2011 | Scribendi

Category	Contributor Name	Title of Piece
Essay	Kelsey Price	A Fiddlin’ Farewell
	Krystal Vazquez	Brown Piles
	Julia Youngs	Daffodils
	Chelsea Frost	My Costa Rica
	Michael Buck	The Great Rio Grande Rescue
	Jenna Brooke Westover	To Breathe, to Bloom, to Be
	Annie Pulsipher	What You Learned From Your Animal Attack
Short Fiction	Chelsea Sutcliffe	A Change in Season
	Eliza Wittman	Dear Madame
	Jared Trujillo	His Feathered Restitution
	Michelle Do	Inhibitions
	Joseph M. Sudar	Sami
	Katherine T. Paterson	Sterling James
	Avra Elliot	The Club
Poetry	Juan Zacarias	A Proud Man
	Meghan Lockhart	Cantaloupe (uncovered)
	Rebecca Dzida	Extraneous Solutions
	Gianna Marie May	Funeral
	Kyle Oddis	HomeStreet
	Nicole Perez	New Hampshire
	Jenny Goodwin	Oranges at Twilight
	Aaron Benedetti	Polaroid, Yellow Edges, in a Box Beneath the Bed
	Jenny Goodwin	Reading Patricia Goedicke
	Madeline Friend	Silent Salute
	Rosemary Steinberg	Smudges on a Window in the Soul
	Kaitlyn Arndt	Thrash Hallelujah
Foreign Language	Samantha Roberts	Legatum
	Grace Yon	Many Voices
	Verónica Treviño	Parralense Soy
Photography	Catherine Bui	Basic Shape
	Aline Marie Longstaff	Catching the Wind
	Madison Wilson	Caught in a Moment
	Jared Christensen	City Dry Cleaner
	David Cao	Fire, Water, and Wind
	Jessica Neuwerth	Heights Unknown
	Nicole Perez	I Can’t Remember Where I’m Going Without Knowing Where I’ve Been
	Catherine Bui	Little Girl Blue
	Kelly McCarthy	On Autumn’s Hill
	Mitchel Davidovitz	Plaszów Concentration Camp
	Jenna Brooke Westover	Portrait of the Artist as a Young Woman
	L. Jane Stewart	Red Sky Morning
	Jaz Bonnin	The Climb
Visual Art	Sara Crespin	An Untitled Purpose
	Amanda Stewart	Felt Like I Was There
	Corinne Lykins	Ingenue
	Megan Koth	Jacob’s Ladder
	Sara Crespin	Mind, Body, and Soul
	Kateline Phillips	Shadows of Flowers
Digital Art	Christine Chanthavong	Epic
	Jessica Neuwerth	The Improbable Stair
Film	Jesse Darling	Metamorphosis of a Boy
	Sam Price-Waldman	Running for the Rockies
	Connor Rickman	Wastage
Music	Blaine Dairmaru	In Context
	Christian Felt	Scene No. 1
	William Sullivan	The Night has a Thousand Eyes

Jesse Darling
University of New Mexico

This project was a very personal one made for an honors class during the spring semester of 2010. The class focused on the subject of “metamorphosis” in our culture. Everything from werewolves to sex changes was discussed, and this video was my creative project for the semester.
My grandfather died a number of years ago and the memories I have of him are quite interesting. I used to play long games of chess with him, which he would undoubtedly win. He and I shared a deep love for ice cream (Neapolitan, to be specific), and I remember him having to sneak it because he was on a diet when he got older that didn’t allow him to have any. My grandma would never notice this because he would keep the ice cream in a coffee cup and act like he was just having his morning coffee. We would also kid him and say, “Grandpa, why are you eating your coffee with a spoon?”
I wanted to preserve the memories of my grandfather, including the things I learned of him after his death. When I became involved with Muay Thai kickboxing, for instance, I remember my father talking about my grandpa’s days as a boxer in the Navy. Having known my grandfather in a very specific way my entire life, I wanted to preserve him with the same simplicity that he had when he used to interact with me. Those days feel like a reel of stop motion animation, in many ways.
And so, I’ll always keep my grandfather close to me, and this film was an expression of that. I feel that art allows me to understand a lot about the world that I would otherwise never understand. It has allowed me to come to terms with my own mortality, to look at something that is ugly as beautiful, and most of all, to express the compassion and love that I feel for everything. This film was the expression of that compassion for my grandfather.

