some more. The way the universe, the silent spectator, hushed its spirits, The way you stared, fixedly, at nothing--and I, at you-- As you slowly buttoned your shirt. Thoughts swirl about my shadow brain like Whirlpools of cream in black coffee. And in these thoughts I see your face, Grains of sand, your five o'clock shadow, Prickle my fingers as I trace them along your chin, Across your chest, around your navel; With the contours of my name I draw myself a path. You've been busy, but I wish you'd write. Don't you remember, N______, don't you, don't you Remember, I used to lie beside you. Maybe I have become just a blip on your mind-map. Yet I write, even if the recipient is some elusive space, even If my words are swallowed by some harshly indifferent vacuum, I write to you. Orient Point Athulya Aravind 38 "Specula" by Carolyn Meer s J In the back of my closet is a dress that has hung there motionless for half a decade. It's too sweet, too small, and too white for me. Yet it stays there and I cling to it the way people cling to the past and to the future and to the slightest possibility of talent. I wore it once, in an ecstasy of childish delight and excitement, wearing white in a gray world. We were clean, clean white slates, white as our clothes, which were new and bought especial for the occasion. Being Catholic used to mean church and cookies on Sundays. It meant seeing my cousins and listening to stories and laughing with Father Mack. It wasn't sacrifice and it wasn't love. It wasn't religion.Then again, what was, when I was seven? sdus en a hite Dresses W Natalie Schack ing with delight at the little pools and fishes, his own aquarium right in his tummy. When he laughs his eyes are closed, and when he opens them you can see the melancholy that clouds the back of every expression: the eternal sadness even when he is laughing at tide pools in his tummy. I'm confused at this paradox of emotion in his eyes. He accepts that there will always be wood attached to his back, that he died to save the world and people are still murdering their wives and raping children and waging crusades. I can imagine that if I were him, hanging from the ceiling from a clear thread (to look like he was floating), I would feel as if I had given up. He always looked so haggard. I wonder if he thought it would change everything when he died, that he was saving us from ourselves. Now, 2000 years older and wiser, he can only plead with sad eyes, resisting the despair that centuries of horror have sown in him. On the day of my communion, he hung there as usual and no one noticed. How many times had no one noticed? How many days did he sit there quietly, how many nights after the door was locked so thieves couldn't steal any more of the Stations of the Cross did he hover in the dark, motionless, waiting for the next batch of sinners? The church is circular, not rectangular like most chapels. The worshippers radiate around the altar, and suspended from the ceiling is Jesus himself, hovering on his cross in midair, halfway between the pinnacled ceiling and the floor. Sometimes I would contemplate him while the priest was speaking of sinners being punished. Up there always, forever attached to that block of wood, with his ribs jutting out awfully from his abdomen, so much so that if you laid him horizontally and poured water on him, he'd have little tide pools in his tummy. I can imagine him watching us try it, as curious as we are about the outcome, and then laugh- 40 "Wedding Day" by Natasha Mbabazi "Wedding Day" by Natasha Mbabazi because church is just not the right place to brag. And I remember the red punch after, always, motivation to be a good girl. Now the dress is stowed in the back, along with black and white and along with childhood and along with Sunday School. It keeps company with playing outside and having birthday parties with pi�atas and it goes to sleep with ballet and karate and my other childhood memories, my other experiments. I'll never fit it again, and it will never mean the same thing to me. But I can't throw it away and I don't know why. We were a river of flowing, chattering, whiteclothed girls and boys with hakus and ti leaf leis and no idea what we were doing, no idea what we were committing ourselves to. No idea that our soul was at stake, no idea that we were pretending to have learned, in a few years, something it takes a lifetime to know for sure. And like obedient little souls we marched marched marched up to the priest and had wine ("...ugh...") and the flat bread with the flavor I just can't put my finger on. Our eyes were fresh and our minds were as fresh and pure as that dress in my closet. Our white dresses gleamed all the way down to the altar, like a bride, marrying herself blindly to a belief. I remember pride at having the prettiest, finest communion banner, with a silk Sacred Heart and floral cross and roses and gold braid. I remember not wanting to say anything about it Sprawled out on my dirty, sheetless mattress in white denim shorts and a bra, through my windows hot light reaches spindly towards my body as the mice squeak and sputter, racing across linoleum tiles. Summer. W onderland Rachel Zar rell I am sprinting downhill to Jimmy's apartment on Darling Street. Jimmy doesn't believe in phones, or keys, (or bank accounts) so I shout his name from the parking lot below his window until he steps onto his balcony and looks down at me, smiling, a wine glass clasped tight in his hand. Jimmy loves boys like I do, but since he knows what they want like I never can, and since he is 21 and I am 18, I know I would do absolutely anything for him, and probably have, so I break into his building with my credit card and run upstairs. During the nighttime I waste away on Newbury Street, serving overpriced pizza to rich tourists from Italy, or Paris, or Hong