Prose

Triptych

Creative Nonfiction by Susan Belanich

I – Freefall Pumping my legs higher, higher, my feet scrape the painfully blue October sky. As the day gathers itself down, my shoes slice through the gnarled crowns of pines now brushed with gold. The swing’s momentum carries my body upward, rising weightless, the smell of the rusted chains filling my mouth with a tang like fresh blood. Then I am free-falling, my arc yanked back from flight by the chains. The scents of seaweed, salt air, and ripe fish rise up from the harbor, settling in the air between us. I look over. He swings next to me, slightly out of sync, a discordant note in our movement. His eyes are sea green flecked with gold, and my breath hitches as I hold his gaze, a quick sharpness in my chest as I inhale. A single gold band …

I Talk With the Spirits: Communicating with the Jazz Masters

Domenic L. Rigazzi

Sharing the Darkness

Carolyn Forché

Kata, a novel excerpt

Stacy Mattingly

Using Galaxy Clusters to Search for the Most Distant Objects in the Observable Universe

Dr. Felipe Andrade-Santos

Caramel and Chocolate Can Both Have Sea Salt

Gabrielle Honore

Willemien’s Promise

Paula Srur Carcar

Well, What Would Lincoln Do?

John Burt

Refugee Stories from Odesa, Ukraine

Translated by Katie Farris and Ilya Kaminsky

Music

Musings of a 21st-century Composer

Marti Epstein

This is what it’s like to be a composer: I am always thinking about the piece I am currently working on, the pieces I will write after this one, the piece I am supposed to write next year. When you and I are having a conversation, part of my brain is engaged in imagining music. For me, there are no clear boundaries between composing and everything else I do; I am thinking about it all the time. I don’t just get up, go to my studio, and start composing. I have already been thinking about it since before I woke up, and I will continue to think about it while teaching and conversing and even listening to other music. But most of the time, the task of figuring out meter, tempo, pitch, register, dynamic, timbre, instrumentation, etc. — how to …

Adventures in Collaborative Cello Playing (So Far…)

Celia Sieckert

Berklee Alumni Column #4: Natalie Dodge

Joely Cromack-Kluko

Dexter Gordon on Rittenhouse Square

Daniel Picker

Berklee Alumni Column Introduction

Joely Cromack-Kluko

Berklee Alumni Column #3: John Keyes

Joely Cromack-Kluko

Berklee Alumni Column #2: Angie Polizzi

Joely Cromack-Kluko

Berklee Alumni Column #1: Nicole Domagala

Joely Cromack-Kluko

Berklee’s “Music of Women Composers” Course: 8 Essays

Poetry

Post-Modernist Poems

from “Liberating Aesthetics” course, Wayne Wild

(The following poems were composed utilizing the Post-Modernist aesthetic as represented primarily by William Carlos Williams, and aimed for some of these elements: immediacy, alertness, speed, western dialect, poem as object on the page, poet as presence –seeing through the poet’s eyes, “no ideas but in things,” and democratic feel – rather than deprive birds of their song, better to call them all nightingales” – and “in the particular to discover the universal.”) A Wall, Rising Red By Naail Narayan Auto-rickshaw coughs, a yellow-black beetle jerking through the Gurgaon-Delhi flyover’s concrete gut. Horn blast – cry! apathy! – a quick jab at the slow bullock cart’s ancient rhythm. Her kurti shimmers, a splash of kingfisher blue against the dust-haze. Varanasi silk whispers past exhaust fumes. No space here for neat iambs. Only the clatter, the sudden stop, the hawker’s cry: …

“Scenes from a Morning” and Other Poems

Berklee Student Poets at The Greater Boston Intercollegiate Undergraduate Poetry Festival

The Quiet: 9 Poems

Reba May

The Breaking Pointe

Faith Alhadeff

Berklee Slam Poetry Fire

featuring the poetic stylings of the Spoken Word and Slam Poetry classes, Professor Michael Heyman, chief stylist

Selected Poems: Ferida Duraković and Selma Asotić

Pachysandra & Two Other Poems

Kimiko Hahn

The Ceasefire and 3 Other Poems

Paula Srur Carcar

Film

GUADAGNINO – <em>CINÉASTE DE AUTRE TEMPS, or the death of the auteur and rebirth of the artisan</em>

GUADAGNINO – CINÉASTE DE AUTRE TEMPS, or the death of the auteur and rebirth of the artisan

Sean Brennan

Though Luca Guadagnino has of late become one of the cinema’s premier aesthetes, his demeanor when speaking about his work resembles a producer rather than a director of his renown. In interviews, he is just as inclined to spend ample time delving into minutiae of production design in his works as he is to rhapsodize the influence of aesthetes such as Bertolucci on his cinematic education. Indeed, many of his recent projects as director have spawned from him ‘reluctantly’ taking the reins when no one else would, moving easily from the producer’s chair to the director’s. And yet his body of work br¬¬eathes with a joy and a love for the cinema which, like all great cinéastes, has the potential to penetrate the material work of craftsmanship, always striving to access something deeper. A self-described “stalker of master filmmakers”, Guadagnino’s …

Contemporary Television Series and Literature: An Intense, Transformative Embrace

Anna De Biasio

What Big Teeth You Have

Raven Baksh

Stuck Between Stations: Reflections on The Eclipse & In Bruges

Sean Brennan

Berklee Student Screenplays

Art

ALLAMERICAN

Margo Davis

Photographic projects, like life, have journeys of their very own. They grow organically, sometimes with purposeful direction, sometimes randomly. They have an arc of development which can be synchronous with the trajectory of one’s life. In my photographic work, my current project ALLAMERICAN has evolved from all the influences of my life’s journey from childhood until now.