http://lanternjournal.org/2013/03/volume-ii-issue-1-spring-2013/?utm_source=rss&utm_medium=rss&utm_campaign=volume-ii-issue-1-spring-2013 http://lanternjournal.org/2013/03/volume-ii-issue-1-spring-2013/#comments Wed, 20 Mar 2013 06:02:19 +0000 lantern http://lanternjournal.org/?p=1865

Celebrate the Vernal Equinox with us as we release the first issue of Volume 2: Ritual. [View the letter here] [View...
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Celebrate the Vernal Equinox with us as we release the first issue of Volume 2: Ritual.

[View the letter here]

[View the cover here]

Cover Design entitled Waking Moon:

Angie Pickman is a cut paper artist based in Lawrence, Kansas. After living and working in New York City for many years she left to pursue her art full time. She exhibits at the local and national level and is an active member of the Guild of American Paper Cutters. Aside from the medium of cut paper she also illustrates, makes music and animation. You can see her work at: www.ruralpearl.com

You can find her supplementary process ARTicle entitled Praecisio: [To Reduce and Acquire] here.

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By Yeasayer

Yeasayer’s music is a lively contrast between the low-toned but hopeful sense evoked by the synergy between uplifting beats and sublimely-layered melodies and the apocalyptic, acidic and often hopeless lyrics. In Glass of the Microscope, Yeasayer lament “in truth, we’re doomed,” hearkening to the hopelessness and lack of control that invite human beings to ritual, yet the clicks and clacks and warm hum of the organs suggest, at the least, that we might yet get it together, tilt our heads to the sky, and dance our way to something better. In Sunrise, the band encourages us to follow an ancient human ritual and “get in the sunrise” in the search for meaning and a place “in all these circles that [we] trace.”

[Click play below to listen while exploring the current issue.]

By Alli Jordan

[View full ARTicle here]

Breaking B[re]ad explores the memories of childhood with the conflict of a changed faith. The images and memories serve as tension points for breaking away from the ritual that oftentimes can still bring solace in times of tragedy. These first steps of leaving are often the most arduous. The sounds of childhood become haunting in the new life path. The poems and images praise and question the ritual of faith, parenting, and leaving.

Alli Jordan is a published poet and playwright in her second year in the MFA in Creative Writing & the Media Arts at the University of Missouri-Kansas City. Alli’s short play, “The Dream Ballet” received the Craig Workman Award for Performance Writing from Number-One Magazine. Her other works have been produced at the Fishtank Theatre and the Kennedy Center College Theatre Festival.

By Cybil J. Milby

[View full ARTicle here]

The Soil Speaks for the Dead explores the way that modern perceptions of ritual colors popular and professional interpretations of prehistoric sites. An analysis of space, mortuary ritual, shamanism, vision questing, and ancestor worship in the Hopewell Mound Building culture (200 BC-400 AD) tests several archaeological standards, designed to help guard against supposition, and tries to answer the questions, “How do archaeologists determine if an artifact is evidence of ritual behavior? Can they?”

C. J. Milby is an archaeologist specializing in stone tool identification and Pacific Northwest/Great Basin prehistory. She is an avid reader and less avid runner.

By Rahul Narwane

[View full ARTicle here]

Self Titled is a depiction of perceptual experiences beyond just what can be seen. It is the feeling by which one is attracted. Through Self Titled, Narwane’s endeavor is to figure the formlessness of the formations. In these paintings, primary colors and basic forms represent perceptible things. But the third category colors and veiled figures used in background comes to the light unknowingly.

Rahul Narwane, an artist and graphic designer, lives in Pune city, India. He spent his childhood in the countryside of India and has developed an eagerness to understand the simple yet mystic souls of the Indian people. He has been inspired by the web of the complex mind and its search for self identity. His works have been recognized by many national art galleries and in numerous art exhibition shows.

