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# 2021
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View a digital version of the magazine by clicking on the cover below!
**Historical Facts:** This edition of *Scribendi* was crafted entirely online through video chats and calls, with much revision to create a good magazine design. The inspiration was a Swiss Modern design with some ’70s flare which is notable by our Pantone choice. We wanted to give off a cheerful theme as we move from a dark time into a brighter future. As we planned much of our events online, we were inspired to be close even from a distance.
**What you’ll find in this issue:** The 2021 edition features work from twenty-six Honors students from seventeen schools across the country. Included in this edition you’ll find architectural models, recreated movie posters, and Russian poems. If you’d like to hold the physical copy in your hands, you can order the print edition . Please donate $10 to help cover mailing, printing, and general operating costs. You can also download a digital edition by clicking .
### Table of Contents
| **Category** | **Contributor Name** | **Title of Piece** |
| --- | --- | --- |
| **Creative Nonfiction** | Alli Mancz | Seams of Gold |
|  | Emily Rice | Sincerely, A Climate Science Undergrad |
|  | Kevin Kim | I’m thinking I should buy flowers |
|  | Sarah James | If you want me to fall in love with you, make me oatmeal |
|  | Katrina Lantz | The Part I Can See |
|  | Christina Lee | The Balancing Act |
|  | Abby Pace | When The Soon Comes Running |
| **Short Fiction** | Felix Dong | Run |
|  | Abby Pace | Again! But this time with feeling! |
|  | Salome Aydlett | How To Ethically Steal A Pig |
|  | Julia Seaton | The Eye of a Cover |
|  | Luke Griffin | The Seventh Day Of Rain |
| **Poetry** | Kahlo Smith | Clay Boy |
|  | Morgan Azevedo | an ode to mental stasis |
|  | Marieke Sorge | Blooming |
|  | Samantha Park | Like You |
|  | Madeika Vercella | Warmth is a blanket of ignorance |
|  | Madeika Vercella | Jemison did not go to the moon and back for you |
|  | Fiona Martinez | Earthly Gems |
|  | Samantha Park | LIVING IS NEVER EASY |
|  | Griffin Mozdy | Portmanteau To Take Along |
|  | Anna Rinaldi | Under the Microscope |
|  | Lexi Orgill | Pompeii |
|  | Sogol Gharaei | Diaspora |
|  | Jireh Deng | Wretched |
|  | Mahal Miles | To Be Alive |
|  | Jireh Deng | the next six months |
| **Foreign Language** | Daniil Tourashev | Моя Зашита |
|  | Blaise Koller | Le Secret des Étoiles |
|  | Maria Magana | Un día pronto llegaré |
| **Photography** | Alicia Alexander | Communion |
|  | Jeremiah Vandagrift | The Garden Bed |
|  | Martina Preston | “welcome home” |
|  | Ryan Schmidt | Bracing the Wind |
|  | Ryan Schmidt | Flight |
|  | John Adair | Candy-Wrapped |
|  | Saul Vazquez | Luz de la Luna |
|  | Alessandra C. Park | Penguins and the Evil Eye |
|  | Greta Gannon | Anthony |
|  | Rylee Norman | The Friendly Campus Ghost |
|  | Katrina Dutt | Unwind |
|  | Casey Ryder | Left Behind |
| **Open Media** | Marie Adele “M’Adele” Little | El Malpias: A Diné Collection of Pomes |
| **Visual Art** | Blaise Koller | Prickly Phantasm |
|  | Vanessa Krajeck | The Bizzare |
|  | Ethan Swanberg | Queer Nostalgia |
|  | Ethan Swanberg | Harvested Selfhood |
|  | Greta Gannon | Mountain Terrace |
|  | Anna Kenyon | Shadowed Cacti |
|  | William Hindmarch | The Man From Buton |
|  | Ashley Geraets | Aqua Vitae |
|  | Dylan Francisco Decastro | What Is Freedom? |
|  | Jenna Rhodes | The Ballad of Me ‘n Jim |
|  | Jenna Rhodes | “But I am” |
Enjoy our open media piece below!
## El Malpias: A Diné Collection of Pomes by Marie Adele “M’Adele” Little
Inspired by and meant to be constructed in El Malpais National Park, this set of scale models depicts a design for a jewelers’ retreat, complete with studio, gallery, and five living quarters for resident jewelers. The juniper berries and the hexagon shape that create the design are both elements used by the Diné who once inhabited the land of El Malpais.
Two sets of models, at 1:16 and 1:4, were created with basswood and photographed by the artist, emphasizing strong, intentional lighting details and highlighting the calming, natural-feeling design.
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1 University of New Mexico
Albuquerque, NM 87131, USA
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# 2020
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Download a PDF version by clicking on the cover below!