Connor Rickman
University of Utah

I fell in love with history before I ever fell in love with film. As a child, my exploration of the cable channels was limited to the History Channel and the Discovery Channel. I was what some may call a nerd. Although my studies have taken me in many directions, I’ve never lost my love of history and my interest in the stories of yesterday.
The concept for “Wastage” was first developed in a conversation between myself and Stuart W. Ford, a fellow actor and history enthusiast. We were discussing the historical importance of World War I and how, due to the advances in film, photography, radio, and newsprint that occurred after it, World War II is always viewed as having the greater historical importance. Both of us found this to be odd, as we both agreed that World War I was the most important event of the twentieth century. World War I not only defined warfare for the twentieth century but also defined diplomacy and international relations as they would be conducted for the next century and beyond.
Both Stuart and myself continued to study World War I as a topic of great interest. Eventually, however, we both managed to see that the real importance of the Great War was not what it changed personally. The tragedy of “the lost generation” and the horrific conditions endured by the soldiers while fighting for someone else’s ideals made both Stuart and myself think hard about the people involved and their stories.
“Wastage” was formulated into a script after almost two years of the idea floating around in my brain. I decided to tell the story through the Young Soldier’s relationship with his lover to show the warlike world he’s entering in comparison to the peaceful world, and the wonderful girl, he’s leaving behind. “Wastage” is a film meant to demonstrate the horrors of World War I and the people created by its terror.
After three consecutive shooting days, multiple sunburns, a day spent in a boxcar and nearly two weeks in the editing room, “Wastage” is ready to be enjoyed in its entirety.

William Sullivan
University of Utah

The night has a thousand eyes,
And the day but one;
Yet the light of the bright world dies
with the dying sun.

The mind has a thousand eyes,
And the heart but one;
Yet the light of a whole life dies
When love is done.

-Francis William Bourdillion, 1890

In searching for the perfect poem for a composition class assignment to set music to text, I came across the above verse and instantly began composing. What attracted me particularly to this text was the depth in its meaning. “The Night has a Thousand Eyes” is a piece about the contrast and balance of opposites: life and death, day and night, dark and light, heart and mind. With the depth of the text and this idea of opposites, I felt that if I could capture this meaning in the music, I would have something extraordinary for a composition.

Sam Price-Waldman
Chapman University

This film is the first and only film that I’ve made about myself, and it was a significant change form my normal style of narrative filmmaking. Creating such a personal film was a challenge for me because I generally enjoy focusing on other people’s lives rather than my own.
Over two years of school in Orange County, California, my feelings toward my future, and life in general, have changed significantly. I am less sure of what I want to do today than I was as a freshman. The only thing that’s certain in my mind is that I want to keep moving for the rest of my life, constantly seeking out new challenges and places.
Because filmmaking is just as much a passion of mine as the outdoors, I always bring a camera on my trips to the wilderness. I film moments that catch my eye with no way to remember my excursions. “Running for the Rockies” was the perfect opportunity to finally assemble some of these memoirs into something meaningful.
As a filmmaker, I know that Los Angeles is the place where the jobs and money reside. I have a fear that once I graduate from film school, I will stay in L.A. to get a high-paying, steady job in the film industry. To me, that’s scary, because I know that I am happiest when I keep moving, whether or not this means work in the film business. I don’t want to limit myself to a place to which I have no connection simply because it offers financial security. “Running for the Rockies” is a bookmark of this sentiment.
At other times in my life, I have made goals I promised to myself and then later forgot, or simply lost interest. For many years, drumming was a passion of mine that drove me like running propels me now. I wish that I had realized just how much it was a part of me before I sold my equipment. I won’t make a similar mistake again. I’ve come to realize that an expedition from my normal routine is paramount to my own well-being, and “Running for the Rockies” is a lasting reminder of that.

Blaine Daimaru
Brigham Young University

As with most of my pieces, I have included subtle humor within the music of “In Context.” Because this piece was written in response to a challenge from a music theory teacher, I included a theory-related “joke” within the music. During the quasi-cadenza section performed by the clarinet, I have the strings and piano play the kind of chord progression that is studied in music theory class. This progression ends on a dominant chord, but does not proceed to the tonic, leaving a feeling of incompleteness in the music while the performers simply “move on.” These chords are not played again until the final note, at which point the tonic chord at last resolves the progression heard during the quasi-cadenza. This ending chord completely out of place otherwise, is nevertheless “In Context.”

Table of Contents

Metamorphosis of a Boy

Scene No. 1

Wastage

The Night has a Thousand Eyes

Running for the Rockies

In Context