The N Orthridge Review

s p .;. in q s the northridge review () ( ) () c A B I N E T MANAGING EDITOR POETRY BOARD DESK TOP PUBLI HIS NG BOARD NE LL Y ASSA DOURIA N KA IT L YN VA N DIEPEN RA U L SA LC IDO JA MIE Do u D ST EP HA NIE BA ILE Y POETRY EDITORS HEAT HER BROOK JAM IE KAZA Y BE THCL A RK BU SINE SS BO ARD JESSICA PE RES HEAT HER BROOK fiCT ION BOARD JA M IE Do u D fiCTIONEDI TOR RA U L SA CIL DO DA NIELLE WAT SON DA NIELLE WAT SON CHRISTINA KINNEY JA MIE KAzA Y ST E PHANIE BA IL EY BU SINESS MA NA GER LAU REN GORDON COVE R DE SIGN KA IT L YN VA N DIEPEN JE NNIFE RWO OT ERS NELLY AssA DOURANI SHEEREE N DE DM A N LAY UTO AND DESIGN MA NA GE RS ST E PHANIE BA IL EY LA YOUT ANP DE SIGN BO A RD NELLY ASSA DOURANI JE SSICA PERES LAURENGO RDON ART BOARD JE NNIFERWO OT E RS NELLY ASSA DOU RIAN EDITOR ST E PHANIE BA ILE Y DESKTO P PUBLI SHING MA NA GE R NE LLY ASSA DOURIA N fACULT Y ADVISOR MONA HOUGHT ON A w A R D s THE NORTHRIDGE REVIEW FICTION AWARD, GIVEN ANNUALLY, REC OGNIZ ES EX C EL L ENTFI CTIONBY A CSUN STUDENT PU BL ISHED IN THE NORTHRIDGE REVIEW. THE NORTHRIDGE REVIEW WILL AN OU NC E THE WINNER OF THIS AWARD IN THE FALL 2005 ISSUE. THE RACHEL SHERWOOD AWARD, GIVEN ANNUALLY IN MEMORY OF RACHEL SHERWOOD, REC OGNIZES EX C ELLENT POETRYBY A CSUN STUDENT PU BL ISHED IN THE NORTHRIDGE REVIEW. THE REC IPIENT OF THIS AWARD WILL BEPU B LISHED IN THEFA LL ISSUE OF THE NORTHRIDGE REVIEW. THE NORTHRIDGE REVIEW IS AL SO PL EASED TO PU B LISHTH E WINNER OF THE ACADEM Y OF AMERICAN POETS AWARD. THE REC IPIENTS WILLBE HONORED IN TH E FALL 2005 ISUES . E D I T 0 LET' S PLAY R' s N 0 T E p R E 0 Tv 0 0 I 0 E 0 vv ,.. • POET RY 0 1 :s TH E MIDDLE 0 F TH IN GS SHA RON VENEZ IO 0 1 5 IN DEFENSE 0 F THE HA RM ONY CORPO REAL AMB ER NORWOOD 0 2 4 W H E N WAS SEVEN B. Z. NJ DI TC H 0 2 5 T T0 E M GEORGE JiMENEZ 0 :s 4 PU S H I N G MY 0 B S E S S I 0N SHA RON VENEZ IO 0 :s 5 CHEWING CU D ON OY ST ER MOUNTA IN GRAN T MARCUS 0 4 1 FA IRGROUN DS B. Z. NI ITD CH 0 4 2 0 D E AMB ER NORWOOD 0 4 8 I N S T E A D ANJA LEIGH 0 50 BU M PER STIC KER FREEDOM ISN 'T FREE DAN MU RPHY 0 5 8 THE CANN I BAL JOYS GEORGE JiMENEZ o e 2 TH E JOU RN YME EN CAN 'T WIN DA VI D DEW IT T LTFU ON 0 0 0 0 F C T 0 N 018 CONS PI CU OUS CONS UMPT ION KENNETH SiEWERT 0 2 6 S v N P o s 1 s CORINNA Co SSoR EN 0 3 '1 H I G H W A Y KAREN BARKAN 0 4, 3 S 0 M E S U I C I D E S DAVID DEWITT FULTON 0 5 1 A S I M P L E L I F E : A PETRI DIS H, EXAMINATIONS UNDERNEATH THE MICROCOSM MICHELE HUNTER 0 5 9 F I o w L i k e W a t e r Paul Castillo 0 6 6 S w i I Aaron Lodge DRAMA 0 1 1 T h e C o s o f D o n g 8 u s n e s s Keith Onstad 0 8 6 Deepest Apologies Janay Chapin 0 8 1 Photograph es o Summer Todd Doty 0 9 9 Sweet Childhood Kate Rowe 110 The Last Thanksg ving Day S t o r y Dustin Lehren 1 2 0 B o d y Alex Lee 137 The Sound o S t r n g EddieJoe Ivan Cherb ony SHARON VENEZIO THE MIDDLE OF THINGS the significance of a bird flying over a continent depends upon the position of the sun and the angle of the camera. a person travels west to California. eight years later another person travels west t'J to California. the space between them depends upon a third event. rl 0 the trajectory of a body through time depends upon the first event. the space between depends upon the outcome. she was circumstance. a particle along a curved space. the horizon forms around her voice. could be a remembering. something that was alive years ago. a wing-like movement pushes her away. open space edged with petal-like sound, something she did not know before. the significance of a bird depends upon the position of the sun � and the angle of the camera. rl 0 NR.5PR.05 AMBER NORWOOD IN DEFENSE OF THE HARMONY CORPOREAL The frame of the structure is the substance of the structure itself. The frame is both the outside and the inside of the