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Mythos Cover Front roman.jpeg

Staff

Co-Editors

Joshua Cox & Megan Wick

Web Development

Benjamin Davis

Chloe Jackson

Moss Grummon

Devon Meeker

Copy Staff

Pan Deines

Piper Scherr

Lilli Black

Analie Pambrun-Carnes

Layout Staff

Valeria Moreno

Emir Pirija

PR Staff

Spenser Lamphear

Caine Ryan

Megan Radley

Julia Freudenberger

Art Staff

Tatum Huegel

Roman Di Glulio

Ellie White

Kate Clark

Letter From The Editors

Dear readers,

 

Welcome to the quarterlife mythology.

 

The creators in this issue accomplished the impossible: they brought ancient and powerful stories down to the realm of mortals. They have shown us the humanity of the gods and the primeval form of creatures of legend. They have revived the dead, who will emerge from these pages as illusions of a distant past.

 

At the same time, these creators have made myth of the mundane. They have turned intimate moments, precious testimony, and personal craft into fantastic works fitting of an oral tradition to be passed down for centuries or the halls of an imposing temple. In this selection, the lines are blurred between the casual moments of our lives and the miraculous inception of art.

 

Perhaps this is all a bit dramatic for the circumstances. But the circumstances – creation itself – demand the highest honor. This issue is a temple, and the way to worship is simple.

 

Keep creating,

Megan and Joshua

table of contents by kate clark_edited.jpg

AJ Johnson
- All's Fair

Divya Fitzgerald
- Kalends
- My Favorite Color

John Bannon
- Playing Sappho

Alondra Quintero
- little lambs of slaughter

Reese Lowenberg
- The Maxey Mythos

Wilson Finlay
- Selkie by the Sea

Emir Pirija
- Wreaths of Gold

earthworm
- Sea Monster Love Poem
- Copper Country

Eva Mangahas
- Oni

Benjamin Bradley
- Fantasy Maps 1 and 2

Eamon Winkelman
- Untitled
Kassaheim

Shira Nudler
- The Swan's Enigma - forLeda

Aidan Jimenez-Ekman
- Untitled Drawing and Poem

Sophie Schonder
- Untitled Drawing and Poem

Coco Leusner
- Persephone's Garden

Sonia Burns
- Home at last

Joao Garcia
- notes from the ghostlight

Joshua Cox
- Autobiography

Kapuananialohikalani (Bram) Barnes
- To Love Is To Turn Around (Wait for Me)

All's fair

AJ Johnson

      “Have you seen her?” Aphrodite, shrill and displeased, swept across the beach towards Ares. Without the wind and her attendants, she had to bundle her silks in her arms to keep them from the sand. “Have you seen her, dearest?” She came to a stop in front of him and rested her hands on his golden breastplate, not yet stained by battle. 
     “I’ve seen her,” Ares said. He left his words dangling in front of her and took a step away from the water. While the sand was coarse, he much preferred it to the sea. Nothing ruins leather quite like water, he thought ruefully. 
     Aphrodite blanched, then flushed. “And?” She tried for demureness, “Was she beautiful?”  
     “Yes, she was.” 
     Aphrodite scowled, then smoothed the creases on her face with a carefree laugh. She leaned forward, “More beautiful than me?” A gentle ocean breeze lifted the fabrics from her hands, framing her like a painting. Ares opened, then closed his mouth, trying to collect his wits. 
     “What does it matter, woman?” He flung his arms around her waist, intent on reeling her in. “She’s mortal.” Ares felt water lapping at the back of his legs, and realized that he no longer stood on dry land. He tore his gaze from Aphrodite and looked out towards the suddenly-agitated sea. “Don’t concern yourself with her; wait a century or so and she’ll be gone.” 
     “I want her gone now,” Aphrodite said it quietly, but Ares could hear the command in her words. Annoyed, he turned away and adjusted his scabbard. “Didn’t you hear me?” 
     When Aphrodite moved to stroke his shoulder, he shook her off. “That’s too bad, woman.” He began to walk away, Aphrodite at his back and his heart thundering in his chest. With how she carries on, she must think herself Zeus, Ares thought. “She’s married to Menelaus,” He heard Aphrodite snort and continued, “Scoff all you like. Menelaus is a good Spartan and I won’t make him suffer for your peace of mind.” 
     “Dearest,” There was a dark undercurrent to the word, as if Aphrodite were hissing a threat. “My peace of mind is worth a great deal.” 
     Ares turned to admonish his consort, and was met with a raging sea and flashing eyes. She stood with the ocean behind her, wearing an expression of disdain so potent that he feared the sky itself would fall prostrate at her feet. Aphrodite was never more gorgeous than when she was wroth, Ares marveled. Such a shame that she chose to be wroth at him. 
     “I must go.” He said, “I have a war.” 
     Aphrodite sneered. “You always have a war. Sometimes, I think you love war more than you love me.” Ares had no reply, other than an incline of his head. With nothing left to say between them, he vanished from the beach, presumably to wreak havoc on the world of men. Aphrodite stood alone, sky and sea turning as dark as her mood. 
     “Another war, is it?” She snarled and kicked grains of sand into the howling winds around her. “Damn him! Damn her! As if I could-” Aphrodite froze, lips parted to shout again, when something akin to calm washed over her. “I will have her gone.” Aphrodite  savored each word, as if the very idea nourished her. 
     The wind battered her hair and silks, and she laughed.

