A Creative Writing Guild Publication

November 2011

Cut/Paste

Cut/Paste is student work from The School of the Art Institute of Chicago.

Published by the Creative Writing GuildEdited by Cait Stephens

Funded by Student Association @ SAIC

November 2011

Special thanks to: Faculty sponsor Sherry Antonini, Jes Takla, Student Association, the Service Bureau, The Creative Writing Guild, and all contributors. <3

All work is copyright 2011 by it’s author. All rights reserved.

www.cwgsaic.blogspot.com

Cut [kuht] verb:1. to divide with or as if with a sharp-edged instru-ment; sever; carve: to cut a rope. 2. to abridge or shorten; edit by omitting a part or parts: to cut a speech.3. to dilute; make less thick: to cut wine.

Paste [peyst] noun:1. a mixture of flour and water, often with starch or the like, used for causing paper or other material to adhere to something.2. pasta.3. Slang . a hard smack, blow, or punch, esp. on the face.verb:1. to cover with something applied by means of paste.

C+ V1. In human-computer interaction, cut and paste and copy and paste offer user-interface paradigms for transferring text, data, files or objects from a source to a destination.

CONTENTS:

Relative To Right by Bailey Romaine

1

® by Nicola Tsoi

3

Untitled by Jeff Sherfey

4

In the Land of Cries and Whispers by Abe Homer

5

Untitled by Ben Fetters

7

Perpetual Inventory by Stephanie Plenner

9

Status Cut and Paste by Brianna Palmore

10

KMF4 by Karina Fisher

11

Square the Circle and Don’t Ask Don’t Tell by Da Tatu Profant

13

The Assumed by Bailey Romaine

15

Spectrum by Cait Stephens

16

Of the Eulogy, She Said:by Caitie Kealy

17

All The Leaves Are Not Falling by Tia Etu

19

Accolades in Spades by Da Tatu Profant

20

Part One: Him and Part Two: Her by Stephanie Plenner

21

Submission Guidelines23

I.the aim isthe young circumstances

There is no attempt to establish possibilities

so heavily impelled a lot of pistons going up and Up

a rigid slight drop

II.I suspect, genuine, Consequently, a genuine arrangement inside

Honest Questions to Answers

……………………. … and questions.

insects-and-animals synonymous with

that idea of getting between

III.a feeling of closenessa new egg upon the mountains

IV.This emerging collisional push

swung pendulum on

the trap of saying, the list of fiction

Relative To RightBailey Romaine

1

automatically-oriented very, very like it is.

- that one tiny ancient fertilized egg

V.There is most of you better than any space

the reasons to establish the thing.

feels more. frankly unavoidable

a place an expression with an audience

an arrangement in the ex-chronological

VI.physical impulse. of and about

Another physiological briarpatch to name and multiply.

some not usually vital hemisphere, almost built-in

especially in going past

plunging

straighten

swinger of lesser guidelines

2

Have a break when you’re everywhere you want to be, because a better you deserves a glass and a half when it rains.

You look outside your home, the friendly skies pouring with milk.You’re in your most important place without walls, and in the cold, there’s no substitute foryour favourite cookie andFinger-lovin’, you’re lickin’ it.It gives you wingsTo keep going:Now you’re really flying withA red smile in your fingers.You’ve said it all with a Snap and crackled pocket.Just do a dare; have the impossible your way,Because it is nothing forbeer that is worth your life.

There are some thingsa wish can’t buy.For everything else, there’s chocolate.

Nicola Tsoi®

3

4

Untitled Jeff Sherfey

Untitled Jeff Sherfey

A r e a s

for eagles fishes only two chemists in the coun-

try able. Able are the chemists within the areas eagles able. The

chemists measure things like fishes like eagle eyes, which, for measuring things like

fishes, are apt. Things like fishes for chemist express truths within their areas like fishes, for example, that swim in schools. Schools let chemists know what atoms react to what atoms the chemist are looking for. These eagles searching for their fishes or fish are searching for the truth as to why things don’t touch and why, like fish in a school, react the same way: areas for the eagles to study. Two chemists are especially capable. Two chemists are extremely relatable to the two natures of these fishes. The duality of these fishes, saving lives in other parts of the world and killing birds, like eagles, in another. Fishes, like eagles, have areas in which they relate. Fishes unlike eagles feed the people. To kill a fish is to destroy an eagle’s favorite area. Fishes keep going, but not at a pace when not threatened by chemical or eagles. Eagles like seeing the world from afar, from on top. Eagles soar and spot fishes like chemist spot fish like things, and they both deal with them. Eagles in areas get displeased when fishes in other areas affect, outside their natural area, other fishes in the eagle’s area. Thus, eagles become displeased. Thus, eagles call upon chemists. Two chemists to be exact: people like eagles that are apt to eliminate with fish like things bad fishes. Just like birds constantly letting things leak, chemists lose fish like thing, and then those fish like things

kill fishes. It is not an upset of nature for that area

it’s an addition.

