Issue 27 - Columbia: A Journal of Literature and Art

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(tt> RK60T IB/ER EVEN PTWWNmoW XTSHERCTHOUGH. LESLIE STERNBERGH Near the end of 1993, I wrote a script: ten pages to be sequentially illustrated for a comix anthology to which I'd been invited to contribute. The story I chose to tell, the events I chose to describe in this true story from my life, were things that had haunted me for twenty years, things I'd yet to really deal with. Failure, mistrust and miscommunication, deviance and denial, a typical skeleton's closet roster, really, tripping a dark fantastic through the next three years of my life. It's often been my pleasure to work autobiographically, but somehow this story was different. It was more than mere art, no safe encapsulated episode. I could not finish it. Something was wrong. This year I will see that piece completed; I've recently returned to therapy, and spoken about it with people I can trust. The two-and-a-half years since that script was first written have been tumultuous, an emotional thrill ride replete with whiplash and nauseau and yes, thrills. I think I even understand a fair amount of what's transpired. I dared call my life art; now I must engage the two in dialogue long left unspoken. My narrative life should meet the standards of my visualized art, before it will manifest through a pen in my hand onto paper. True stories should not be compromised, any more than should my life's work, or my life. Twenty years after the end of the events my narrative evoked, I must make peace with them. Lately, for me, ink is thicker than blood.
ALSO KNBA/ THAT THE EVJEN SHE BEEN SIGNIFICANTLY LESS 1 USE.- THEY HAP (ANIT CONTINUE TO OVER. A HANCTVJGr \SSUE. HE WAP 0*»AU? ViEEP ANAAte/,VAE MAPM'r PONE. ? COULD QlAlTETRUE. wENTCVER TVIE WCLP A P\R=EPEMT mUfH. SA\P fl^-V win ne(i w , HE K^Ev/ THAT If WAS WOT AURI*ISTK- B HE.PIPNTFEEU WATCH life A HlAA ©I 9% JAMES ROMBERGER STORY BY MARGUERITE VAN COOK Ground Zero was designed to be an adventure in semiotics where the language and the image, the literal, forced the reader to make their own determination of reality. Even the obviously handwritten captions draw the reader into the biographical world of the writer and the artist. The story revolves around a genetically engineered "Unit." She is a government experiment gone awry. In this excerpt, her "Automate" is pondering his situation, as she, "the Unit," is going out of control, becoming more confrontational to the "Guardians," or hierarchy, who believe they control her.
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TRANSLATION SECTION TRY COAST TO CO
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Editor-in-Chief LORI SODBRLIND Exec
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ELIZABETH MACKLIN SAMN STOCKWELL DA
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IO her with broken locks on pill ca
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o a: ID u. O >- IT 0 in on his face
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18 or his daughter. He said north o
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in charge of the lifted-up-spirits
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The wife says, "Oh, shut up, won't
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then sits down, clutching the baske
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34 They all drink. The wife's head
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Liliana Ursu, a native of Bucarest,
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De la fereastra Ingerului Fan, iarb
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The Key to Mystery Hot is my body a
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5° Everything Kobo Abe ever wrote
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T. 54 "How ironic," the man said, l
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GWYNETH LEWIS Whose coat is that ja
Page 33 and 34: o < s 0 o In his poem, "Strange Mee
Page 35 and 36: O o 66 So this is the man you dream
Page 37 and 38: ELIZABETH MACKLIN The Secret Note Y
Page 39 and 40: When a woman loves a man, they have
Page 41 and 42: TERESE SVOBODA At the Castle To say
Page 43 and 44: JUDITH BAUMEL Hot One moment it was
Page 45 and 46: JEAN MONAHAN The Concert —Isabell
Page 47 and 48: One of the Last Days As through a d
Page 49 and 50: only to lift their branches for one
Page 51 and 52: 98 always looked at curating as col
Page 53 and 54: 102 structure versus vertical, hars
Page 55 and 56: LINDA BIERDS The Breaking-Aways —
Page 57 and 58: KAY RYAN Weakness and Doubt Failure
Page 60 and 61: DANIEL TOBIN At the Egyptian Exhibi
Page 62 and 63: NATALIE KUSZ After Bedtime At night
Page 64 and 65: Q. Z 3 ID 124 me to visit a squat i
Page 66 and 67: 128 VII. Somehow I knew not to tell
Page 68 and 69: 132 It was an illustrated history o
Page 70 and 71: i36 day might have been some kind o
Page 72 and 73: 3 140 XIV. He must have been there
Page 74 and 75: o z 111 o 144 smiled; she even got
Page 76 and 77: I48 Mostly things are quiet on the
Page 78 and 79: 152 the grass. I imagined him still
Page 80 and 81: 156 other on a mother's shoulder. I
Page 82 and 83: o X < If) 160 us from behind. It wa
Page 86 and 87: Dykes To Ulatch Out For AS THE RE W
Page 88 and 89: "IF OMUY HE HAt> ONt \NTo THE WU «
Page 90 and 91: working on Hula in story form, you
Page 92 and 93: i8o Cinematically, there is the req
Page 94 and 95: WINTER COMPETITION MICHELLE MITCHEL
Page 96 and 97: and she looked at him for hours, an
Page 98 and 99: u in O cc a. H LJ D. o a hi 192 "Co
Page 100 and 101: IT < < o 196 I heard the car door s
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Issue 27 - Columbia: A Journal of Literature and Art

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