STRIVE

NURUL HANA ANWAR

JUNIOR PORTFOLIO
 COUNTING THE DAYS
I made a series of pictures counting the
days of my father’s imprisonment.

It will be day 442 on the 27th of April.

He is wrongfully convicted.

6
7
8
9
 I collected a series of old pictures
and combined it to form a collage.
These posts were featured on my father’s
Facebook page. I want people to remember
my father, and not forget his sacrifice
for the country.

10
11
 TAHANAN POLITIK: POLITICAL PRISONER

12
13
14
15
 THE NEW
REPUBLIC
AMPERSAND
THE TASK:
Visually interpret an ampersand
based on an article.

ARTICLE:
How to Live Within a Black Body
by Bijan Stephen

16
17
18
19
20
21
 MY DEAR PAPA
PERSONAL PROJECT:
A book I published in Malaysia.
A visual narrative about my father.

22
23
 My Dear Papa
My dear papa
by
Published in 2015 by
Gerakbudaya Enterprise Nurul Hana Anwar
2, Jalan Bukit 11/2, 46200 Petaling Jaya, Selangor, Malaysia.
Email: gerak@gerakbudaya.com
Website: www.gerakbudaya.com

All rights reserved. No part of this publication may be reproduced, stored in

a retrieval system, or transmitted in any form, or by any means, electronic,
mechanical, photocopying, recording or otherwise, without the prior
permission of the publisher.

Printed by Vinlin Press Sdn Bhd

2, Jalan Meranti Permai 1,
Meranti Permai Industrial Park,
Batu 15, Jalan Puchong,
47100 Puchong, Selangor, Malaysia.

Copyright © 2015 Nurul Hana Anwar

Design by Nurul Hana Anwar

Written by Nurul Hana Anwar

Special Thanks to:

John Ruggeri
March2Freedom
The Whole Family
Petaling Jaya, Malaysia

20th September 1998:

18 19

24 25

he is in there

I am here

80 81

24
25
A personal art form of emotions. A series
of collages containing Papa’s letters and
images that impacted me. A walkthrough on
my life on how a father was missing for
six years and now being gone again.

He didn’t leave us.

They decided to take him away.

In search of truth and justice.

Kuala Lumpur, 2015

Nurul Hana Anwar.

26
27
 REVIEWS
WEBSITES:
Malaysiakini
PRI (Public Radio International)
Malaysian Insider
Sinar Harian
Free Malaysia Today
Selangor Kini

BOOKSTORE
MALAYSIA:
Kinokuniya
Borders
Gerakbudaya
TIMES

28
29
PROMOTIONS BOOK LAUNCH
ITEMS: NEW YORK—10/15/2015
Thank You Cards MALAYSIA—8/27/2015
Badges

30
31
 AWARENESS POSTER
THE TASK:
Find a topic that you think need to be
discussed about. Find a way to promote
change and bring awareness to those around.

TOPIC:
Islamophobia

#WALKINMYFABRIC

32
33
34
35
36
37
 EDITORIAL
REFORM MAGAZINE
A magazine about politics in Malaysia. REFORM FIGHTING ONE ISSUE AT A TIME
10USD MAY/2016

FILM– JAGAT BY
SHANJHEY PERUMAL
WAKE UP,
AND FIGHT
ZUNAR
OPPRESSION,
FOR OUR
NATION
HIDUP RAKYAT–BANGSART

I’M NOT AN
IMMIGRANT
CHAN FEE
MING

PEOPLE
POWER

38
39
 2
For more information,
check out this link

A LETTER FROM
https://www.hrw.org/
news/2016/02/08/
malaysia-end-anwar-
ibrahim-incarceration

S T E FA N L I M • Anwar Ibrahim

1 3
– Malaysia’s Growing Opposition • Artists of the month
Can’t Be Silenced • Cartoonist: Zunar
EDITOR IN CHIEF
– End Anwar Ibrahim’s Incarceration • ART EXPO
• Bersih – Free and Fair Elections Page 29

O h, my, you may be wondering, what on earth have you done? I know
how protective readers can feel about the magazines they love, and
I respect that. A serious, loyal readership may be our most precious
asset. We’d be fools to trifle with it by making change for change’s sake.
Page 5
Page 33 • Playlist Volume
1, 3rd Issue
WHILE I AM PHYSICALLY
BEHIND BARS MY SPIRIT

4
But there’s also the puzzling question, in this moment of technological
regarding
upheaval, of how to intensify the experience of reading a print magazine. politics for this
With the exception of the crossword, which we didn’t move lest a pitchfork- current time.
wielding mob (led by my father) assemble down in our lobby, every page of the