SpokenWhispered

A. You have to be grandfathered in.

B. Into this place that does not exist.

A. They make you wear black.

B. Because down here, we talk about the meaning of life.

A. I’d ask you to come, but I don’t think you’d show up.

In the Land of Cries and Whispers

Abe Homer

5

C. Two weeks later I’ll call my doctor. (pause) He’ll clear his throat and say

A. Hey sex bomb!

C. Your gonna need to get that removed.

A. What’s going on here?

B. I don’t understand the words.

A. Because, down here.

B. In a network of lines that enlace.

C. The absent center is always king.

A&B. But when God throws a party, he’ll get you all to work for free.

6

Winner of the Best Animated Feature Oscar and Best Origi-nal Screenplay in 2020 Ben Fetters’ Carbirish is one of the most impressive animated features of all time.

With none of the sentimentality of Disney nor the comput-erized sheen of Pixar, this seemingly 2D animation even blows the brilliant Finding Nemo out of the water. Its epic story is more imaginative, rousing and luscious than anything American anima-tion has produced since the halcyon days of Snow White and the Seven Dwarfs.

Seen in periodic flashbacks, we see the now-eleven-year-old Carbirish’s history leading up to him and his friends preparing for a talent show. Born a mutant with a human head, bird torso, and fish tail, Carbirish grows pretty accustomed and unfazed by his strange proportions, leading us to feel the same way. But when he enters school his differences are not only made fun of, but he himself is mentally and physically abused in a dark way that will resonate with anyone who was once a child. His story is his jour-ney to survive.

Untitled

Ben Fetters

7

This is Ben Fetters’ first movie (which he both wrote and directed), and it is a feast of gorgeous animation and intelligent storytelling.

The workings of Fetters’ wild imagination are laid bare in set pieces like Carbirish’s fascination of the natural world around him - a world we all think we have seen but now have to think twice.

His feel for the eccentric is drawn to all characters, even the humans. Carbirish’s speech about how there’s no such thing as big or small is nothing short of poetry.

In two hours Fetters offers more magic and innovation than mosanimators could manage in over two decades. The beginning shots of Carbirish playing hide and seek in a closet are arguably the most beautiful in the entire movie , but they are nearly equaled by all the others. Visually, Carbirish is so carefully-constructed that repeated viewings reveal new details, like the wayward strands of hair that sit atop Carbirish’s head.

Animation at its finest, Carbirish is guaranteed to delight hardcore devotees, and those who’ve yet to make an acquaintance with the best that non-Disney animation has to offer. See it and marvel.

8

Perpetual InventoryStephanie Plenner

Assume it is Monday, May 1, the first business day of the month, and you have just been hired as the accountant for Colo Company, which operates monthly. Steel Specialties has not been able to replenish its inven-tories as merchandise is sold. One of the greatest benefits of item-level tagging for the retail industry is perpetual inventory management. Perpetual Inventory can be re-ported at the end of each day. If the perpetual inventory system is used and a physical count disclosed a shortage, the cost of merchandise sold should be debited. How to Decide on the Best Merchant Services Supplier For Your Business. This is done by recording purchases and adding them to existing inventory value. Therefore, in addition to the perpetual inventory system, companies are also ex-pected to confirm the physical presence of the inventory reported. The dealer can tell immediately which products. During her two decade tenure with Nordstrom, Kerri led a team in the implementation, change management, and overall technical and customer support of a large Perpetu-al Inventory system.

9

Band bus rides bad thing^ Dear: 1 Event InvitationSmile, if you just smile…Like this comment.

Who am I really?Rely on me. Click hereVia Harlem hae pepper sprayCrazies are born…

24 minutes ago Same as me likeEven if they don’t happenI’d rather have nothing.

Been bothering you?Friend 7 other peopleAgo change babyLet’s go ;) Let’s go ;)I heart.

Jealous of the blue waveBeing rambunctiousCome home brea…12

Minutes would rather doPaint over loveYouuuuuuListening.

PerformingHour hour hour agoSing happy in my earAll day long

2 people lostNow friendsOkay? Okay.Holy Shit.

