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Fall 2019 | Volume 2, Issue 1


Guns had gone muffled and silent. Heartbeats had slowed to a frighteningly contented and calm
sort of rhythm. The last decent literary age was over; the next one not yet in sight, and worse, not even
yet yearned for. The economy ostensibly worked. Love seemed easy and always within reach. Sports
made sense. Trains showed up on time. Every movie that came out was satisfactory to its intended
audience. War was a memory. Peace was non-philosophical. Music was good again, but not great. And
with the tepid acceptance of the Good Friday Agreements, quiet had come to even the north of Ireland.
The questions of the age had not been settled, but instead had been forgotten; lost in the malaise of
store-bought joy, practical use degrees, and timeshare vacations. It was an age of too little despair and
not enough righteousness.

I wrote the above paragraph about the 1990s in 2017. Just two years later, it doesn’t really feel
all that true. As of last year, I’ve been out of high school for more years than I was alive when I finished
it, and the 90s suddenly seem a hell of a lot more consequential, at least in the context of the farcical
absurdity we inhabit from all corners now. Maybe time and era are just nonsense, or at least relentlessly
changing subjectivities of perception. I am different even as my prior experiences are steadfast and
unyielding. So maybe now we try just living in our new realities without retrospection or comparison;
our understanding of history contingent on our evolving and devolving experiences. These perceptions
are endowed with intrigue and humanity and collectivity only when we write them down—an action
comprised of equal parts seclusion and vanity—as Norman Maclean’s “half-light of the canyon” is made
permanent by what we do here. New Square is all vanity and all seclusion—an azure triumph over the
dreadful counter image on the other side of the half-light.




The Next American Revolution: Sustainable Activism for the Twenty-First Century (Amber)

One Flew over the Cuckoo's Nest (Dave)

Empire Falls (Erica)


The Sun Also Rises 

The Sea 

A River Runs Through It (Joe)


Olives (poems)

The Nickel Boys

On Earth We're Briefly Gorgeous

Threshold (poems)

The Last Cigarette on Earth (poems)

The Absolutely True Diary of a Part-Time Indian

Persepolis: The Story of a Childhood (Sean)

The Man in the Gray Flannel Suit (Sam)



Eighth Grade (Amber)

Corpse Bride (Erica)



We The Animals (Sean)

Manchester by the Sea


The Big Lebowski (Joe)

Echo in the Canyon (Kevin)

Death of Stalin (Sam)



Scary Stories (Erica)

The King of Kong (Joe)

Our Plant (Kevin)

The Death and Life of Marsha P. Johnson (Sean)


Bojack Hoseman (Joe)


Music (Albums)

Little Flaws, by Lady Lamb (Amber)

Six (Soundtrack) (Erica)


The Darjeeling Limited (Soundtrack )

Inside Llewyn Davis (Soundtrack) (Joe)

At Filmore West '71 by The Allman Brothers Band

Corsicana Lemonade by White Denim

Midnight in Harlem by Tedeschi Trucks Band

Harvest by Neil Young (Kevin)

Lost on the River by The New Basement Tapes

Kind of Blue by Miles Davis (Dave)

Live in Portland by John Craigie

Live From Brooklyn and Then Some by Bronze Radio Return (Sam)

Music (Artists)

MissMi (found on both YouTube and Bandcamp) (Erica)

Video Games

The Dark Pictures: Man of Medan


Editor in Chief / Fiction Editor | Joseph M. Reynolds
Managing Editor | David Kresge

Editor at Large | Samuel Marx
Poetry Editor | Sean Frederick Forbes

Nonfiction Editor | Thomas Keith
Book Review Editor | Amber Smith
Film Review Editor | Cassandra Steele
Music Review Editor | Kevin Carr
Layout/Design | Erica Lauer
Website/Online | Cassandra Steele

Head of Fundraising | Loretto Leary

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