**Historical Facts:**
This edition of *Scribendi*came into fruition along with a new decade. In its design, *Scribendi*2020 is inspired by themes from the forms of the 20’s art deco movement of a century ago. In addition, this is the first year we had to plan a digital release during a global pandemic that made us work and think in new and creative ways.
**What you’ll find in this issue:** The 2020 edition features work by forty-five Honors students from seventeen schools across the country. Included in this edition you will find hidden puns, curious collages, and a zine that you can take out of the magazine and fold yourself. If you’d like to hold the physical copy in your hands, you can order the print edition . Please donate 10$ to help cover mailing, printing, and general operating costs. You can also download a digital edition by clicking on the cover above.
| **Creative Nonfiction** | Kathryn Wylie | Austin |
|  | Jesse Lauze | Killer College Kid Soup |
|  | Tessa Vroom | Scrabble with the Dead |
|  | Julia Daricek | How to Speak Latin |
|  | André Watson | Three Card Monte |
| **Short Fiction** | Emily Morrison | Brood |
|  | Maithu Koppolu | Sunscreen |
|  | Alec Lepisto | Fugue |
|  | Alexandria Wiesel | Prime |
|  | Brynnah Glas | Henryk |
| **Poetry** | Nina Palattella | Root |
|  | Stu Nolan | Humble Love to Spiral Jetty |
|  | Erin Benton | An Address on the Fragmentation of My Self |
|  | Jordan Carey | tangerine queen |
|  | Petra Ellerby | The Waste Land |
|  | Nain Christopherson | In the Kitchen, Water Rumbles with the Roil of My Blood |
|  | Leah Nordlund | How to Listen to Your Body |
|  | Caelyn White | My Grandfather’s Apartment |
|  | Christian Capuno | Deluge |
|  | Jade Braden | Raccoon Synergy |
|  | Stella Nall | Be Free, Earlton Skree |
|  | Lucy Tayco Price | Some Things I Have Done, Some Things I Have Not |
|  | Skylar Tibbetts | girls in a connecticut summer |
| **Foreign Language** | Christina Lee | 잃어버린 시간    Lost Time |
|  | Herman Chavez | amor crece en un jardín imposible.   love grows in an impossible garden. |
|  | Mohammad Azeem Khan | عش حرا، يا وطن أجدادي    Live Free, Dear Country |
|  | Kulsoom Mohammad | خواب    In Dreams |
| **Photography** | Jenika Staben | Morning Stretch |
|  | Kiana Rose | Alien Landing |
|  | Kiana Rose | Lone Ewe |
|  | Ethan Swanberg | Limelight |
|  | Noah Grabe | Hypnotization |
|  | Emma Beauchamp | Beautiful Now |
|  | Hyunju Blemel | 삼세대  자화상     Sam-se-dae Ja-hwa-sang (Three Generations Self-Portrait) |
|  |  | Unravel |
|  | Hyunju Blemel | 웅녀춤 자화상    Ungnyeo Chūm Ja-hwa-sang (Bear Woman Dance Self-Portrait) |
|  | Jenika Staben | Life in Motion |
| **Visual Art** | Carolyn Summerford | Demonio |
|  | Stella Nall | Boobs Are Measured In Cups, You Know |
|  | Jessie Hertz | Alphabet Vaults |
|  | Ethan Swanberg | Free Fall |
|  | Ashley Geraets | 失われた海    Lost Ocean |
|  | Tressa Marre | “I would hide my face in you and you would hide your face in me, and nobody would ever see us any more” |
|  | Tressa Marre | Wrath and Mercy |
|  | Pablo Ayala | Pompeii |
|  | Caleb Brenden | Breakfast |
|  | Vanessa Krajeck | The Lady and the Rock |
|  | Ashley Geraets | 大自然之女的馈赠    Gift of the Daughter of Nature |
|  | April Kinney | Lizards |
|  | Isabel Heiland | Amanita muscaria |
| **Open Media** | Nora Vanesky | media projections |
|  | Jenika Staben | The Ballerina Method |
|  | Lauren Sarkissian | Nothing |
Enjoy our open media pieces below!
## media projections by Nora Vanesky
This short film layers figurative metaphors with literal representations to create a hyperreal critique of how the projection of media can affect our everyday lives.
The two characters warn against labels that restrict our personalities and influence us to present a false narrative of ourselves and distill our endless capabilities. Media presents a vague expectation of how people should look, act, and consume information, which distorts the true essence of our everyday life. We blindly follow unspoken rules to ensure our acceptance within the seemingly unified world but are each facing our own battles.