Status Cut and PasteBrianna Palmore

10

11

12

p. daviesfaves

imperial destructiondeconstructs liberation

as classical functionperhaps Pantheon

wasfor light

on the dawnto all children on

the Earthand

beyondinterpretation situation

is the death of all the nationslighten up penelope

art history has mysteriesand not all

for damnation

Squa

re th

e C

ircle

Da Tatu Profant

13

cross dressing nurses will help U.S. purses in battle they could dawn the white and nurture our boys who done the good fight put us under they deserve a good night proud out of closet admitted sex however is private who did it? tis honestycivility compassion unfitted in too many places US not exempted we Americans pay the price-highest bidder for those who use our soil- claim freedom while farmers at home barely dress their own children

Don’t A

sk Don’t Tell

14

The Assumed Bailey Romaine

was a very seriously

onlycompleted and returned to story of hismind staring

but still What was it that was whole asthe housein all the windowsand inside

the final door

“Oh, “Al-ways.” he was trou-bled.

15

16

SpectrumCait Stephens

Of the Eulogy, She Said:Caitie Kealy

17

Not so much words, but empty streams Hollow unending ghosts of words& iced blues.It is dampHas-beens recyled a thousand times overThen filtered again for good measure.The wayward collective is teethingGums to the wallAnd bare assed iced blues poking through.Bitter appears as the word, but there are not words . just splintered and unwound purity.The profound is static and fixed to the spoiled.It is vastness speaking of vastness,Doubled over and lying to the bodyAs it rejects anything it is given.

There is a field of wheat in this place.It is disguised by the long skirts and longer faces,but remains swollen with wind the way is always wasIt lacks formalityBut twists itself into the pose of the high truth of humanity.The commitments ramble onMemorialize thoroughly before washing.(1) repeat (2) (3) (4) (5) (6) (7)and so on and so forth.

18

19

1

All The Leaves Are Not Falling Tia Etu

Da Tatu Profant

20

(Text from the stage directions of The Book of Liz by Amy and David Sedaris)

Part One: Her

The private chamber is sparse and orderly.He hands her a pen and paper.Bits of the previous conversation swim in her head.Growing progressively more hysterical, the men chuckle, thinking he’s funny. She has no idea what they mean.She is ignored, and realizes her mistake.You wonder how she manages to breathe.Lost in thought, she exits.

The costume leans against the wall. He rolls up his sleeves to reveal tattoos and ties a blindfold over her eyes. She mumbles something to him and bends forward, gently butting him. With his help, she steps into the costume.Sweating. Uncomfortable. Exploding. She’s soaking wet.He touches her and tastes his finger.A female visitor approaches and hands her a business card.He marches off with the visitor. She considers the business card. She starts collecting her things, then collapses very woodenly. The Reverend enters startled but trying his best to be gracious.They share a silence.She exits drying her eyes.

This is very hard to say while laughing.Trying to stave off a fight, she returns. And he takes.

She remains standing.

Stephanie

21

Part Two: HimThe private chamber is sparse and orderly.She hands him a pen and paper.Bits of the previous conversation swim in his head.Growing progressively more hysterical, the women chuckle, thinking she’s funny. He has no idea what they mean.He is ignored, and realizes his mistake.You wonder how he manages to breathe.Lost in thought, he exits.

The costume leans against the wall. She rolls up her sleeves to reveal tattoos and ties a blindfold over his eyes. He mumbles something to her and bends forward, gently butting her. With her help, he steps into the costume.Sweating. Uncomfortable. Exploding. He’s soaking wet.She touches him and tastes her finger.A male visitor approaches and hands him a business card.She marches off with the visitor. He considers the business card. He starts collecting his things, then collapses very woodenly. The Reverend enters startled but trying his best to be gracious.They share a silence.He exits drying his eyes.

This is very hard to say while laughing.Trying to stave off a fight, he returns. And she takes.

He remains standing.

Plenner

(Text from the stage directions of The Book of Liz by Amy and David Sedaris)

22

The Creative Writing Guild is a student group at The School of the Art Institute of Chicago, active since 2008. It publishes a collection of student writing bi-semesterly, hosts regular public read-ings, and broadcasts creative writing on Freeradiosaic.org

CWG is always accepting new art, poetry, short stories, fiction, non fiction, publishable experiments, music and sound pieces, improvisations, noises, perfor-mances, radio plays, and performed scores for our publication and radio show.

23

Contributions are unpaid and only accepted from currently enrolled SAIC students, staff and alumni. All funding is provided by SAIC.

Submissions should be sent to Cait Stephens, at

Jeypeg@yahoo.com

Please include your full name, title of the piece, contact info (if you want it listed) and any addi-tional info about the work that might help read-ers to understand it.

Submission Guidelines

24

Collected writing from The School of The Art Institute of Chicago