Stories

The Good Witch – A Poem

by Harper Smith

I am a girl who is a witch.

No one has ever told me I am a witch but no one has had to,

for I can feel it in my chest as though it is a second heart that beats. 

I live in a world where no one is kind to witches unless they are good.

A good witch is a thing of legend, 

the kindly woman down the road with her healing touch,

the strange little girl in the woods who guided you home as a child,

the birds that seem to sing a little sweeter when you are sad. 

A good witch is something to be revered, to be treasured and loved as if she was your own grandmother, 

But that kind witch is often rare. 

More common is that of the hag, the moss maiden, the beldam, the crone. 

a witch of the dark parts of the forest, a witch of the night, a creature of nightmares and of song, something that is not human but is instead 

Fear, the fear of men and of children, the fear of the shadows on your wall, the fear of the night and the things it will bring, the fear of loss and of losing, 

and the secret hope inside of the chest of all women. 

Witches are vile, evil creatures, 

they told me, 

you better stay away from those woods.  

Such a 

p r e t t y  y o u n g 

      t                       

  h

i

     n 

             g

will do no good against something so evil as that. 

I am not a good witch. 

I know this because they have told me, with their eyes and their smiles and the prickly hardtightcrushing way they grip my shoulder when I speak too loudly or too much.

I have no family left, so I am an orphan. 

(they tell me this with pity in their eyes like I do not already know)

I have no husband, so I am a spinstress. 

(they tell me this with sympathy in their voice, as though talking to a child, or a very elderly woman)

I have a strange, off-color to my eyes, so I am an abnormality. 

(they do not tell me this but I hear them whisper.) 

They do not care about me or they would have offered me help,

when my father left six years ago, 

when my mom disappeared into those woods, 

when my brother was stolen by those forest creatures of the night, 

when this creature of the night was made to be all I had left, 

but yet they whisper anyway,  

as if they do care,

as if my state of being is somehow as important to them as their own child’s when they have given nothing to me that they would give their own–

It is not enough to be a witch. I must be an outsider, too. 

I have tried to be a good witch. In my younger years it was all I tried to do,

To mold myself to be better,

To dull the sharp edges of my weary heart,

To take what is broken in me and make it whole.

But I am angry, so much so that I sometimes feel I am

except this anger, this burning hot fire in my chest.

angry at

my father, 

my mother, 

angry at those creatures and the monster sister they left me, 

angry at this town and the whole world, 

angry at myself. 

A good witch cannot be fueled by hatred, they say,

she can only bring light. 

She uses her magic only for others, 

brightening their lives at their beck and call, 

wanting nothing for herself but the smiles on their faces and filling her heart with the happiness and the full cup of others. 

I cannot be that way.

I have tried, oh I have tried, but how

can I gorge myself on the joy of my fellows if I seem to bring them none?

I cannot seem to wash away the stains of their disapproval more than I can wash myself of my sins, of the magic and rage that fester deep in my body.

Sometimes, 

the fire of that anger sparks too close to that arcane magic

and it catches,

and there is no hope of putting it out until I have let go. 

So I must, indulging the 

brilliant 

blinding 

beautiful 

magic inside me, 

freeing it so watch it spark through the air, 

dance its way upwards to the rafters,

and God it is gorgeous, 

and I finally feel free.

Sometimes, when I am feeling particularly trite,

I will allow it to blaze a stack of hay into smoke.

I am a not a good witch, 

but my magic is my own. They can never take it from me.

They have taken so much, and those who have not taken have given 

nothing all the same,

but I am my own. 

One day they will fear me. I know this to be true.

I will earn my name among the crones who burned and stole and pillaged through the night, 

the Blacked Dawn, the Faceless Woman, Lilith herself, 

I will be one of them in time, and they will all hate me, 

and use my stories to scare their children into soft sweet terrified sleep.

I will be all that (and more, more, please i want to be more) someday,

but for now–

for now I am only Melissa. 

That is the only name I know, 

and it is a name of anger and fire and impurity and imperfection,

but it is mine.

I do not have to be a good witch for it to be mine.

Arts and Culture

Book Review – Erin Bowman’s Dustborn

by Meru S.

Far across the desolate sands lies the Verdant, rumored to be a lush land filled with what the Wastes’ deserts lack. And the only map to this idyll is branded onto the backs of Delta and her friend Asher, who has been missing for years. Delta must keep her back concealed, as many in the Wastes would go to any lengths for the map. Her life is already arduous, but when her mother and fellow villagers are captured in a raid during a storm, and her village burned to cinders, she must undertake the perilous journey across the Wastes to find her family.

In Erin Bowman’s captivating and thrilling novel, Dustborn, Delta braves travails only to find that she can trust nearly none in the Waste. Daring escapes lead to the unveiling of mysteries—the most unforeseen of them all hidden at the Verdant.

Published in 2021 by Clarion Books, Dustborn has been recognized as a Young Adult Library Services Association (YALSA) “2022 Best Fiction for Young Adults title,” a New York Public Library “2021 Best Teen Books” title, and is a 2022 Bank Street selection for “Best Children’s Books of the Year.”

