Issue 43

  • Issue 43,  Nonfiction

    Treasures on the Beach

    art by Beth Kephart

    by Shanda Connolly

    Our happy place is Surfrider, a beach up the coast in Malibu at the end of a trail wrapping around a lagoon filled with ducks, pelicans, cormorants, egrets, and herons.  Last Martin Luther King Day, my husband, nine-year-old daughter, and I went there to watch the surf and look for treasure — seashells, that is.  It also was the day after my mother passed away several hundred miles away in Arizona.  It had been about six weeks since I’d last seen her.  As we walked out onto the sand,

  • Issue 43,  Nonfiction

    Volunteering at the Peace Fair

    art by Kale Hensley

    by Angela Townsend

    Most of the volunteers at the Peace Fair are older than me. If I asked them why, they would not be offended, because they have more important things to be. They would try out theories on the spot, lively as popcorn and meaty as portobellos. They would ask my opinion. They would promise that someday I will be old enough to take back every age I have ever been, and at that point I can take the world in my arms.

    I am still in the demilitarized zone between the ruddy post-grad and the opaline elder.

  • Issue 43,  Nonfiction

    A Life in Reverie

    art by Kale Hensley

    by Joseph Gilbride

    When I was ten, my imaginary friend was born. I was lying on the sofa in my parents’ living room, struggling to sleep amid a thunderstorm. During strong storms, I would retreat downstairs from my bedroom to put more walls between myself and a potential bolt of lightning. At that age, I believed in God and was frightened of thunder, understanding that, when punishment needed meting out, lightning was His weapon of choice.

    What punishment I deserved related to my tendency to fib.

  • Issue 43,  Nonfiction

    The Pool

    art by Reena Choudhary

    by Joan Schweighardt

     It was a quarry long before it became a pool, a huge pit site from which mortal men plundered Mother Earth for her sand and gravel. The booty was used to make concrete and asphalt, which in turn became buildings and roads. The locals who knew about the quarry called it “the pit.” Those who lived near it—and there weren’t many back then—warned their children not to play there. But some of them did anyway.

    Vertical sand walls—even those propped up with timber—are unstable and known to cave with the slightest provocation.

  • Issue 43

    About the Artists featured in Issue 43

    Nora Ampova
    Artist bio: Nora Ampova is a visual artist based in Sofia, Bulgaria. She holds Master’s degree in Painting (2014) from the National Academy of Arts Sofia, Bulgaria. In 2011, she specialized in Fine Arts at the University of Hertfordshire,UK, as part of the Erasmus exchange program. Her artistic practice is deeply rooted in personal experience, her work explores themes of isolation, solitude, self-sufficiency, travel, and the complex relationship between humans and nature. Nora’s process is intuitive and introspective, often seeking to capture the emotional and existential dimensions of contemporary life.


    Reena Choudhary
    Reena is an artist from India she believes that art has no limits and is a powerful way to express emotions,