REMAINS WITH THEM,

magazine has been reimagined. We remade the table of contents, the letters page, the
opening essay, the interview, The Ethicist and the food section. We revived a dormant
feature called What They Were Thinking because we wished it had never gone away.
We invented a new photo essay called Look and a new critics’ page called Riff. LEFT: Anwar Ibrahim with his
wife, Dr. Wan Azizah. This was
Every tiny aspect of the redesign represents a decision we debated,

THE PEOPLE OF MALAYSIA,

the day he was taken away last
sweated over and second-guessed until we ran out of time and had to send it off to February. RIGHT: When Anwar
was beaten up by the Chief
the printer. But what you see here is not a new formula. It’s a beginning. Our aim is • A Samad Said Police in 1998.
to make everything sharper, clearer, more alive and dynamic — while not altering • Poems
the foundation of the magazine. The New York Times Magazine is based on long- • Featured Books

AND PEOPLE ALL

form narrative journalism, and this week’s cover article, by Jennifer Egan, is a prime
example. It is about Lori Berenson, a New Yorker who moved to Latin America as a Page 39
young adult, got mixed up in revolutionary politics in Peru and was promptly thrown in
On the first anniversary of Anwar Ibrahim’s incarceration on

5
prison, where she spent the next 15 years before being paroled last year. Egan traveled
to Lima, where Berenson must remain until 2015, and tells the story of a wounded but politically motivated charges, the Malaysian government should

AROUND THE WORLD...

resilient woman struggling to sort out a place for herself in the world. It is in every way unconditionally release the former deputy prime minister and
a classic Times Magazine story. political opposition leader, Human Rights Watch said today. The
We are also dipping into the considerable talent pool here at The Times. Malaysian government should also ensure that Anwar can access
Bill Keller, the newspaper’s executive editor, will write a regular column for us. Ariel appropriate medical services while imprisoned and facilitate
necessary overseas travel to treat the serious ailments he reportedly
–ANWAR IBRAHIM
Kaminer, The Times’s City Critic, takes over as the Ethicist. Mark Bittman is handling
the revamped food section. Susan Dominus and Matt Bai have rejoined us from the suffers from in prison. “Malaysia’s conviction of Anwar Ibrahim was
newspaper as staff writers. We’ve added a page called You Are Here, in which a writer politically motivated, and he’s already suffered through a year in
offers a short dispatch from a particularly interesting part of the world. This week, it’s prison from this travesty of justice,” said Phil Robertson, deputy Asia
Robert F. Worth’s view from an apartment on Cairo’s Tahrir Square. director. “Every day that Anwar is behind bars, confidence in the
Our overarching goal with this redesign is to monopolize as much of your Page 42 Malaysian justice system further erodes. The government should
Sunday as we possibly can, but it doesn’t stop there. We have just inaugurated a blog release Anwar and repeal the country’s abusive and archaic sodomy
called The 6th Floor, named for the location of our office within the Times building. laws.”On February 10, 2015, Malaysia’s Federal Court upheld a
It’s the first step in what will eventually be a new Web presence for the magazine. Court of Appeal verdict that Anwar was guilty of sodomy under the
Everybody on staff will contribute now and then. We hope you’ll check it out and start Malaysian penal code.
talking back to us – about whether eating blueberries helps you live longer, about Anwar was taken into custody and immediately began
the frightful fiscal state of America’s cities and towns, about how to make the tastiest • P Ramlee serving a five-year prison term. A request for a pardon was turned
vegetable soup. And if all these changes seem too much, work the crossword. • Jagat down in March 2015. An appeal of that denial has yet to be decided.
In November 2015, the United Nations Working Group on Arbitrary
Detention found that Anwar’s imprisonment violated prohibitions on “IT WOULD BE A BETRAYAL OF
torture, or other cruel, inhuman, or degrading treatment. Specifically,
the Working Group found that an “adequate remedy would be to THE PEOPLE OF MALAYSIA IF
release Mr. Ibrahim immediately, and ensure that his political rights
that were removed based on his arbitrary detention be reinstated.” OBAMA DOES NOT PUBLICLY
CALL FOR ANWAR’S RELEASE”
–Phil Robertson

| 30 | REFORMASI « ACTION FRAMES

| 9 | REFORMASI « ACTION FRAMES | 31 | REFORMASI « ACTION FRAMES

he massive rally outside Merdeka Square by Bersih,

the Malaysian electoral reform group, enters its
final hour on Sunday with the finale scheduled at
“A YELLOW TIDE SWEPT
ACROSS THE CAPITAL CITY END ANWAR
IBRAHIM’S
midnight as Malaysians begin a countdown to the
National Day. A yellow tide swept across the capital
city of Kuala Lumpur over the weekend. For the first OF KUALA LUMPUR OVER THE
time the rally by Bersih stretched over 34 hours.
Tens of thousands of protesters, clad in bright yellow T-shirts, WEEKEND. FOR THE FIRST
turned up despite the last minute ban from the government,
shutting down Bersih’s websites. Many protesters spent the night TIME THE RALLY BY BERSIH