Playing Sappho

John Bannon

Bind me to a rock!
Polyphemus--
cinch it, shepherds!
Polyphemus--
the wise one is coming in,
equal to Aphrodite,
Polyphemus--
more loved than a lovely woman!
Polyphemus!


Sing to him now, my heart:


Do not find my love on a hill, where children play and shepherds sing.
Catch my voice over the sea, the one who spatters foam against boulders.


Enthrall me with your sorrowful song,
O giant, my heart.
Inspire my voice, capital goddess,
child of Zeus, who leads conflict,
not of the chariot sent blindy into war nor the hero stranded by a sea of rosy fog,


grant me your truth, of which I know
more than the goatherd of Lesbos, 
who falls in love as one falls into a pit, but he shall learn as I have:


what the eyes know is not he who is beneath him,
so he must be saved by the aged sparrow, trained too well, now asleep in this dark earth, striking the air with clenched fists.


His call, echoing over the mountains, is not love; the word was lost in translation.


Feel this, and I beg of you, learn what it means. Listen to how
the wind blows sweet mist far to sea, far out all the way from home and the fishermen remembered
no, not remembered: were unable to forget,


like the the jagged rock on the beach that salty foam carved into smooth, black sand, under their feet,


that golden city, 
close to the earth, as memories are close to the heart,
evolving, as love pervades the mind,
built onto itself, as knowlege turns to wisdom.


Bring me here once more, to the home in my chest, for only now I truly know it.


Listen and untie me. 
As you return to your cave each night, allow my battered heart to feel this love again.

 

Autobiography

Joshua Cox

I     (ideally some fictionalized version of me)     was the kind of child who would sometimes be told,

“You have an old soul.”

My brow has always been furrowed. I think it started because I have blue eyes.     (I really do have blue eyes – change this?)     I’ve heard that blue eyes are more sensitive, something to do with how lighter-colored pigments in your irises reflect light rather than absorbing it. Whether or not that’s true, I always found myself squinting into the sunlight, walking around outside with my eyebrows constantly bunched up. That thing parents say about how if you make a funny face for too long, it will stick like that, isn’t true     (I don’t think)     nor is the one about being too close to the TV making your eyes go square     (I really don’t think)     but, regardless, I ended up with permanent creases in my forehead.

So now I’ve ended up looking older than I really am, instead of acting older than I really looked. It’s like I listened too close to the stories people told me – about me – until they turned true. The thing is, like that one about having an old soul, or the one about funny faces, the stories aren't true. Whatever I was to begin with     (is there even such a thing as my ‘real self’? Maybe I should take this part out)     is hidden beneath the layers of yarn that I’ve been wrapped in.     (This feels a little personal. Change?)

Recently, though, I've been fact-checking. Historians have to pore over primary sources to find out if our tenuous understanding of the past holds up, and sometimes I do that too – looking at family photos, reading old journal entries – but I also have special access to the object of my study. Everything I do, that I notice myself doing, unravels a bit of the yarn.

I     (the speaker, not the author)     challenge you all to do the same. Be historians of yourselves. Uncover the truth behind the stories people tell about you. Notice yourself.

Author’s note: This is not an autobiography. It is about someone like me, that is not me. It is no more autobiographical than a novel is, no more real than a story.
 

notes from the ghostlight

Joao Garcia

there’s a northern star on a darkened stage,
beckons forth sailors with a siren song.
lit by a nightly guard who must assuage
all the dying stars who forever long.

once explorers join a fading choir,
marked as deadweight, banished to haunt the night,
flames of an incandescent desire
burn dim, only fanned by this lonesome light.

