MORE FUN: Images throughout the TELLING OUR STORIES Issue are linked to even more content for readers to explore. See how many links you can find!
A project of the Division of Languages and Humanities
Gadsden State Community College
Editor in Chief: Tabitha Bozeman
Faculty Editors: David Murdock, Patricia Connell, and Charity Jones
Art Editors: Brandy Hyatt & Laura Catoe
Staff Editors: Tina Pendley, Randa Tolbert, & Katie Bohannon
Community Editors: Carol Roark Wright & Ashley Ross Handy
Student Editors: Ashley Hunter, Corrieanna Underwood, and Lindsey Frazier
TELLING OUR STORIES Issue Editor Spotlight: Matthew Layne, Poet
ORIGINAL COVER Photos: Vanessa Cochran (cover), Hilary Blackwood (above),
Audra Allen (below)
WINTER ISSUE 2021:
https://drive.google.com/drive/folders/1Xli45GIsO215jrccTo-6N2i9Gnj9yLlz?usp=sharing
SPRING ISSUE 2021: https://docs.google.com/document/d/1P1P_vGVNrpMmAw2Kk4JBX0dBhHSGwpZP_bKC5gRrV7E/edit?usp=sharing
SUMMER ISSUE 2021:
https://docs.google.com/document/d/1bHGHy4yixn-GkPAd4YtuhglAh1A5evklG9xom2EsK6Q/edit?usp=sharing
SPRING 2022:
https://docs.google.com/presentation/d/13AeYbeeOUJvr0BcxHo6LCHyJ3offCC817NUdvs4yp20/edit?usp=sharing
SUMMER ISSUE 2022:
Poetry/Art/Photography: Submit up to 3 pages or files (single or separate pieces) in one email. | Fiction/Flash Fiction/Creative Non-Fiction: Submit up to 3 pages of original fiction (single or separate pieces) in one Word doc.
Check out the winning submissions in the 2023 Annual Telling Our Stories Contest, including the Overall Winning submission, as well as the winning Poetry, Art, and Photography submissions.
The "Telling Our Stories" Issue features Matthew Layne's immersive poetry experience from his new collection Miracle Strip.
Explore the work of current GSCC students and employees.
Find submissions in multiple genres, including Poetry, Art, Fiction, and Photography from creatives in the community and beyond.
Find submissions in multiple genres, including Poetry, Art, Fiction, and Photography from creatives in the community and beyond.
This is THE PLACE to see and read the work of the talented kids in our area!
Each issue features various exhibits, shows, performances, and other creative work seen out and about in the GSCC service areas.
Learn more about individuals who share their creative work with the Cardinal Arts Journal. Without these creatives, this journal wouldn't exist.
Since I began writing poetry in earnest as a college student, I have mused upon where dreams and ideas begin. The ancient Greeks had Hippocrene, a fountain formed on Mount Helicon where the hoof of the flying horse, Pegasus, struck the ground. It was purportedly capable of turning any who drank its waters into a veritable Orpheus. Through the centuries, artists have chased everything from will o’ the wisps to green fairies and all their ilk to try and capture their muse.
My personal theory is there exists an invisible atmospheric river of creativity that flows somewhere between the Troposphere and the greater cosmos. In my imaginings, this river occasionally dips close enough to Earth for us to drink from its waters, and in the best of times, even splash and cavort about in its waterfalls and pooling eddies.
My search for this Museosphere of dreams and ideas often feels like a quixotic task, but the more I write, the closer it flows to me. Ideas begin to form from keystrokes or blots of ink on the page, and a poem I thought was destined to grow one way morphs into an entirely different animal. I have not experienced much in life more ecstatic than those rare moments when I am caught in its creative flow. And so I sit and write, and I don’t stop writing until I find myself somewhere entirely new. Here’s to finding your own stream of creativity and sharing its flora and fauna with all the world.
In one quick motion,
the binding cracks. The book opens.
That which was covered lays bare before you.
Your eyes drink deep draughts
of words rich as red wine until they well
with the intoxication of communion.
The page is bread to you;
the words, your wine;
the poet is your spirit is the poet.
The soft hum of a childhood hymn
vibrates involuntarily from deep within:
O’ for a thousand tongues to sing this song that sings of you,
this budding flower,
this bursting hour, this blooming forth of you.
And then the quiet;
nothing but electric ohms from the old refrigerator in the next room.
Its current ebbs and flows
as you, too, float down a stream of consciousness
which spirals into a gentle pool of languid self-reflection.
A question rises to the surface, silver,
flashing-fish-fast, visible for an instant, and gone.
Then you’re off, trekking the rapid river course, upstream,
seeking the source along riverbank paths
twisting with fern and vines and trees older than dreams.