INCARCERATION
on the streets to take part in the 34-hour demonstration. “Now my
back is still no good and I couldn’t sleep all night, so noisy,” said STRETCHED OVER 34 HOURS.”
one protester who had spent the night. “But I think Malaysians Bersih 4.0 was declared a success by its organisers, who
all getting together is a good thing.” Despite the scorching heat claimed to have gathered some 300,000 people. But
and occasional rain, the crowd stayed on. The unexpected visit by authorities said the figure was a lot lower.
former prime minister Mahathir Mohamad gave protesters a much The massive rally outside Merdeka Square by Bersih,
needed boost. “People must tell their MPs ... to support the vote of the Malaysian electoral reform group, enters its final hour on
no confidence,” Dr Mahathir said.
Accompanied by his wife Dr Siti Hasmah, the 90-year-old
Sunday with the finale scheduled at midnight as Malaysians
begin a countdown to the National Day. A yellow tide swept
IMPRISONMENT OF OPPOSITION LEADER
statesman took the train to the city centre to greet protesters at the
rally. Dr Mahathir was not a big fan of civil liberties. During his 22-
across the capital city of Kuala Lumpur over the weekend.
For the first time the rally by Bersih stretched over 34 hours. MAKES MOCKERY OF CLAIMS OF DEMOCRACY
year rule, he had in the past cracked down on free speech and put Tens of thousands of protesters, clad in bright yellow T-shirts,
away dissidents. After stepping down for over a decade, Dr M now turned up despite the last minute ban from the government,
finds himself sharing the same platform with the people. However, shutting down Bersih’s websites. Many protesters spent the
not all were impressed. “He has his own agenda to kick the prime night on the streets to take part in the 34-hour demonstration.
minister out. But I think our agenda, the Bersih agenda, is much “Now my back is still no good and I couldn’t sleep all night, so
wider,” one protester said. Bersih 4.0 was declared a success noisy,” said one protester who had spent the night. “But I think
by its organisers, who claimed to have gathered some 300,000 Malaysians all getting together is a good thing.” Despite the
people. But authorities said the figure was a lot lower. In addition, scorching heat and occasional rain, the crowd stayed on. The
some Malay-language papers claimed the rally is an Opposition-run unexpected visit by former prime minister Mahathir Mohamad
failure with mostly Chinese participants. “ gave protesters a much needed boost. “People must tell their
There are a lot of Chinese here, but there’s also Malays MPs ... to support the vote of no confidence,”.
and Indians,” said a 22-year-old student protester. “We are
Malaysians. We are all here to support Malaysia (and) make a
change.” But while the rally and materials to do with the rally, such
as the Bersih 4 t-shirts, have been deemed illegal, police have
monitored proceedings from a distance. A party-like atmosphere
was seen on the second day of protests, even though the numbers
had dwindled. Malaysian Prime Minister Najib Razak had chided
the protesters for holding the rally so close to the country’s National
Day, saying that they lack patriotism. He continues to maintain
his innocence after a high-profile corruption scandal involving
1Malaysia Development Berhad. Still, Bersih organisers said they
would return to the streets if their demands are not met.

| 18 | REFORMASI « ACTION FRAMES | 26 | REFORMASI « ACTION FRAMES

| 19 | REFORMASI « ACTION FRAMES | 27 | REFORMASI « ACTION FRAMES

40
41
 AI
WEI
2 WEI
YEARS OF IMPRISONMENT A CHINESE ARTIST, CURATOR,
ARCHITECTURAL DESIGNER,
SOCIAL COMMENTATOR,
AND AN ACTIVIST.
1974–1976
KAMUNTING
AGE: 27–29

+
6
1998–2004
SUNGAI BULOH
AGE: 51–57
9
It has been 9 years and
| 42 | REFORMASI « ACTION FRAMES

| 43 | REFORMASI « ACTION FRAMES

+
counting that Anwar Ibrahim
has been incarcerated.