Kirkus Reviews has commended the novel as “intense, gritty, and propulsive . . . Will keep readers turning the pages,” and the Publishers Weekly praises the plot as “absorbing world-building [that] propels this fast-paced adventure.” 

A perfect read for enthusiasts of The Hunger Games, Dustborn follows a post-apocalyptic and dystopian plot. Delta’s initial callous temperament evolves into caring determination; her character arc will, no doubt, have readers cheering her on, wishing her success on a journey that will tickle your funny bone and set your heart beating. Erin Bowman wields her words to seamlessly weld together action, romance, loss, and adventure, forging a tale that will leave bibliophiles eager to peruse its pages yet again.

Dustborn is available at Barnes and Nobles, Indie Bound, and on Amazon.

Erin Bowman is a New Hampshire-based author. Her teen and young adult fiction includes the Contagion duology, the Taken trilogy, the Vengeance series, The Girl and the Witches Garden, and In the Dead of Night. Additionally, she has contributed to an historical anthology titled Radical Elements, which features tales of young women who stood up against society’s will. Visit her website at embowman.com.

Our Staff

Elaina David – Staff Writer

Elaina David is a 13 year old girl originally from Houston, Texas. (Amazing food…abysmal weather:) She loves reading books, especially historical fiction and fantasy. Currently she is interested in pursuing a career in journalism and/or archaeology. When she’s not begging her dad for family stories or delving into some new obsession, she can be found playing soccer with her team.

Go United!!

Arts and Culture

Pompeii’s Sister City

by Elaina David

I have always been fascinated by the ancient city of Pompeii and the horrible disaster that so well preserved its past. For those who are unaware of what Pompeii is and was, I will take a moment to explain. Pompeii was a Roman city that was famously destroyed in 79 AD by the volcanic eruption of Mt. Vesuvius, a volcano that is still active today. I watched documentaries, read books, and annoyed many people with my incessant tales of the death and doom that took place there. After years of being completely obsessed with the place, I discovered that there was a whole other story that I had been missing. That was when I found out about Herculaneum.

Herculaneum is a city located in Campania, Italy, roughly 5 miles southeast of Naples.

          As is depicted in the map to the left, the placement of Herculaneum is noticeably closer to Mt. Vesuvius than Pompeii. You’ll also notice that Pompeii is south of Mt. Vesuvius whereas Herculaneum is to the west. Both of these observations will play key roles in the fate of Herculaneum.

Herculaneum is actually, believe it or not, better preserved than Pompeii in many ways. One example of this is that in Pompeii there is no preserved wood or actual skeletons. Yes, there are plaster casts that are really cool, but they can only tell us so much about the citizens of Pompeii’s last moments. In Herculaneum, there are hundreds of skeletons, 300 in the boathouses alone. The Herculaneum boathouses provide so much insight into the lives of Herculaneum’s residents.

One such insight is a look at the people’s diets. Archaeologists have used an archaeological technique known as Compound-Specific Isotope Analysis, or Stable Isotope Analysis. This basically means that a bunch of people in white coats ran tests on some bones to identify specific isotopes from different plants and animals that may have been eaten in that time period. The results showed that females in Herculaneum ate more terrestrial animals, and males ate more fish and marine life.

Another insight is through the aforementioned preserved wood. As I’ve said, there is no wood left in Pompeii. In Herculaneum, the wood and paper were carbonized, leaving behind exact carbon replicas of beds, chairs, tables, and even scrolls! This is where the positioning of Herculaneum comes into play. Pompeii was downwind, to the south of Mt. Vesuvius, so huge clouds of ash and pumice (a light, porous type of rock common at volcanic sites) covered the city. The pumice fell from these clouds, piling on and destroying the roofs of houses. This crushed the civilians sheltering underneath them, although some people survived. This meant that the wood was surrounded by porous rock, which allowed the wood to slowly rot away.

When volcanoes erupt, they spew hot magma onto the surface, which is terrifying to see if you’re too close. In reality though, the reason eruptions are so deadly is not the lava. It’s the superheated pyroclastic flows and surges that do the most damage. These are floods of volcanic ash and hot gases from an eruption. They suck oxygen from the air, cause terrible burns, and block out all sunlight. In Herculaneum, there was no pumice, just hot ash encasing everything, leaving no air to rot the wood.​ The superheated gases caused the wood to carbonate, protecting the wood against erosion. In Pompeii, the flows and surges had lost some heat and the wood had already been buried in pumice.

I mentioned in an above paragraph the Herculaneum boathouses. These were arched, beachside rooms where citizens waited for boats. When Mt. Vesuvius erupted, hundreds of people took shelter there. You may wonder, Why didn’t they leave the city? Why stay? The answer lies in history. A few years before the eruption, Herculaneum was struck by a terrible earthquake that destroyed much of the city. The boathouses were the perfect shelter during that natural disaster. In the days preceding Mt. Vesuvius’ eruption, there were also earthquakes as is common before eruptions. Many people hid in the boathouses under the assumption that this was another earthquake.

