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Cover
Table of Contents
Editor's Notes
Donations
Submission Guidelines
Website

Stories & Essays
A Day In the Life
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By Sida Li
Eight Minutes
_ By Michael Gettings
Jesusland
_ By Max Gordon
One September Morning
_ By Brian G. Ross
Patrimony
_ By Len Joy
Reading Between the Lines
_ By Michael Gettings
Scarring Truth
_ By M.W. Hamel
Snapshots of the Ordinary
_ By Monica Lee
Spirals
_ By Robert Connal
Stars
_ By Daliso Chaponda
The Jury
_ By Jeremy Tavares
The Thief
_ By Marva Dasef
The Train to Pennsylvania
_ By C.L. Atkins

Poetry
735 Miles to Nootka Island
_ By Nicholas D. Klacsanzky
Al Fresco Cafe Poems #125
_ By Duane Locke
Al Fresco Cafe Poems #127
_ By Duane Locke
Barnstormer
_ By Lynn Strongin
Gilded Candy
_ By Mina Blue
Marriage 2
_ By Christine Redman-Waldeyer
Memo to Italy
_ By Andrew Francis
Rain, Your Words, and the Agony...
_ By Betina Evancha
Sarcasm
_ By Juliette Capra
Textbook
_ By Christine Redman-Waldeyer
The Unspoken Eloquence of the Sword
_ By Anne Nialcom
Three Shades of Grey
_ By Monica Lee
We Pay
_ By Betina Evancha
White Dread
_ By David Snyder
Writing
_ By Betina Evancha

Art & Photography
Keira Anderson
_ Photography
Anne-Julie Aubry
_ Paintings
Whitney Clegg
_ Photography and Drawings
Eman Reharno Jeman
_ Photography, Graffiti, and Drawings
Mike Pomery
_ Paintings
Jennifer Robbins-Mullin
_ Photography
Madia Krisnadi Widodo
_ Photography
Penny Wilson
_ Mixed Media and Digital Art

Editor's Notes
By Sharon Hadrian


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 cycle.

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 toughyet highly successfulseason.

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 shot
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 sales."

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 means something.

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 2006 cover.


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