 

Copper Country

Earthworm

We go out driving, stitching it’s sides together in dark concrete and well worn dust
Beneath, it breathes,
Shaking the pines and the leaves off trees,
Aspens twirling in its icy breath. It sleeps with its head in the lake,
Cradled, caressed with waves, 
It whispers, the beast
As winds sweep over the pale singing sand of Bete Grise.
Thudding deep within basalt and sandstone gristle,
It’s great heart of copper
Flowing veins carried out and around, pounding through the country 
That bears its name
Filling up long museum rooms, lake freighters, pockets,
Crushing mills rise up on the shores, bashing the stone
From the green and russet blood of the Keweenaw-
The men come to hollow it out, fill it back in with the final breaths of many
Caved in, ill and exhausted!
The copper towns become threadbare,
Mines gone still to silent, the surging wave falling 
Back out into the inland sea
The mills fall away, ruins slowly pulled down, 
Down into the skin of the beast, chewing on old concrete
New baptized in the waves, the runoff
Worn down to stone, eaten up by moss.
Calumet, Laurium, Ahmeek, Hancock, Houghton wrestling whispers
Blowing red leaves across the forest floor,
Chug along in the cozy, emptied out frames of the copper craze-
Farmers markets and mine tours and lighthouses
Cradled in the beasts mighty hands, quiet and bustling.
Old roadside cabins call out to us-
The great heart still beating, as summer dips into fall,
I hold in my hand a droplet of copper,
Shining dull, sold in a dime a dozen shrine
Singing for the swept behind time-
Stamp mills crushing, the clatterin hammer song,
Put your head to the ground, feel it! Through the soil
And the stone, feel it!
Ba-dum, Ba-dum, Badum
Flowing out beneath the green and gold,
Four feet of snow, the sought stones
The empty, silent woods, untouched and glowing
The sky’s shine, pink and green and dancing
Crystalline air and autumn rain.
It's alive! breathing, kindling, 
Solid under our feet.
Alive!

Little Lambs to Slaughter

Alondra Quintero

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To love is to turn around (wait for me)

Bram Barnes

He repeated those words
“To love is to turn around.”
He heard the others scream: 
“If you can do it, so can she.” 

They know to love is to turn around.
“Who do you think you are?
If she can do it, so can we.” 
Who was he to lead the way? 

“Who do you think you are?” 
The fates echoed.
“Who are you to lead the way?” 
Was he alone? 

The fates echoed:
“Yes.”
Am I alone? 
“No. Wait for me?”

Yes. 
He tried to repeat those words. 
“Wait for me.” 
But he heard her scream.

And he turned around.
 

Maxey Mythos

Reese Lowenberg

breathe in, breathe out.
the fog from my exhale floats into the chilly evening air,
like smoke from a burning cigarette,
and the grassy field begins to glisten and glimmer like tiny sparks
of ice in the night.
silence seems, at first, to smother the surroundings;
my footsteps on frost seem like the crash of two cymbals,
clanging incessantly together.
i walk through the covered path between buildings,
giant brick monstrosities.
on my way, i pass by them.
two sets of glistening ruby red eyes set in the skulls of animals,
horns curling behind their heads,
frozen forever in their contortions,
two cursed dancers.
i pass them by, and continue down the narrow path.
the belltower tolls the lateness of the hour,
piercing through the air like a lightning strike.
almost, it is enough to drown out the subtle crunch
of two sets of footfalls on frosty grass
behind me.

Selkie by the sea

Wilson Finlay

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Kalends

Divya Fitzgerald

I.
I found my lungs
were trapped in stone
and carved until
I set them free.
Perhaps a cage
of flesh and bone
can make it just
as hard to breathe.

II.
My sharp edges show best in relief.
It's not so much what's scraped away as
what is left behind, the hardest minerals
honing themselves against air.
a kind of pick-tip metamorphosis, vision persisting
despite the depth. I've always found the most truth
in omission.

III.
Paper-weighting, bordered in
Play keep-away from pin and needle
Cathedral-like in scorn of sin:
A pull towards states that mimic fetal
Stones on cage on crown of head;
Frantic paddles clutching breath,
There's only one more path to tread.
To sink beneath
Is certain death.

 

My favorite color

Divya Fitzgerald

Irony is stored in the prow of a ship;
reminisce with him, in proxy.
i too remember the glory days,
fifteen pages back.
is it hard? to be picked apart
for being human
by the essence of yourself,
pride multiplied a hundred times;
no need to answer, then. i think
i know.
i wonder what’s worse.
coming back from it all
irrevocably changed,
or knowing there have been changes.
maybe you
are just as much there
as you’ve ever felt, and people are still

looking for your ghost-
maybe i’m tired of grieving myself,

but i’m more scared of being forgotten.
i love tragedies.
but sometimes, i think
before they were heroes,
they were people...
what does it mean,
to be a wine-dark sea?
please don’t forget my favorite color--

 

Oni

Eva Mangahs

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Persephone's Garden

Coco Leusner

I was born in a flower field,
Surrounded by poppies.
This meadow was my home,
But it was stolen from me.