By Troy Payne

[View full ARTicle here]

“[A]s the Sun caught the horizon in the west, the full Moon cracked the horizon in the east. . . . [T]he orbs appeared to be exactly opposing each other both in terms of their 180-degree opposition in the east and west and in their timing as they drifted above and below the horizon line, respectively. . . . [T]he Sun and Moon were connected by a long arm stretched between them, with the heavier Sun dropping and raising the Moon into the evening sky. We stood as fulcrum between the two.”

This is the magic of place and time, invited and explored through the Ritual of Return.

This effort does not adequately express the evergreen gratitude I have for those who have ventured with me into the unknown, pushing me further than I could have gone alone.  These excursions are the pinnacle of inspiration, which, for me, is ignited by the connection to and love of both place and people.  I hope the art can be my thanks.

Troy Payne is a writer, photographer, editor, and explorer living on the islands of Palau in the West Pacific, where he is enjoying snorkeling, SCUBA diving, outrigger paddling, Settlers of Catan, and time with his wife and cats. More of his work can be found in the pages of Lantern and at blacklanternsynergy.com.

Preview image by Grey Jay, equalandopposite.com.

By Aaron Schump and Bob Condia

[View full ARTicle here]

Confronted by the image, or the ruin of the Kilclooney Dolmen, one senses the presence of the architect’s hand across at least five millennia. What Neolithic rites of time or space may be discerned from a monument of such weight, persistence, and seemingly impossible construction? Why was such precision given to the placement of the massive cap-stone? Why was the work sited just here, on the open shoulder of a valley, among the hills and mountains? And are we willing from our modern conceit to give credit to the exactitude of the craft of this object? Our meditations are an architect’s reverie of suspicions, speculations, and analysis about the form, time, shim, alignment, and craft of the Kilclooney Portal Tomb, Donegal County, Ireland.

Aaron Schump is an architect and an educator. He is a Visiting Assistant Professor at Kansas State University.

Bob Condia, AIA is a Professor of Architecture at Kansas State University and the Design Principle for Condia + Ornelas Architects.

By Dan Mancilla

[View full ARTicle here]

Faustino and the Enormous Gamecock is a story from the book-length manuscript, All the Proud Fathers.

Dan Mancilla lives Kalamazoo, Michigan where he’s in the final year of his Ph.D. in Creative Writing at Western Michigan University. His fiction has appeared or is forthcoming in such publications as The Chicago Tribune’s Printers Row, Barrelhouse, BULL: Men’s Fiction, River Styx, and Washington Square Review, among others. You can read more about Dan and his work at danmancilla.com

By Lora Keller

[View full ARTicle here]

Rituals protect us. A doctor counts sponges before and after surgery. A nightly bedtime story prepares a toddler for sleep. We cross ourselves from forehead to chest and shoulder to shoulder with fingers doused in holy water. But where does ritual end and obsession begin? When does ritual harden our minds, letting nothing in or out, creating safety in stone? These poems are about other people’s rituals but they easily could be about me or you.

Lora Keller writes from the east side of Milwaukee, Wisconsin on the western shores of Lake Michigan.  She is CEO of three small businesses and mother of the world’s best teenager, Will DeWan, who took the photos illustrating this ARTicle.  But, first, every morning at 5 a.m., she writes.  About clothes and body parts and mischief.  And maybe about you.

By Manh Le Tran

[View full ARTicle here]

Phu Quoc Prison of War Martyrs Memorial is an academic architectural project for commemorating the communist prisoners-martyrs at Phu Quoc Island, Vietnam. The work presented here was an attempt to symbolize and ritualize the Hole-a conceptual image that, in my eyes, represents soundly not only the indomitability demonstrated by the prisoners-martyrs at Phu Quoc Prison of War but also what my compatriot Vietnamese suffered during twenty painful years of the Vietnam War.

Manh Le Tran is a young architect from Ho Chi Minh City, Vietnam. He received a Bachelors of Architecture from Ho Chi Minh City University of Architecture and is a prospective Masters Architecture student at the University of Southern California. This submission is one of his undergraduate projects which have been focused on architectural symbolism, his main area of interest. More of his works can be found at tranlemanh.com.