
Spring
2025-2026

Burt
Oliver M Wisniewski
12th Grade
Short Story
Burt walked into work, disgruntled as usual. He was a tall man, not particularly skinny, fat, muscular, or anything really. His hair had begun its slow descent into grayness, and his eyes betrayed a vague resentment toward his ancestors for evolving conscious thought. He wore one of the two suits he had alternating wearing at his job for the last seven consecutive years, which ultimately, along with a barely more casual argyle sweater knitted by his second cousin from Armenia, who had gifted it to him at his 14th birthday (which had languished in his closet for longer than several countries had existed) and a Yoshimi Battles the Pink Robots t-shirt stained by Chinese take-out and expired almond milk, comprised his entire wardrobe. Burt, by virtue of his disdain toward his everyday life, and ultimately the whole of God's wretched creation, was usually miserable, especially today as his couch had broken the previous night, necessitating him sleeping on the floor, much to the displeasure of his back. He walked through the crowded corridors of the office building at which he was employed, with every coworker foolish enough to gaze upon his eyes being met with a tired but nonetheless consciously-made glare. Burt sat at his desk, which to the untrained observer was a perfectly fine desk, but to Burt was an unsightly wooden abomination of modern carpentry. He began his paperwork and was dismayed by the font choice for the header. Playfair Display? What madman approved this? Reluctantly, he filled it out, the whole time screaming profanities within his mind with such vitriol to make any telepaths around him break down in tears. Eventually, break time came and Burt moved to the lounge to use the coffee machine. As he walked to the blessed machine, the one island of relief in a sea of Burt’s suffering, people moved out of the way to avoid his ire. “Never block Burt’s way to coffee” had become common wisdom in the workplace. Eventually, he reached the machine and was met with the most profound disappointment in a long string of disappointments. The damned words--Out of Order. The world stopped in that moment as Burt’s coworkers braced for his explosion-A tantrum for which the scale could only possibly be rivaled by divine wrath spoken of in holy texts. Instead, Burt simply stared at the machine silently. He did so for a minute, and no one could fully tell if he was still breathing. It was as if he had died of shock and had been frozen in place by God, a monument to the extremes of dissatisfaction with mortal existence personified in human form. Then he laughed. Then he cackled. Then he guffawed, snickered, chortled, and giggled. A maddened stream of laughter escaped his mouth, bewildering all within earshot of this unimaginable noise. Has he finally snapped?, everyone wondered. He continued to make these sounds diametrically opposed to his character for what seemed like an eon-in reality thirteen minutes and sixteen seconds. Then the break ended and everyone returned to their desks. The next day everyone returned to work, dreading what had happened to Burt following his outburst. During break time, they were astonished to see him sitting peacefully, drinking tea. A few dared to speak to him about what had transpired, and he allegedly said he had realized the inherent absurdity of the universe and had decided to live a calmer, happier life. Or he had a psychotic break. There were conflicting stories.

Confessional
Amalia Weix
11th Grade
Poetry
Recently, I read an essay on the personal essay
the writer
(whom I greatly respect)
said that it was
an art form without parallel
which can be good and bad.
He said that bad personal essays were defined by centering the self
placing it on a pedestal smoothing away fault
He said that good personal essays were defined by
mutilation.
Flagellation, in a sense. Public spectacle that is devoured
in the same way hungry eyes watched public surgery.
Inside of all of u s
a longing to see inside the other.
I am haunted by our
distance
I cannot know you and you cannot know me
but in the right light my ink spills as blood
and you can drink deep
imagining we are one.

A Late Night Out Reveals Many Things
Lilly Heinz
11th Grade
Visual Arts

Avant Guarde
Lilly Heinz
11th Grade
Visual Arts

Late Night
Amalia Weix
11th Grade
Poetry
The streetlight looks like heaven to all the creatures that do not get a sun swarmed around the gates of elysium and begging to die. We all have our ticket to punch, yet here I am, wayward and crepuscular,
tasting beyond my twilight ken. I do it for you. I do it alone.
The car moves on. Passenger and operator and machine itself blend together in this hour, the weight of collective sleep heavy on my mind, smoothing borders out into nothingness. A creature shaped like a doubt, worn darkness like a crevice or the corner of the eye, the shadows you see when you force your vision too far is made flesh, made something, made animal darting across the road. The road is long and dark and unfamiliar and I do it for you.
I ache to turn down my music but I don’t dare take my eyes off the road. It feels profanely loud, a small bird in this dark forest bleating over and over I AM NO LONGER FROM HERE I AM NO LONGER FROM HERE I AM NO LONGER FROM HERE
and yet we made these roads.
As the forest births me back into civilization I am struck with the shape of all we will not see. Humans are pack animals, surrounding ourselves with familiar flesh to block out a ravenous sky. The world is so big it could eat us whole, but when we are together I can choose to forget.
Still, I do this alone.
I do it for you.