There is one final amazing artifact from Herculaneum that I’m going to share about. The artifact in question was found in a temple devoted to Augustus called the Collegium Augustalium. A forensic archaeologist named Dr. Pierpaolo Partone discovered the only example of a vitrified human brain there. (Vitrified means turned to glass.) The superheated temperatures, followed by a sudden decrease in temperature, turned a man’s brain to glass. He was found lying in his bed. No where else has there ever been found a vitrified human brain. This is one of the things that make Herculaneum such an important archaeological site.

Herculaneum is a treasure trove of history, and new technologies are helping to uncover more and more about this ancient city’s past. I hope that this article has imbued in you a want for more.

Sources:

Britannica. Herculaneum. 23 August, 25.

https://www.britannica.com/place/Herculaneum

Giordano, G., Pensa, A., Vona, A. et al. Unique formation of organic glass from a human brain in the Vesuvius eruption of 79 CE. Sci Rep 15, 5955 (2025). 

https://doi.org/10.1038/s41598-025-88894-5

National Geographic. Lost Treasures Of Rome. 24 August, 25.

https://www.natgeotv.com/za/shows/natgeo/lost-treasures-of-rome#episodes-t3

Piercy, L. BREAKTHROUGH: Discovery made from within 2,000 year-old Herculaneum scrolls. 13 October, 23.

https://uknow.uky.edu/research/breakthrough-discovery-made-within-2000-year-old-herculaneum-scrolls

Research Gate. Herculaneum victims of Vesuvius in AD 79. 24 August, 25.

https://www.researchgate.net/profile/Pierpaolo-Petrone

Science Advances. High-resolution dietary reconstruction of victims of the 79 CE Vesuvius eruption at Herculaneum by compound-specific isotope analysis. 25 August, 21.

https://www.science.org/doi/10.1126/sciadv.abg5791

The Past. Wooden Wonders Of Herculaneum. 24 August, 25.

https://the-past.com/feature/wooden-wonders-of-herculaneum/

Arts and Culture, Student Life

The Song of Our Hearts: Why Does Music Make Us Feel?

by Harper Smith

Music has existed in human culture since very nearly the dawn of time. The earliest known instrument was a 60,000 year old bone flute, made from a bear femur and discovered in the caves of Slovenia in 1995. Percussion (music produced by striking something to create sound, better defined by modern instruments like drums and the tambourine) has been around for almost as long, and by the time civilizations like Greece and Egypt had emerged, the use of music for storytelling and cultural connection was hardly a new idea. Music became a craft, an art, and because of this, there was more thought devoted to the why and how of it all. Theory (the study of the principles and elements of song) was created and developed, and things like melody, harmony, rhythm and structure were conceptualized and studied. Musical notation (the way in which instrumental music is read, or “sheet music”–have you ever seen those little pointy blob things? This means those) was developed as well, and evolved over time. Through the inventions of records, radio, CDs, and eventually streaming services like Spotify and Apple Music, music is now a part of most of our daily lives. It is used for relaxation, education, worship, or just to dance and have a good time! 

But because the influence of it all has spread so far, it means most of us have now experienced the same thing. The feeling of listening to a song–maybe your favorite song, or maybe just something on the radio–and letting it wash over you, filling you up with emotion, with thoughts and pictures in your head, until…are you crying? Okay, for a lot of you out there it’s probably not that extreme, but there’s a near-universal experience of having a song affect you in some way. Whether it’s in the form of sadness, joy or even anger, that’s the power music can have on us. And given how long it all dates back, it’s safe to assume that this power has existed since ancient times. But why? Why does this happen, and why can almost everyone relate? Why can one person think a song is the saddest thing they’ve ever heard, and another say it’s their go-to for a dance routine? 

There are a lot of theories, and their basis varies. Some use psychology, some use music theory, some use a combination of both, and still others go off emotional analysis or just, in formal terms, “straight-up vibes.” I’ll go through two of these now, and you can decide for yourself which best represents how you think of the phenomena. Note, however, that each and every one has a scientific basis behind them, and a framework supporting evidence and studies. I will link sources below for further reading–they’re very interesting, and provide deeper information than my brief overviews. 

Theory 1: Music composition and psychology. 

Here I’ve combined the content of several articles regarding the more scientific side of things related to music. Namely, the brain. Your brain (hopefully, at least) has several distinct areas, each for different purposes. When these areas are triggered, certain hormones are released, or certain reactions are triggered, that make us feel things like pleasure, fear, and fatigue. Scientists have found that nearly all of these systems light up when we perceive musical sound. The amygdala, the hippocampus, the limbic system and more all have expressed intense reactions to harmonic sound–and they are all centers of the brain associated with pleasure and reward. Music makes us happy on a psychology and physiological level. Being able to predict or anticipate the tempo, rhythm, and changes sends a positive charge to our brains when our expectations are met or surprisingly exceeded, and releases dopamine. Additionally, songs or sounds associated with certain memories (or even just songs we recognize) in our brains light up the reward system as well. 

(Sources: one, two, three, four.)

Theory 2: Empathy and connection. 

