Table of Contents
A Day In the
One September Morning
Brian G. Ross
Reading Between the Lines
Snapshots of the Ordinary
The Train to Pennsylvania
735 Miles to Nootka Island
Nicholas D. Klacsanzky
Al Fresco Cafe Poems #125
Al Fresco Cafe Poems #127
Memo to Italy
Rain, Your Words, and the Agony...
The Unspoken Eloquence of the Sword
Three Shades of Grey
Eman Reharno Jeman
Graffiti, and Drawings
Madia Krisnadi Widodo
Media and Digital Art
We welcome any and all comments
related to the magazine, our contributors, or the issues raised in
the stories and art that we feature. If you have something to say,
please feel free to drop us an email here.
We may publish your letter in our next issue.
Thank you for the best
quarter in our history!
Our Spring 2006
quarter was our most successful season to date. The excitement
began shortly after the Winter 2005 issue was published, when we
received a sizeable donation from Kat, an avid Canadian reader.
This donation allowed us to purchase web hosting and a domain
name, something we had been dreaming of doing since our inception
last June. Thank you, Kat!
Also, since we found ourselves
with a permanent home on the web, we were able to promote the
magazine like never before through links on Duotrope's Digest,
Ralan's Webstravaganza, and other prominent literary sites. As a
result, we had unparalleled success with this quarter's submissions
In total we received over 150
works from 47 artists and writers around the world. This included 70
works of art and photography and 84 pieces of writing. The quality
of this submissions cycle (perhaps due to our new web presence and
advertising) was also higher than previous quarters, and we had to
turn away works that we absolutely adored. It was a tough—yet highly successful—season.
This quarter we're featuring
an essay on religion in America, several commentaries on the art of
writing (in flash fiction and poetry form), a non-fiction story
about a bag of potato chips, humor, sarcasm, swordplay, cowboys in
the Dust Bowl, murderers, the fine art of peeling an apple,
disabilities, a poem inspired by Martin Luther King, dreadlocks,
September 11th, cancer, the
Cold War, and sin, among others.
As has become our habit, we have
chosen six entries (three poems and three stories) as our Editor's
Picks for this quarter. We hope you will pay particular attention to
these pieces while perusing and enjoying what the entire magazine
has to offer.
A few words about our cover
Picking one piece of artwork out of many is never an easy task,
but this time it became easier than most when we inadvertently
stumbled right into our very own mission statement.
Antithesis Common is about
diversity, first and foremost, especially diversity of ideas and
thought. While our art editor, Kirsty Truro, and I were deciding
on the cover art for the Spring 2006 issue, we found that we were
both drawn to "The Converse Tree" by Whitney Clegg, but
for incredibly different reasons.
I heard the story behind
this photograph the day it was submitted, but I always had a
radically different outlook towards it (we'll get to the artist's
intent in a moment). I saw it as a depiction of suburban crime, paralleling
the urban practice of throwing sneakers over
telephone wires to indicate a variety of things, including a
nearby drug dealer or a fallen comrade. It was a sad photo for me,
because such a youthful shoe ended up signifying something very
dark in my mind.
Kirsty, however, had a
considerably different interpretation:
"To me, 'The Converse
Tree' represents youthful innocence and ideals. It brought back
memories of a seven year old version of me, sitting in my
grandmother’s huge armchair during the school holidays, drinking
juice, eating cookies and watching old movies together while I
told her ‘grandma, I want to live in America.’ This I had
decided after watching some old movies set in the south, where
kids got to go skinny dipping and jump off cliffs and have summer
adventures, or just play jump rope in the street and have lemonade
How can two people justify
these antithetical thoughts, from images of crime, drugs, and gang
wars to scenes of cherubic, child-like innocence on a hot summer's
day? It's amazing that we're still talking about the same piece of
art, but we are.
So what was Whitney
Clegg thinking when she did "The Converse Tree"? I'll
let her tell you:
"'The Converse Tree'
was shot outside of Boise State University during my summer job.
The fire alarm tricked itself and we all went outside to wait for
the trucks. Since part of my job was taking pictures of a
conference going on inside BSU, I had my camera. I'm very in love
with my Converse, their color and everything, and so while I was
sitting I started taking pictures of them because we were all
quite bored. But then I saw this tree and decided that they went
perfectly with it so I put them in the tree. It made people smile
too, the people sitting around and waiting. I guess it was
something out of the ordinary for someone to take off their shoes,
put them in a tree and take a picture."
It's interesting that the
real story behind the photo turned out to be nothing like the
various audience interpretations. And that's the point, really
(with all due respect to Ms. Clegg); art and writing are not just
a way of entertaining ourselves, but also of finding ourselves and
our own messages in the works we view.
Being a magazine for
diversity entails creating, in a sense, an open forum for
discovering an eclectic collection works and being open enough to
allow different viewpoints, both from the audience and the
contributors. Love it, hate it, believe it, or not, we hope that
each piece we publish will elicit a new, unconsidered reaction of
some kind from everybody, even if it presents itself in
diametrical opposition from the intended meaning. The fact is, it
Although pop culture
frequently imbues our lives with cookie cutter stories where
everything is neatly tied together with a shiny red bow at the end
of 90 minutes, real living isn't about that. It's about the
freedom not only of the artists but also of the audience, to think
and create independent expositions on life.
Which is, in a roundabout
way, why we chose "The Converse Tree" for our Spring