Kong, with their boxy, expensive purses and fingers that point to the things they want. after, my hair rich with garlic, I'll collapse from the steep uphill walk into my shoddy apartment, six hundred a month but I somehow plead my dad into paying half. He doesn't know I live with six tall boys and an empty fridge, the scummy white plastered with German magnetic poetry left by the tenants before us that we push together into foreign nonsense phrases then look up late at night on the internet. we have known each other all of two weeks, my new friends and I, and so are infatuated with the heady restlessness of being attached, of how easy it is. we count and coddle the days that stretch out before us, each one lazy and sticky, like candy. one night all of us crowd into a dirty bi-level, wedged behind a Burger King. Eli takes my hand as we walk through the drive-thru, and I peel a stamp off our shared fries that says we won fifty dollars, which he pockets and promises to mail and split with me when I get back in the Fall. (I never hear about it again.) and I overhear him, later, talking sloshily about liking me, which I try to ignore and he forgets entirely by noon the next day. but, despite myself, I can feel that I Iove him already; all of them, painfully, an aching only boys can inflict, wanting to hold them or mend, when all I can do is 42 make pasta at 2 am, or let them spin me, earnestly, while we ballroom dance drunk in a living room. and it's three or four in the morning now. we're all fuzzy-headed and cold, walking to a Chinese restaurant someone swears is only one more block, one more block, and Jimmy yells into my phone at his best friend home in Georgia, or else he's singing showtunes in the restaurant at dawn, uncaring to the dirty looks and snapping when I try to tell him, and Eli probably hums to himself or smiles at me; and I hide my grin and think how we'll be neighbors in the fall, but it's too far away to wrap my head around. and in the moment I think, falsely, how nice it will be to see each other all the time, and even let that thought slide me into a deep sleep, too many warm nights to count. but it's still Summer. I am leaving in one week to be a camp counselor for cynical 13-year-old girls. I get fired from the pizza place so I retreat to Wonderland every morning instead, a sad little beach that skirts the poorer areas of the city. on the T the tan men stare at my brown bikini straps, sometimes asking me foreign questions in smooth, coalescing Portuguese. once there, I swirl white vanilla ice cream onto my tongue, then pose as there's a flash of the five of us, our arms around each other's waists, ankle-deep in the foamy yellow surf that's crowded with pollen. We drink too much, always, and get restless, so at midnight, my last night, we hike to the park up the hill, up past the tire swings and the glinting metal slide. while the boys talk quietly on the boulders about things only boys know and I never will, their voices muffled just out of my reach, I stargaze alone and collapse into long, cool grass, content and not caring, like I should, that this will all end soon, how coats and scarves will bring with them the disconnect, the anxious, hasty meetings in the dark, aimless attempts to get back to this place we had, and then the truth: about all of us, about how being alive is just easier in the summertime, how the buzz of warmth will peel away and leave only hurt, even if I spend the whole season denying it to myself: none of us will remember how to love people like that by the time the cold sets in. Megan Varanyak Jarett, coarse hair, wide smile, and those cowboy boots. He likes to say: "Hello." The time, the place--it doesn't matter. Walks up to the counter at the corner store and always says: "Hello." Tuesday nights we meet. Holding clippings in my left hand, one large Starbucks coffee in his right. Right across the table he will catch my glimpse. Crossed-legged, a sitting Indian chief. Orders the tuna and California roll to share at Bonzai--he likes sushi. Tries to use the chopsticks, but his fingers can never seem to grip. Stumble between their structures. Tries twice. It works. Resort to a fork? No, not him. Jarett is always inspired. The stars of last night's meteor shower, soaring from some unforeseen destination, he would say, changed his life. Replay that song. Track 5, with the soft melody: So what if now is all we have? Live as if you never knew what it was to lose. Grinning, Jarett will claim he has been enlightened from lyrical prose. Capture the world is what he does through a lens. Blends the chemicals in the dark with the scarce light being one small bulb overhead. It is almost as if he is lost in the dark of night, only the hanging moon illuminating his path. Lost. Well does anyone ever know where they are going? he asked me one warm night. No, I said. No. But it is good to have plans, make plans. No, just live, simply enjoy, he said. Into the city one August day, we took the metro downtown. It was rainy, miserable. A summer day when the heat sticks to your skin. Pushed up against strangers, I grimaced. Unplanned. Jarett, with his coarse hair and wide smile, held my hand. He looked forward, met the eyes of an unknown man: "Hello." The businessman, stiff, eased: We need more friendly faces on a day like this one. The stop was reached. Jarett's cowboy boots clicked off the subway. You don't know, that just made my life, he said. His stare was deep. I sware, you don't know. 44 "Dawn Looks to Dusk Looks to Dawn" by Carolyn Meer s "Individual, Indivisible" by Sier r a Smith For more artwork by : Gina Bollenback Natasha Mbabazi Sier r a Smith Carolyn Meers www.bollenback-g.smugmug.com community.webshots.com/user/tas319 nodyourwar lock.deviantar t.com www.flickr.com/photos/lynny_lou/ Spectr um Literar y Ar ts Magazine Fall 2009