Another idea is less quantitative in the realms of physical biology, but has very real basis in history, psychology and human experience. In fact, that is the theory: that human experience is what leads us to connect and relate to music. I’m sure we all have songs, or even whole playlists of songs, that remind us of ourselves (I’m sure I do–looking at you, indie artist Searows and your songs that make me ugly cry.) But why can we still feel things at songs that have nothing to do with us? Some say that it really is that simple: empathy. The concept and practice of being able to share emotions with other people is one of the most important skills for us to have in life, and one that most everyone is able to cultivate over their lifetime. This skill is exactly what may cause us to experience emotional sensations when we hear certain songs. In fact, scientific studies have shown that more sensitive people show higher levels of connection when listening to “sad” instrumentals, and even find music more pleasurable in general than someone with lower levels. There are even studies that show that listening to music helps us grow our own empathy in general. Emoting at instrumental changes and lyrics can develop an individual’s sensitivity and enhance their ability to relate to others. This is because music is a highly personal art form that conveys a very intimate look at the artist’s feelings. As a songwriter and composer myself, I can say for certain that the process of writing songs is definitely one of the most soul-bearing activities I’ve engaged in. Artists communicate their pain, anger, frustration, love or joy in their songs, with the intention of their listeners coming to understand what they’ve experienced by the end of the track.  And despite what you may think if you’re only familiar with lyrical songs (as most people usually are), the same is true for classical or instrumental pieces. The act of creating music and using instruments and composition to reflect a theme or feeling is incredibly personal and unique, and sometimes can have even more depth to them than lyrical pieces. Either way, when someone’s heart is presented proudly in their art, we can see it. And in terms of music, we can feel it ourselves, too. 

(Sources: one, two, three, four.)

Now that you’ve read through both of these different ideas, which one do you think is true? Which one is the real reason behind this universal phenomena? Well, the answer is both! Both theories have accurate scientific groundwork in the scientific community, and are widely accepted as true. And there are even more reasons you may feel things at certain songs: your culture, background, past experiences, or even your music taste, all affect the ways you view the things you listen to! Every human on this earth is unique and has lived a unique life compared to every other, and we are all bound to see things differently. Maybe Shape of You is your favorite song because you think it’s romantic. Or you like the music. Or it reminds you of your traumatic childhood. Or maybe you hate it! (I wouldn’t blame you.) For each scenario there is someone here that can relate, and for each and every song, it is someone’s favorite and least favorite. Humans are so diverse and no two of us are the same, but the power of song has united us throughout the ages and continues to have an almost mystical effect in our daily lives. And for a species that can hardly ever see eye-to-eye–I think that’s pretty beautiful. Don’t you? 

Recommendations from the Lighthouse Staff and Friends! 

Olive Pea recommends the song ‘Wild’ by Woodkid! It makes her feel determined and motivated, like she can accomplish anything. The drums are like a military march, and the strings feel like looking at the clouds. 

Lydia Martinov suggests ‘7 Years’ by Luke Graham and ‘Time in a Bottle’ by Jim Croce. They make her think about the passage of time, and its effect on us all. 

Lucas David puts his stamp of approval on  ‘We’ll See You, Opal (Reprise)’ from the Jack Stauber musical short film “Opal.” It’s a claymation indie film that’s very cool and free on YouTube, go check it out! 

Aleena Hamior enjoys the songs  ‘Hellbent’ and ‘Royal We’ by Janani K. Jha. 

Kieran Smith said the song ‘Rule #4’ by Fish in a Birdcage is epic, and then said he thought epic wasn’t a fancy enough word. I told him it was, but we’ve agreed to disagree. Maybe he meant extraordinary? Inspiring? Monumental? Either way, this song makes him feel it. 

Fincher Smith, age six, tells us that ‘Bodies’ by Drowning Pool makes him feel “dance.” Who could argue with that? 
Harper Smith (that’s me!) recommends the song ‘Never Love An Anchor’ by the Crane Wives  for its lyrics and guitar style, and vibes that perfectly encapsulate fall. This song is one of their all-time favorites and always makes them cry, and they would love to have you suffer with them.

Arts and Culture, Comic Strip, Home

Animation Tips – Part 1.

by Lucas David

Animation is like lying to your eyes. Every second, your brain processes a certain number of images and strings them together into a perceived movement. When you make an animation, you create a series of flat images resembling a 3 dimensional object and flash them in front of someone so fast that your brain performs its motion recognition process on the flat images. This creates a powerful illusion that can be entertaining, educational, and expressive. 

To make a drawing really feel like a living being, you not only have to create a visually unique and consistent character, but animate it to move like a breathing, seeing, hearing, feeling creature that reacts to its environment even when the viewer might not be paying attention. Unless they are standing unusually still in the scene, they should almost never stop moving completely. Even if the character is standing still, you still want to redraw it each frame, or have enough drawings on a loop to produce a similar effect. Here’s an example of an idle character that still reacts to its environment and does not rest on one drawing:

I find it likely that you, like me, are much more interested in animating an active character than an idle one, which we will explore in more depth next month. Creating a character in the process of performing something more exciting than standing, such as walking, (unheard of, I know), is easy to overcomplicate if you put unnecessary difficulty on yourself. It may appear robotic at first if you aren’t careful. One of the easiest errors for me is to start thinking about the character as a three dimensional object that holds its dimensions when rotated. 