In a clearing, a clear spring blossoms from the earth.
You kneel and drink. A horse neighs, near and approaching, but no hooves;
only the rhythmic beat of wings rising as if you awoke
some long-forgotten bird from its ancient roost.
You drink once more and sleep to dream.
You wake to find myths, real around you,
though their stories fade fast as smoke.
A bestiary of creatures watch you take your final draught.
The book closes with a snap.
The stories are your own.
The storyteller is you.
"In the campfire tradition of storytelling, the first line of the book invites you to “tell me your story, and I will tell you mine,” and like a couple of backwoods adventurers, you and the poet travel through intricate memories of the deep south and visit the ghosts who haunt its environs as you journey through Miracle Strip."
Margaret Atwood
Photographed By Mark Hilton, November 12, 2016
the B experience
we choke on bullets as it's all we re left to eat, mashed like powdery pills between our gold teeth. and we sustain wounds wrought by men like monsters.
expected to pray for them with the system they have created.
we are bartered and beaten:
traded,
like cards from games we have yet to make memories by.
we are the safeguard and the scapegoat of monsters made from men, expected to serve obediently beneath.
and we place our boots on our necks and curbs in our teeth, as they to us.
to silence the fight within.
Untitled 1
i know these things
take time,
but they are gruelling in a way
that skins me alive.
these moments are passing,
not quick to say fleeting,
but a passage even so.
and furthermore, i am in agony,
twisted teeth and carved skin,
with eyes that look upon my figure with disdain.
these things,
perhaps,
take time,
but i am in no business to take mine.
Untitled 2
i have called you
ever so often,
to see if you have fared well
the past isn’t so kind,
is it?
yet, you still live there.
and i call you because i once i clung to you
like a storm
in the sea.
you were the only physical thing
that life had so graciously and woefully
handed me.
and i have looked on you with sorrowful eyes,
dreaming of a time when we could be
one.
but the past is your home.
and i live amidst the rubble of you,
in the safety of what’s been done.
The effects of medical mistrust and discrimination are shown by Margret Atwood in her writing of [the short story] "Lusus Naturae". The title alone shows the judgment cast upon the main character. The Better Health Channel states that “Stigma happens when a person defines someone by their illness rather than who they are as an individual.” The title "Lusus Naturae", meaning “freak of nature,” is given to the main character who has an untreatable disease called porphyria. “Such day-to-day discrimination frequently comes in the form of “microaggressions” such as snubs, slights, and misguided comments that suggest a person doesn’t belong or invalidates his or her experiences.” (American Phycology Association). In "Lusus Naturae," Margret Atwood effectively describes the effects of medical neglect on a girl who has an untreatable disease by using symbolism, internal conflict, and empathy.
In "Lusus Naturae," Margret Atwood effectively describes the effects of medical neglect on a girl who has an untreatable disease by using symbolism. Even without knowing the hidden meanings behind things like the food, the reader can easily infer what the main character feels. Symbolism helps the reader understand the main character's view of her family and herself. Margret Atwood introduces the family by describing them eating their “dry, whiskery sausages...” By doing this, Atwood was able to portray the wryness and lack of warmth the main character felt from her family. Romer Jed Medina describes the symbolism of a potato, writing that it is a symbol of love. As the main character says she is “searching out the chucks of potato in my bowl,” she is explaining how she is searching for the love, or lack thereof, from her family. These acts of symbolism show the lack of love therefore leading to medical neglect that the main character feels. Not only does Margret Atwood effectively describe the effects of medical neglect on a girl who had an untreatable disease by use of symbolism, but also internal conflict.
In "Lusus Naturae", Margret Atwood effectively describes the effects of medical neglect on a girl who has an untreatable disease by using internal conflict. The use of internal conflict can help the reader understand the war the main character and her family feel within themselves. The first two sentences in "Lusus Naturae" are “What could be done with me?” and “What should be done with me?” The reader gets an immediate glimpse into this girl’s view of herself. Lines as small as “I agreed to this plan, I wanted to be helpful,” describe her feelings of the burden she has put upon her family by her existence. Her family goes through the same kind of internal conflict, but rather than fighting themselves, they are fighting God. The mother questions God, and the grandmother attempts to cast out the supposed demon inside of the main character. Blaming God and using religious rituals, rather than getting proper scientific help, led to extreme medical neglect. Not only does Margret Atwood effectively describe the effects of medical neglect on a girl who had an untreatable disease by use of internal conflict, but also empathy.