The messages projected by media affect each of us in a different way, but we can choose to listen or silence the negative voices. The true act of rebellion is to alter the roar of media into a faint whisper so as not to give power to the overwhelming voices. Instead, we focus on one another and choose to create real connections that are not just projections.
###
##
## The Ballerina Method by Jenika Staben
Starting with warmups and stretches, this black and white short film sequences through one dancer’s core rituals in ballet before a performance. Ballerinas prepare their bodies for defined and expressive movements that are meticulously repeated for unity and poise.
Every detail from the placement of their hands to their pointe shoe’s ribbon wrapped tightly around their ankles is crucial to their routine. Endlessly repeating leaps and turns allows for a smooth performance, but once it is over, they must go back to the barre and restart the ballerina method.
This process of stretching, pointing, and leaping is repeated over and over to improve themselves, their skills, and their routine. All this effort and precision is put forth to achieve the everchanging perfection of ballet.
## Nothing by Lauren Sarkissian
*Scribendi* is a nonprofit, annual print publication that publishes creative work from undergraduate Honors students across more than 200 institutions in the Western Regional Honors Council (). In 2016, we joined forces with the National Collegiate Honors Council () to publish works from Honors students all across the nation, which brought the total number of institutions eligible to publish in *Scribendi* to 900. *Scribendi* is primarily produced by Honors students at the University of New Mexico (UNM) Honors College—however, in 2016-2017 the magazine introduced its first exchange student, and  for the  school year. *Scribendi* solicits work in a number of different categories such as poetry, creative nonfiction, short fiction, foreign language, visual art, photography, and open media.\* 
\*Any creative works not otherwise listed, such as film, music, architecture, graffiti, fashion, and art that is beyond definition.
### History of *Scribendi*
Formerly titled *UNM Honors Review,* *Scribendi* began in 1985. A few enterprising undergraduates developed an interest in starting an undergraduate Honors magazine. Dr. Susan Kilgore was the faculty advisor for this publication. At this time, students did not receive credit or much recognition for their work.
The staff frantically held bake sales to help raise money for publishing the magazine. Generous small businesses and parents of the staff also provided funding. Submissions were few and mostly local; there were perhaps thirty or forty in total, and the magazine was less than twenty-five pages long. By the third year, there were over one hundred submissions from the Western region of the United States.
Dr. V. B. Price took over for Dr. Kilgore as faculty advisor for the 1990 issue and arranged to allow students to receive one credit hour per semester for working on the magazine. Students could receive a total of three credit hours for up to three semesters’ worth of work. Submissions increased, as well as the length and scope of the publication. The magazine grew that year to be more than sixty pages.
In 1994, the staff changed the name of the magazine to *Scribendi*. According to Denise Clegg, one of the 1994 editors, “the title reflects the magazine on many levels; it is literally made of the written word, and this year many of the pieces speak about the power of stories, images, and language.”
Dr. Sharon Niederman was the faculty advisor from 1996–1997. By this time, Dr. Price had arranged for the student staff to earn three credit hours for each semester worked. Dr. Leslie Donovan became the faculty advisor in 1997. By this time, the publication had grown to more than one hundred pages. More than 550 submissions were received for the 2003 issue.
For the 2013 issue of *Scribendi*, Amaris Ketcham, the first student staff member to serve in *Scribendi* for four years, returned as the *Scribendi* faculty advisor and professor.
Evaluating so many fine works of art and literature is time-consuming and makes for quite a hectic period in a staff member’s career, but the results are well worth the effort. Though the staff earns credit for their work, being involved with *Scribendi* is still a “somewhat crazy labor of love.”
### What Does *Scribendi* Mean?
Originally entitled *UNM Honors Review*, the magazine changed its name to *Scribendi* in 1995 to reflect the fact that it had grown from a UNM publication into a regional publication for Honors students. The students who came up with the new title for the magazine wanted something that would reflect both a focus on the written word and the traditions associated with Honors education and excellence. They settled on the Latin term *scribendi*.
This term appears in a letter by J. R. R. Tolkien, who was a noted philologist of his time and a scholar intimately familiar with classical languages. In the letter, he writes, “I have been possessed on occasions (few, happily) with a sort of *furor scribendi*, in which the pen finds the words rather than head or heart” (Humphrey Carpenter, *Letters of J. R. R. Tolkien*, Letter 113). This sense gets at what the 1995 editors of *Scribendi* were intending when they retitled the magazine.
But what does the title actually mean?
In 2003, Classics major and *Scribendi* editor Lindsey Lesch prepared the following analysis for the back cover of that year’s issue:
> *SCRI•BÉN•DI / skribéndee /*
> participle (nom., pl., masc., gerundive/future passive part. of scribo, scribere – 3rd conj. – “to write”) LATIN.
>
> Those which must be written.