This is a mistake because all that matters is what the viewer sees, and they see one angle. Even in 3D animated films, the characters would not look as natural if you turned the camera to view them from a different side. Our eyes see things differently in reality than when we see things on a screen, so the change is necessary and should come naturally as you animate more. This also means there is no need for you to correct it in your animations. In fact, “correcting” your imperfect character drawings will equate to shooting yourself in the foot over time, something I do rather frequently out of perfectionism.

Another tidbit to keep in mind is that no animal moves with perfect smoothness. This means that characters start movements slowly, speed up in the middle and end slowly again. If a movement is constant the whole way through, it causes your animation to look mechanical, and your characters to appear less alive to the viewer. If a piece of animation is feeling difficult to get started or you are having trouble deciding how to represent it, acting it out in front of a camera a few times and watching the recording can help remind your brain what the movement is supposed to look like, and make it easier to get going again.

Animation takes a lot of time and energy, and it’s not difficult to burn yourself out, especially when working on an ongoing project. One way that I avoid burnout is, on a particular day, if I notice I do not feel like animating, I try to assess whether I actually don’t want to animate or if I just need to work on a different part of my project. If I just don’t feel like animating, or feel like working on a short side project for a while, I let myself pursue the whim. You don’t have to force yourself to work on your project every single day, and in doing so you run the risk of turning it into a chore that you feel obligated to complete and find no joy in, which in my personal opinion is worse than quitting.

The last thing I will talk about today is how to manage your time effectively so that you can create more art in the time you have available. The biggest thing to keep in mind, especially in the context of ongoing animations, is that you don’t need it to be perfect, just good enough. Your art is usually better than you think, and NEWS FLASH you are not required to pump out pixar-level animations during your time as a student, or during any time for that matter. If you want to make the most beautiful animations ever, that’s awesome, and you should focus on getting used to spending tens of hours on a few seconds of art. If you’re more interested in the storytelling and narrative aspects, however, it’s helpful to be open to compromising a movement’s quality slightly because the show must go on.

Stories

As we Walk Through The Woods: In The Stars

a sequel short story, by guest author Jonathan David

As we walk through the woods,
we try with all our might
to make memory of this beautiful night.
For we stand under the stars of the sky.
We talk til day has come,
and sun has risen.
As we walk through the woods,
I can’t help but grieve.
For it is a time of sorrow,
a time of loss,
a time of death,
a time to mourn with what’s left.
But the war is over,
the war is won.
We have battled the last battle
and we have won!
Peace has fallen,
ground is regained.
Plants regrown,
buildings rebuilt,
as we walk through the woods.
I can’t help but think about these times,
after the war, many have lost.
Many are injured,
and many are gone.
Many are stuck, in words of anger.
Others in poverty,
Still more in grief.
And I look to the stars,
for in the sky we can find the everlasting beauty,
The moon, the stars, and the planets,
All in one place.
Orian and Casspiera.
Usar and lio, and their minors.
Scorpios and teacup,
And bootes too.
Oh the wonders you can find.
Mercury and Jupiter and Venus and Mars and
Polaris and Vega and Sirius and Arcutus.

But the sun comes up, and the earth goes round,
And the stars stay the same.
Through the night, through the day.
Through a month, through a year.
As we walk through the woods.
A Sequel, By Guest Author Jonathan David

*please note that teacup isn’t a official constellation

Stories

The Colors’ Waltz – A Short Story

by Lydia I. Martinov

Can’t think. Can’t make out an intelligible thought. Yet, at the same time, thoughts are racing. One after the other. From the back of this terrified mind to the front. Trying to compete for first place at the tip of this head. A bead of sweat rolled down this burning, horrified face. How could it calmly make its way down in a time like this? Shaky hands, but they won’t budge. Won’t move. They must find their way to the backpack, but they won’t listen. Won’t do something so simple as removing the straps off this aching back. “W-what-”. I hear a voice. Who is it? It sounds awfully familiar…”What do I do-” This should be a question. But there is no rise in pitch at the end. Not like a question. More like a statement. Only now, I remember why I recognize this voice. It came from no lips but my own. Trembling and barely able to speak. Suddenly, it was as if my very source of breath had been swept away from my body. An awful wave of nausea comes over me. This head of mine becomes light. Lighter than air. Like it could just float away. Up, free into the sky. As the pounding of my heart grows louder, like a pair of cymbals turning into a gong, it feels as if my ears are ringing. A high pitched, constant sound that implants itself into my mind. I struggle to inhale. It feels like a giant machine pushing through thousands of years of growing forest. Air pushing through to my lungs. I finally manage to inhale. Exhale. Once, twice. 

Now it’s manageable. I haven’t been breathing. I open my eyes, not even realizing that they were closed in the first place. In front of me is a massive rock, wearing moss as if it is a fashionable outfit chosen just for the spring. All around are mossy, green giants. The bark appears red underneath, but the layer of moss makes it hard to tell. The branches reach up toward the top of the canopy, made of leaves and all kinds of life. Though entranced by the beauty and tranquility of the forest, I still must remain silent, and allow my head to clear. The reason I wandered off in the first place was the beauty of the forest drawing me in, making me lose myself, with the same effect of a siren song for a few minutes…or seconds…maybe hours? I lost track. Now I can’t find the path. Perhaps my longing to capture one of the largest, most wild forests has brought me to an impossible position. A grave mistake. Though, when I heard about a beautiful place that remains untouched by man, I knew it was my duty as a journalist to photograph and share with the world the beauty of this seemingly magical place. Now, here I am, trapped in the middle of the dense, endless, lush woodland. Though my pounding heart is still clouding my ears, I have regained enough of myself to once again make decisions. I don’t know which way the path is, so I need to summon my inner knowledge from those nature documentaries.