Retrofuturism
Anonymous
Poetry
The past imagines a future devoid of context
A present to be ignored, a life to dream, a dream
that is in the distance.
Far away lands are fantasies
and the world shrinks every day.
There is only one way to not wake up.
We crawl to a past hoping for a myopic future
Wrap ourselves in a carcass
and say the warmth is life
the blood is the same
the heart beats still, just sluggish
Vision hazed, details blurry
You can drown anywhere
So you want to be here.
If you don’t see it, it isn’t there
and we are so very far away.

There Are Certain Lies Only Strangers Can Sell You; or, Why I Simply Cannot Watch Movies With Tom Holland
Anonymous
Poetry
Once you see him as what he is, you will never see him as anything else.
I wonder what it’s like, playing yourself. I know he tries to be someone else, but somewhere in the midst of interviews and talk show appearances he became a character that eclipsed all others. I don’t see an actor—I see a character playing another character, and think I am in on some bit of dramatic irony.
Perhaps I am. Perhaps I’m not.
I think there are certain lies only strangers can tell you—a celebrity is ephemera, a friend won’t give it to you straight, and it simply won’t sound right born from a mouth you recognize. It has to be new. It has to be fresh, virgin, and in that moment they stop being who they are and start being the lie and you believe them because they speak of themselves.
We need these strangers to make themselves these small, complex, lies that move in graceful arcs, trailing themes behind them, so that we are, as a wise knight once said, able to believe the biggest ones—those of justice, those of peace.
And these days we all know the bald face of this world, the crushing heel of perpetuation, the grim visage of war, all heads of a beast we cling to the back of—so really it is a difficult lie to believe.
Whenever I watch student films a part of me recoils, because you cannot tell me my reality is a fantasy. That path, that road, those woods can never be anything but they are. Just as people become lies, so to will places.
It is a needed sacrifice. The world gets smaller every day, truth crowding out the edges and forcing reality closer, and we will never be able to believe it once we see it. And if we never believe it, it can never be. Smothered in the cradle for lack of anyone feeling there is a world where it can exist.
When you know a place as what it is, possibility is vanquished. The true name is attained. Accept no substitutes, even if you wish for them.
Once you see him as what he is, you will never see him as anything else.

Words Like Pearls
Amalia Weix
11th Grade
Poetry
I speak a silence—or rather, I speak around it, my words a nacre hoping to cover for what I cannot name, what I can only outline in irrelevant iridescence and pointless platitudes, a process made involuntary in its necessity, because a silence is shrapnel. Left uncoated, left to lodge in one’s throat unmedicated unresolved untouched unspoken—
Why, one might never speak again.
So tonight, I speak a silence. I move its fullness about with my tongue, gentle and coating, hoping to soothe a mutual inflammation with poet-speak and mother’s words, a stone heavy and crushing and when I line syllables around its edges I say this:
This place was beautiful. But when I look to the future, I find nothing familiar. Death’s horse races onward, no renewal chasing after it. Things keep ending, and I do not see a spring. We keep lingering on what is not yet over, savoring the funeral for it may be the last chance to see a friend.
And I would choke on this if I thought it could save me. I would choke on this if I thought it could save any of us. But this language was fed to avoid such a fate, this form resuscitation, this world clear in its message that my death serves only those who would kill again—silence serves only itself, its task one of grim perpetuation, quicksand beneath our Red-Queen feet.
I speak a silence because something must move, and if it will not be our law then let it be my words—let this be the fulcrum to shift windows, let light spill over once more. Maybe we will find nothing familiar on this odyssey, but you need the highest frequencies to see the skeleton and we speak so rarely.
This world still has good bones, I promise. When I say this place was beautiful I mean it no longer is. When I say this place was beautiful I mean it could be once more. When I say this place was beautiful—
Well. I imagine by now you can see the outline.