In "Lusus Naturae", Margret Atwood effectively describes the effects of medical neglect on a girl who has an untreatable disease by using empathy. The use of empathy is mostly conveyed by the main character. She feels sorry for the burden she has been on her family, even though she is the one experiencing this medical neglect. She understands her mother's ill-feelings towards her, even describing herself as a wart attached to her, pulling her down. There is a time where she directly states her empathy and compassion for her parents; she says, “I am a forgiving temperament, I know they have the best intentions at heart.” She does not seem to fear death, instead embraces it, as if it were always meant to be this way, a weight off her family's shoulders. By using empathy, Margret Atwood illustrates the main characters sense of heart rather than resentment, and furthermore describes the effects of medical neglect she experienced.
Timothy Huzar states that leaning on the support of family and friends can “encourage a sense of security and identity and reduce negative thoughts and feelings.” The main character experiences nothing of the sort. In the end she died of people, not the illness. She says, “I’ll fall from the burning rooftop like a comet, I’ll blaze like a bonfire.” Neighbors, friends, and even her sister, were the ones to burn down her house and kill her. In "Lusus Naturae", Margret Atwood portrays the main character as an example of medical neglect, distrust, and discrimination, a problem people still face today.
Citations
Fiction: Lusus Naturae by Margaret Atwood - Prospect Magazine. https://www.prospectmagazine.co.uk/magazine/fiction-lusus-naturae-by-margaret-atwood.
Medina, Romer Jed. “Love Is a Potato.” The Vector, 22 Dec. 2020, https://njitvector.com/2014/02/love-is-a-potato/#:~:text=The%20Potato%20as%20a%20Symbol%20of%20Love&text=Everything%20about%20the%20potato%20is,be%20a%20symbol%20of%20love.
“Discrimination: What It Is and How to Cope.” American Psychological Association, American Psychological Association, https://www.apa.org/topics/racism-bias-discrimination/types-stress.
Department of Health & Human Services. “Stigma, Discrimination and Mental Illness.” Better Health Channel, Department of Health & Human Services, 18 Sept. 2015, https://www.betterhealth.vic.gov.au/health/servicesandsupport/stigma-discrimination-and-mental-illness.
“Medical Mistrust Linked to Race/Ethnicity and Discrimination.” Medical News Today, MediLexicon International, https://www.medicalnewstoday.com/articles/medical-mistrust-linked-to-race-ethnicity-and-discrimination.
Joan Didion
Grandmother Kate
Reading has always brought me peace, and my grandmother reveled in reading with me.
My Grandmother Kate was my first and greatest fan. She believed I could and would accomplish "anything I put my mind to," and told me this often. She was also one of the women in my life who gave me the gift of finding and exploring stories. Grandmother would sit in those hideously-beautiful, low-slung, bright orange library chairs every week at the Gadsden Public Library, flipping through magazines while I wandered both the Children's department and Adult department stacks, finding new treasures by Beverly Cleary, Louisa May Alcott, Catherine Marshall, Judy Blume, Grace Livingston Hill, L.M. Montgomery and so many more.
Grandmother would also let me take volumes from her own shelves and lie on my stomach in the floor, flipping through vintage leather-bound copies of Elizabeth Barrett Browning, Lord Byron, William Wordsworth, Samuel Taylor Coleridge, and so on.
As I breathed in the smell of that old paper and glue, leather and ink, I breathed in peace.
When I was a young adult, we'd sit, my head on her shoulder, in her glider and look out from the mountain over Gadsden. We'd sit there under the trees, watching the birds and squirrels, admiring the daffodils or turning leaves, and she'd remind me that she loved me, and I could do anything I put my mind to--whether that was finishing my master's degree, caring for an infant, or leaving an abusive situation. I'll never forget her telling me one particularly hard day that she worried I would forget how to be calm and relax, and that no matter my story's chapters, it was important to write them myself.
Grandmother had started college at age 16, never failed to write down and look up a word she didn't recognize, read voraciously, taught piano to pay her bills, always wore her gaudiest jewelry, started a Master's degree in the 60's, ran an animal clinic after her husband died in the 70's, traveled from Alabama to Alaska to see me when I was born, opened an herbal store on Hoke Street in the 80's, ran a restaurant on Nobel Street in Anniston, sold every pyramid scheme product that existed, and never lost her sense of self. She wasn't perfect, but she never met a challenge she wasn't sure she--or those she loved--could overcome.
Years later, we sat, her head on my shoulder, as I held her hand for the last time on this earth. She'd shared her own story with me, chapter by chapter, through the years--the beautiful parts and the ugly parts. The easy days, and the hard ones. Her story taught me to appreciate the beautiful things in my daily life, to believe the best of myself and others, and to always find something new to "put my mind to."