I throw off my backpack, and my sore, aching back thanks me by reminding me of how heavy my things are. I take a look inside to double check my inventory. I have no idea how long I will remain here. A shiver runs down my spine at the very thought. I pull out my pen and notebook to document my journey, because, if this is truly happening, I should at least bring home an incredible story. I write about my current situation, and take notes of everything in my bag. I have half a liter left in my water bottle. I should probably conserve it, along with the ham and swiss sandwich and snack packs. Continuing to rummage through my bag, I find a light jacket, and…a radio? I forgot that it was there! I feel a grin take over my face, and my heart pounds harder. A tear of relief falls down my cheek as I take the radio out and open the antennae. I switch it on, and press the button to speak. “Hello?” I say. “Anyone out there?” I let go of the button, and listen. There is no voice. No static. No sound. I look at the radio, and see a flashing red light. The dead battery indicator. My tear of relief turns to a tear of disappointment and despair. I hear a whimper escape my lips, and feel my bottom lip begin to quiver. “No,” I command myself. I will not cry. I need to keep myself together, because emotions won’t get me home. I look at the sky. “The sun rises in the east, and sets in the west.” I say to myself. I should travel in one direction, and I can use the sun to guide me. I decide to walk west, because that is where the sun currently is…because it will soon set. I should walk until I find civilization, or at least a river I can follow downstream. I pick up my backpack, ignoring the cracks my back gives me in response, and begin walking. 

It has been a few hours, and I can hardly move my legs. My feet are aching so much, and my back feels ready to collapse. The sun is setting, and I realize that once it gets dark, I will no longer have it to guide me. I could begin traveling in circles. My body is exhausted, and the creepers will soon begin coming out. I hear a twig snap in the distance, and I go silent. A howl. Does that mean…wolves? I can hear the “clickety-click-click” of my chattering teeth. The swishing of fabric as my knees shake in my khaki colored hiking pants. The “fight-or-flight” instinct hits me in an instant. I must find shelter. I tip-toe forward and look left and right. The uneven ground rises into a small, eroded cliff. It has a hole inside big enough for me to fit, and just deep enough to lie down. I get to work. Throwing my backpack into the hole, I grab any sticks or small logs within a fifteen foot radius. Then, I climb into the hole and build a wall at the entrance to keep out any unwanted visitors. The sun has nearly set, and the stars are somewhat visible through the canopy of leaves. I lay down, using my backpack as a pillow, and gaze through the holes between the sticks. Hearing a twig break nearby, my eyes dart toward the noise. I see a massive, yet beautiful wolf casually striding through his territory. He doesn’t appear to notice me, and I can’t take my eyes off him. I am entranced by his magnificence. So much so that I am no longer trembling. After a few minutes, my face finds my makeshift pillow, and my eyelids collapse, no longer able to handle the weight of this burden.

A rustling sound awakens me, and I feel sore, yet alert. My branch barricade seems to have fallen down, and I find myself nose to nose with…the most adorable creature I have ever laid my eyes on. Its innocent eyes are staring as if into my soul, like black beads with a story to tell. Its long, fuzzy ears are sticking straight up into the air, scouting for danger. Its curious little nose twitching to inspect mine. Suddenly, the rabbit turns its head, as it appears to have heard something, and quickly hops away. I sit up, and look around, recalling the events of the evening. The sun is up, yet hidden above the sheltering canopy. I hear a low grumbling sound. “Calm down,” I say to my stomach. It growls in response, more than ready for a big meal. I take my backpack, and look inside. Wrappers are loose and broken, and the sandwich has disappeared. I sigh deeply with disappointment. Some critters must have ransacked my scraps. Though I know nothing about finding food in the woods, I will certainly try. If  I continue my travels west, then maybe I will eventually find berries, or fruit along the way. I pick up my water bottle and shake it. Thank goodness there is still a bit of water left inside. I take a sip, throw on my backpack, and return on my path to…well…a path. After walking for about half an hour, I am disappointed to have found nothing that appears edible. Just as my heart gives up on my stomach, I see a group of mushrooms on the ground. They appear normal, given their brownish color and small size. I pick one up. It isn’t the red poisonous one, which is good. Though, on the other hand, it could be the infamous “magic mushroom” which causes hallucinations. I’m ninety percent sure that it is safe. My stomach loudly growls, desperate for any kind of meal. I close my eyes, and stuff two mushrooms into my mouth. I need more. I quickly consume another five, and put the rest in my backpack, continuing my journey. I walk for another few minutes until, suddenly, I feel really…dizzy…

Eyes. Open. Close. Too bright. The sun is here. Right in front. Intending to burn anyone and anything to a crisp. She sits up. Or rather…attempts to. Prying her overworked, confused, fighting eyes open, she sees everything. Yet…nothing? Shocked, her eyes dart around. Up. Down. Left. Right. Upside down. Zoom in. Zoom out. Through dimensions. Up to space. The colors all around are blending together. Blending. Splitting. Twisting. Unraveling. One, two, three, four, thirty-six, twelve, one-hundred fourty-two, seven. There are a few too many colors to count. Too many to exist. Too many to fathom. She stands, and steps forward, the colors dancing around her as if they’re waltzing at a ball, and she’s the guest of honor. In the distance…or an inch away…is a massive, Victorian house. Putting a wobbling, altering hand out, she reaches to feel for the handle of the front door.