I was stolen in a flower field,
Taken from my home and mother.
A flower cut at the stem
and taken as a prize.


I was killed in a flower field,
Bleeding ichor out onto the petals.
He gave me the seeds of a pomegranate,
And he promised to heal the wounds he made.


I was born in a flower field,
Surrounded by asphodel.
This meadow is now my home,
But how I miss the sun...

 

Fntasy Map #1 & #2

Benjamin Bradley

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Dnd Map 2.png

Wreaths of gold

Emir Pirija

The women in my life wore wreaths of gold
not as a prize
but as a mark
some sickly signifier of their sex

the men in my life wore wreaths of iron
not as a mark
but as a prize
some sickly signifier of their sex

rewards and burdens
how often they are elusive
how often do they lead us
into the mirage of truth

 

The swans engima - for leda

Shira Nudler

The crown fell upon my head and you watched silent, bored,
Waiting for the spectacle.
To love, to feel, to rest,
It laid flat and unstirring in the palm of my hand,
It was all I wanted, and all I had.
My voice was marble, not cold but glamorous and true–
And the Man in the Mountain or the Swan in the Pond thought he knew all of me.
And sure, I did exist to love, to hold, to fortify, to make new,
To birth the boy turned butcher, the girl turned gun.
The Man in the Mountain or the Swan in the Pond did know me well enough–
And he left me aching–yearning for less,
Full yet starving for food–for air
He holds above me feigning interest.
None of this was divine, yes, but none of it was hidden either.
Still, you recarve my marble and refocus my compositions.
You cannot say my name or hers; my innards whom you would not recognise without the label they gave her.

And which hurts harder?
Blood running down my leg; starting wars,
Or my teeth, grasping their anger,
Our sacrifice,
Or my heart being wrong, my hurt
Moving hills and leading to silence…

Once the skin is loose and dyed red, or violet–
The curtains will close, the eyes will shut.
You will forget all the real parts of me,
Remember only that which you claim to hate.
Hear only of the promise that my daughters have,
Never see it working underneath the weeds.

 

Untitled

Eamon Winkleman

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Kassenheim

Eamon Winkleman

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Sea monster love poem

Earthworm

I am leviathan
I am the angry sea
I am a tumult, still and deep
I’m emptied out and lost in the wind
Full and sinking
I’m something dreadful, most have learned
I’m sickly, broken down, cornered beast
And I'm going to love you, best I can. 
I’m gonna tear open my ribcage and let you inside
All hollowed out, I’ll make it safe
I’ll be good- I’ll work, get up and dressed every morning,
Take my pills on time
I’m gonna be good, I won’t make you cry
I’ll hold you, solid, I’ll keep you warm
Let me be the lover, for once
Let me be the shield
If your ships are out to sea, lost and spinning
Scylla’s teeth
Let me carry them on my back,
I’ll bring them home to you
I’m gonna do the work, bring it all back home to you
I’ll summon the storms, because you love grey skies,
I’ll banish off rainclouds when you need the sun
Whatever you want, whatever you want
I am a monstrous thing, sloth and envy and something dark
I am a hurricane when you touch me
I am leviathan
I am yours, yours, yours again
Take the world on my back and carry it home to you
I’m done with the ocean floor- let me be your island
Like the old bones of giants
I am going to take you out to sea
Let it stain us with storms
I’m going to love you, best i can
With all the teeth in me. 

Untitled

Aidan Jimenez Ekman

I am a wizard who don’t got nothing
going on.
Evenings I spar with street dogs,
pry scraps of jerky from their
foul mouths.
Panting breath and snaps of teeth
seep through my skull,
the lash of my magic stick 
sends em running yet.
Stupid mutts think I lost it all -
who’s got the jerky?

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Untitled

Sophie Schonder

EVEN  WHEN
I KNOW
     IT IS FACT
OR FICTION 

OR WHEN
I WANT 

TO TELL A LIE, 

I STUMBLE AND 
MUMBLE
OUT WORDS

THERE’S A TOAD 
        IN MY
        THROAT
OR HIDDEN IN MY BIG TALL HAT.

 

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Home at last

Sonia Burns

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Acknowledgement

quarterlife would like to thank the Associated
Students of Whitman College (ASWC) for their
financial support, without which the production of
this magazine would not be possible.


Our utmost gratitude goes to the Whitman Print Shop
and to our advisor, Professor Gaurav Majumdar.


A special thanks to our staff artists who produce
wonderful art without credit to individual pieces.
All work featured in quarterlife magazine or on the
website is displayed by express permission of the author or
artist, who holds all relevant copyrights to her or his
work. Don’t steal their stuff.

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