She shared her own story with me, while helping me write my own. Without her, I'd have never finished graduate school. Without her, I'd not have had the courage to leave a bad situation. Without her, I wouldn't have the poignant understanding of what it means to wrap up this chapter on earth and entrust our stories to others when we leave.
Grandmother entrusted parts of her story to me, the same way she did many vintage volumes of poetry and fiction. When I flip through them, I always find at least one slip of paper where she had written down a word to look up later. At the end of her life, she'd write down words she used to know but no longer recognized. And, when she asked me to find a dictionary, she marveled when I'd tell her I had every word she could ever want to look up on my phone. Then, we'd sit side by side in her bed, her shoulder now on mine, and look up word after word:
Corbel --a projection jutting out from a wall to support a structure above it.
Reinforcement-- the action or process of reinforcing or strengthening.
Enjambment-- (in verse) the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza.
Grandmother Kate was a support and reinforcement for much of my story. Now, I will have to revel in remembering her stories, and ours together, as I continue on to the next line, the next chapter.
by Tabitha Bozeman
This past year, I lost two women who were very important in my life. These memories are fractions of their stories. --TB
Ellen
Watching a fern unfurl; admiring the petals of a flower; laughing at birds bickering over a branch; the ice-cold water of the spring sparkling over periwinkles; singing songs together and breaking into parts--Ellen noticed and appreciated the details.
Her acceptance of the beautifully broken and imperfect was a gift she gave generously. Storm clouds and cobwebs, broken pottery and rusted iron, difficult relationships and patinaed woodwork -- Ellen delighted in the beauty of it all.
Ellen was a friend, mentor, listener, and encourager through many seasons of my own life, and the lives of many others. She took me in as one of her own: shuttling me to medical appointments and caring for me afterward; including me in Christmas celebrations; drafting me to participate in historical tableaux; crocheting my first baby a beautiful blanket; showing my girls how to play the autoharp and make her wooden puppets dance; laughing hysterically with me over the phone when I'd call to share some silly parenting story; never failing to send handwritten cards and handcrafted ornaments; always listening and paying attention.
During times of uncertainty in my life, Ellen was always certain of the goodness in the world, and she saw that goodness in details that I often overlooked.
She knew, for example, when I called exhausted with worry over one thing or another, that the seasons would dry out and fade the Resurrection ferns growing on the wide trunks of the trees outside her home--but she was certain they would spring back to life with a little water. She knew that whatever the current challenge was, it would only last for a season.
On visits, we often sat outside on the porch, listening and watching. We would listen to the creek, the birds, and to one another as we caught up on our lives since our last visit. We'd watch the trees sway while we chatted, the bumble bees lumber their way through the air, and the flowers tremble under insect feet.
Ellen always had some craft or project to show me, or a treasure she'd found: a new origami pattern, a delicate dried flower she'd forgotten in a book, a beautiful moss-covered rock from her woods, a lovely snail shell, a feather-and-paper littered bird's nest fallen from a tree, a seedling she'd dug up and moved to see if it would take, a piece of chipped pottery found in the dirt, a children's book she thought my babies might enjoy.
Watching Ellen appreciate the world around her and surround herself with the things that brought her joy reminded me to slow down, pay attention to the details, and be intentional when curating my surroundings. Hearing her stories taught me to find the joy in the people and situations around me.
I saw Ellen as her season was drawing to an end. I knew it would be my last visit. On my drive to see her, I tried to take in the trees, the sky, the creek with the same attention to detail I'd watched her give for the two and a half decades I'd known her. She found beauty in the people and world around her, no matter how worn or unremarkable they might seem or feel.
Ellen was musically and artistically gifted and accomplished, well-read, well-educated, and well-traveled. But, what I will remember and what I loved most about her was how well she loved me and mine and all the people she called her own. Knowing Ellen taught me that friendship transcends age, that flaws are beautiful, and that the most precious gift we can give is the gift of our attention.
Before I left, she remarked: "Life is hard." A moment later, she continued: "But, beautiful."
And, it is.
One of Ellen's adventures included her season as a teacher in a one-room school house in the mountains of Appalachia. You can read about her adventures in Around the Edge of the World and Up Petercave Creek by Ellen Brasher Harris.
Nightmares
by Kendra Perry
A recurring dream that causes night terrors
I inhale and exhale but I feel like I get no air
In these things called nightmares
Running, and getting nowhere
Fighting, but my arms are not there
I inhale and exhale and yet still no air
In these things called nightmares
Trying to find my way out
Though I doubt I will cause this is never-ending
Pretending
That I’m fine when knowing it’s a lie
I need this to be over fast
So accepting the fact that this is the past Will help me realize that this won’t last
I inhale and exhale but this time I get air
In these things called nightmares
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