Suddenly, I fall forward, landing on a polished, dark, wooden floor. The colors are no longer spinning. No longer dancing. No longer blinding. The air is calm. Silent. Now, I am able to stand up with ease. What I see makes me feel…like I am going to faint.

Stepping forward, I see a massive painting. I feel a mellow familiarity. As if my heart, itself, is locked in a warm embrace. I am at ease. Calm. As if I am under my own soft covers with a pleasantly hot drink in hand, a gorgeous day visible through the windows. Sunlight swimming around the room with a certain grace. Though…even looking directly at the painting, studying its golden, twisting vine of a frame, my eyes cannot focus. The blur of the painting persists, no matter how hard I look. I fall.

I wake up on the ground, a pounding pain in my head. In an attempt to open my eyes, I see a bright light above, and close them again. Slowly, I manage to sit up, confused. My out-of-body experience has left me puzzled. I inhale deeply through my dry throat. Thirstier than I have ever been, I reach for my water bottle. It is completely empty. I will never allow another mushroom to touch my lips. It was an atrocious mistake. Behind me, I notice something that washes away the remaining feeling of fright, replacing it with relief. A small, clear river, with a width of about 5 feet, rushes on its course through the trees, racing below the shine of the sun, partly visible between the leaves. I open my water bottle, and lower it into the stream. Then, I lift it up to my lips, and take a big, slow sip, followed by a series of quick chugs and gulps, fighting to empty the entire container. Yet not fully cleared, my excruciating headache mostly subsides. I regain enough strength to stand. Though still aching, I manage to walk, continuing my journey. Now that I have found a river, although accidentally, I may continue my journey downstream. Hopefully, I will succeed in finding signs of civilization before the end. My mind still does not feel like itself. I am unsure of the experience I had within the past half hour…or few hours. I have no idea how long my mind was taken over. I pause to write about this in my notebook. It may be of use to read about it again later on to better make sense of what happened. Putting my notebook away, I resume my journey.

After about 3 hours of walking, I see a clearly man-made line of wooden stakes in the ground. I run. Faster. Faster. Faster. Until I see a campground of some sort full of small buildings. Where there are buildings, there are people. Tears flow out of my eyes, and down my cheeks as I burst into a sprint. My mind is racing. I was so afraid of what would become of this. So scared without knowing what to do, or how long I would remain beneath the canopy of the trees, being a house-guest in the den of a resentful wolf, protecting its territory. I am free from the indecision of what to consume. Free of once again falling under the curse of the waltzing colors.

News, Science

Brownfields: Brown is the Next Green!

by Meru S.

A Brownfield – Courtesy of University of Illinois Chicago

A property can be considered a brownfield and not just an abandoned building when the local city detects contaminants underground beneath the property. Additionally, it can be regarded as a brownfield even if there is only a possibility of pollutants, since in both circumstances, it would be unsafe for prolonged human activity or residence. Brownfields are generally previously occupied plots that are no longer in use.

Sites that may possibly become brownfields in the future include gas stations, industrial buildings, and older houses. Leakages in subterranean gas pipes can toxify the land around gas pumps. Similarly, chemicals can seep into the area around factories, resulting in spaces that are hazardous to residences. Homes that were built before 1978 are more likely to contain lead, particularly in the paint. Therefore, when these houses dilapidate over time and layers of paint peel and decay, it releases lead into the surrounding yards. We can prevent brownfields by repairing gas and chemical leaks, and safely renovating old homes.

         Once remedied, brownfields can be redeveloped, providing environmental, aesthetic, and security benefits. After toxins are identified and eliminated, the site can be transformed into parks, shops, and other functioning premises. The decontamination contributes to the health of the environment. When new buildings are constructed, preexisting structures and roads can be incorporated into the new development, inhibiting sprawl. This process of including prior derelicts is called infill-development. Finally, brownfields are often neglected and unattractive, instigating higher crime rates in the local neighborhood and dissuading people from moving to the area, so restoring these plots restores the city’s status as well. 

Redeveloped Beacon – Courtesy of Commonwealth Beacon
Arts and Culture

How an Opera Comes Together – Part 1.

by Aleena Haimor

Recently, my father was invited to Indiana University (IU) Jacobs School of Music at Bloomington, Indiana, to conduct a production of Maurice Ravel’s opera, L’Enfant et les Sortilèges (The Child and the Spells). My dad went to IU from 2008-2009, where he completed his master’s degree in conducting. Now, he works as the Music Director of the Marin Symphony in Marin, California.

It has been an eye-opening experience for me, personally, to watch these rehearsals and see how an opera comes together, and I thought it would be amazing to share all about it!