structure. It is repeat and coda; It is mezzo forte and pianissimo. The bones, not frail things, standard hollow flute like or piccolo singing histories of reminiscence. Not reeds that summon movement, reeds that exist to move by wind, flame, water, elemental proxy. Chalk white living ghost, hidden belies simplicity in most detailed composition. The sound of skeleton: melody complete, safety seat in the hunting ground, parley between brothers: he; the seen. he; yet concealed. To dance the rhythm we breathe is to dance as the organ plays blood between pipe respiration. In-stinct, that song is primal, chanted tribe motion, to speak as bodies don't. The structure is the long-sought hand behind a sloping neck. The structure is the neck bending closer in the waltz. These are the faces of solos in high brass. These are not the back beat bones of delicacy. Uniii!iic.l t. HaN H Vo Untitled 2, HaNH Vo KENNETH SIEWERT She walks into my office and sits down on my couch directly in front of me. She crosses her legs and folds her hands and rests them in her lap. First impressions are important and CONSPICUOUS CONSUMPTION before I speak to my new clients I take a long moment to study them. I believe they find this reassuring. I think about my couch, it's imported and made with the finest leather, soft, in a warm light brown and emanates the very subtle and delicious smell of richness. It is a goodwill gesture conveying, in a subliminal way, to my clients that I genuinely care about their comfort. She reaches out and picks up a short loose white string from the cushion next to her and places it to her lips and slowly works it into her mouth like a child eating spaghetti. I see repetitive movement at each of her cheeks, as she seems to roll the string understand. I don't know why I'm here, as in being alive. Oh, I back and forth, using her tongue, until she has a little ball and say, feeling embarrassed and rather stupid for not grasping the then she swallows. I write on my yellow note pad. White string. full meaning of her first utterance. Challenged, I respond. That Hello, I say. She smiles and reaches out and gently question encompasses a great deal, maybe we can startsmaller, runs her slender fingers along the armrest and then folds her really small, I suggest. She has brought with her a rather large hands and places them back in her lap. I don't know why I'm black purse and she reaches down and unsnaps the silver clasp here, she says. I make eye contact with her and respond, trying and fishes around inside for awhile until she comes up with two not to be confrontational. My time is very expensive, I say. I'm nickels and a blue marble. She holds them in the palm of her left sure your time is also valuable. We can end this before we get hand for a moment, then places the two coins on the tip of her started and as I patiently wait for her response, I make mental tongue. She seems to suck on them for a moment and then note of my first impressions. Attractive, middle-aged, rather makes some barely distinguishable movements with her mouth intense brown eyes, full and inviting lips. No, she says, you don't as if rubbing them together and flipping them over and over again like candy wafers. Then she swallows. She holds up the blue marble to a beam of sunlight slipping between my venetian blinds as if inspecting it for clarity and then swallows that too. I have one of those fleeting thoughts about how my blinds were specially made by old-world craftsmen from hand hewed strips of walnut harvested from an ancient orchard in Pennsylvania. I write on my yellow pad. Two nickels. Blue marble. Let us start from the beginning, I say. The beginning, co she says. Yes, for example where are you from. Well I left home rl about an hour ago.

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