So, without further ado, this is how an opera is made!


What is an opera?

An opera is a musical drama, where actors in costumes tell a story fully or mostly through singing, with sets and props. Opera means ‘work’ in Italian. Singers do not use microphones, and all of the music and singing is live.


About L’Enfant et les Sortilèges

A one-act, fifty-minute French opera composed by Maurice Ravel. A naughty little boy causes mayhem and treats his toys and everything around him carelessly. Suddenly, all of the objects in his room come to life. He approaches the fire, who ‘burns the naughty and warms the polite’. He is taunted by cats, cups and armchairs. Over the course of the opera, he learns that his actions have an effect on others. The child becomes kind, treating the animals and objects well when they eventually try to attack him. All the animals and objects praise his new wisdom.


The Early Stages: 

Every opera needs a cast. This opera, performed by a university-age cast (ranging from 18 to 27 years of age), has about eighteen characters aside from the chorus. I had the great privilege to speak to many people who are part of the two casts performing the same opera on different days. 

The play will be performed on October 17th and 18th, and the two cast lists came out way back in May. The actors and actresses rehearsed for hours on ends, almost every day, practicing on their own for weeks before starting rehearsals together. They also managed to keep their grades up from the many other university classes they were taking. I was able to interview some of the cast, and here is a short conversation I had with Sarai Burgos, who plays the protagonist in one of the two casts. Even though the character is a boy, many child male roles are played by girls, because of how high pitched a child’s voice is.


Aleena Haimor: How old are you, and what year of university?

Sarai Burgos: I’m 23, and in my second year master’s.

AH: What was your reaction to getting cast as L’Enfant (The Child)?

SB: It was amongst a bunch of other crazy things. My voice teacher emailed me a bit before the cast list came out. I was really grateful and happy.

AH: Tell us a bit about L’Enfant and how you’re bringing him to life?

SB: My character is around 7 or 8, maybe a little older, maybe a little younger. He’s pretty complex. There are a lot of ways my imagination can bring him to life. To me, he really wants to be seen and understood by others, but it comes across as being naughty or mean. Deep down, he’s really sweet and cares about others.

AH: Any acting tips for young actors and actresses?

SB: Learn to put yourself to the side and fully embrace communicating to the audience.  

Thank you so much, Sarai!

Sarai Burgos

Learning French Lyrics:

L’Enfant et les Sortilèges is completely sung-through in French, and the actors and actresses had to start learning French lyrics for the opera. They worked with a French dictation coach, Elsa Quéron, to make sure they pronounced the beautiful words correctly. 

Rehearsal, Late September

One of the actresses, Leah Nykaza, was luckily already familiar with the French language. She is playing L’Enfant in the second cast. She did an interview with me about how it was easier, yet still difficult, to pronounce words right.


Aleena Haimor: How old are you, and what year of university?

Leah Nykaza: I’m 21, and it’s my senior year of college.

AH: What character do you play, and what was your reaction to getting cast?

LN: I’m playing L’Enfant, and when I found out, I was excited and surprised. It’s my very first time being in a university production and an opera.

AH: Was it hard learning French for the opera?

LN: Luckily, I just finished taking two whole semesters of French last year. The two hardest things are the sounds we don’t have in English, and the difference between singing in French and speaking in French.

Thank you for speaking with me, Leah!

Leah Nykaza

This is part one of a multi-part article! Part two is out next month. Thank you for reading The Lighthouse!

Thank you to these incredible people for enabling me to write this article!

Actors/Actresses: Sarai Burgos, Leah Nykaza, Chloe Hopson, Kathleen Simunek, Natalie Vong, Pelagia Pamel, Maggie Stall, Kathrine Barbour, Jisoo Choi, Morgan Feeney-Davies, Brynn Jacobs, Nate Paul, Jeremiah Angel, Evan Gunter, Cody Horne, Andreas Psillos, Molly Singer, Cathrine Tamayo, Ana Ambartsumian, Ambriehl Ivy, Nina Royston, Kirsten Tierney, Yixin Yang, and Langelihle Mngxati.

Chorus: Julianna Banfe, Emma DiSanto, Savanna Holley, Laura Looper, Ruby Miller, Sabrina Schubert, Lauren Smedberg, Brittany Weinstock, Issana Yaguda, Simo Brea, Tynan Butler, Robbie Erickson, Lane Harden, Gannon Hays, Xiang Li, Preston Rogers, Stephen Stavnicky, and Tyler Whitney.

Production: Fawzi Haimor, Omer Ben Seadia, Walter Huff, Lydia Spellman, Russell Long, Gina Cerimele-Mechley, Olivia Essebaggers, Virgil Fok, Katrina Keat, Rachel Rock, Jennifer Hong, Miles Swaminathan, Shuichi Umeyama, Chuck Prestinari, Janice Kim, and Elsa Quéron.

Sources: 

https://www.eno.org/discover-opera/articles/the-beginners-guide-to-opera/

https://www.glyndebourne.com/opera-archive/explore-our-operas/explore-lenfant-et-les-sortileges/lenfant-et-les-sortileges-synopsis/

https://operaballet.indiana.edu/events/lenfant-et-les-sortileges.html