WHO’S THE VANDAL:

1
2015–PRESENT
AI WEIWEI OR THE MAN WHO SMASHED HIS HAN URN?
J O H N AT H A N J O N E S

A “protest” at a Miami art museum raises some questions

about what exactly art is, now. On Sunday, a man
called Maximo Caminero has smashed an artwork
by Ai Weiwei, one of the most famous artists of this century
and a hero to many for his defiance of the Chinese state. Cue
appalled face. But this is not such a simple story. Caminero’s
Much as I wish there were, there is no apparent doubt about the
authenticity of the Han artefacts Ai Weiwei uses in his art. He
bought a batch of them in the 1990s and started by painting them
before creating his photographed performance Dropping a Han
Dynasty Urn in 1995. What does his attack on Han art mean? I must
admit I’m confused. I want to see it as a devastating satire on the

SUNGAI BULOH proclaimed motive – that the Perez Museum in Miami should
be showing local, not global, art – is pretty daft (I didn’t know
they had Ukip in Florida), but he has accidentally punched a
modern world’s alienation from the past. Ever since the Chinese
Revolution began in the early 20th century, political and economic
ruptures have cut off China in particular from its ancient culture. Is

BREAK-
AGE: 69+ massive hole in the logic of contemporary art. For the “vase”
that was smashed is actually a Han dynasty urn that Ai Weiwei
“appropriated” for his own art by painting on it. The Han era in
China was contemporary with the Roman Empire in the west. In
other words, this is a major antiquity made by a Chinese artisan
Ai Weiwei parodying that? Or is he mocking western art-lovers who
think all Chinese art is ancient (as they may have, back in 1995)? Ai
Weiwei certainly does capture the industrial world’s disconnection
from making, our loss of crafts and even of basic respect for them.
But he also embodies these cynical attitudes as he smashes that

ING
roughly 2,000 years ago. But that’s not why the urn is valued at
$1m or why its destruction is world news.
No – it’s because it was part of an installation by Ai
Weiwei. It is the Ai Weiwei artwork, not the Han dynasty object,
that is being mourned. Perhaps it is not really an antique at all.
lovely old vase. He seems to invite further violence to art – even
his own. For this is not the first time an Ai Weiwei appropriation of
a Han urn has been smashed. In 2012, art collector Uli Sigg was
filmed smashing an urn in emulation of Ai Weiwei – except the one
he smashed was one of Ai Weiwei’s most famous works, Coca Cola

VASES
If it’s a fake, that makes the entire installation more likable. If
it’s not a fake, then surely Ai Weiwei, and not Caminero, is the
vandal who ruined a whole bunch of antiquities by painting
them whimsical colours? I certainly would love to believe that
Ai Weiwei only uses fake Han urns. I mean, why would he
actually wreck real ones? In the exhibition Ai Weiwei: According
to What?, at which the vase was smashed, an array of repainted
“Han urns” are shown in front of a sequence of black-and-
white photographs of the artist smashing one. This artwork is
called Dropping a Han Dynasty Urn and for me it is Ai Weiwei’s
most provocative gesture. I feel highly provoked. It shows the
artist letting go of an elegant object made with intelligence,
imagination and love more than 2,000 years ago and letting it
smash to bits on the ground.
Urn. Since Uli Sigg owned it, he was free to do so. So – smashing
art is interesting if an acclaimed global artist does it, and even if
an art collector does it. But the guy who walks into a museum and
smashes it is a vandal. Could it be that smashing masterpieces
is never interesting?
That this illegal attack on art exposes the shallowness of
the high end of contemporary art, where it’s cool to smash Han
antiquities or doodle on Goya prints? Ai Weiwei is courageous and
eloquent but this incident and his response – for he has condemned
the vandal – make me wonder about the rules of art right now. The
reasons for condemning one destructive act and celebrating another
don’t seem clear. Suddenly, the world’s most respected artist looks a
bit conceptually fragile.

BUT HE ALSO
EMBODIES THESE
CYNICAL ATTITUDES
AS HE SMASHES
THAT LOVELY OLD
All art is political in the
sense that all art takes VASE. HE SEEMS
place in the public arena
and engages with an
already existing ideology.
TO INVITE FURTHER
Yet there are times when
art becomes dangerously
VIOLENCE TO ART
political for both the artist
and the viewers who
engage with that art.
| 33 | REFORMASI « ACTION FRAMES
42
| 44 | REFORMASI « ACTION FRAMES

| 45 | REFORMASI « ACTION FRAMES

43
44
45
 ARTIST INVITATION
THE TASK:
Design an opening night for a gallery show.

ARTIST:
Bahia Shehab

LEBANESE-EGYPTIAN VISUAL ARTIST,

DESIGNER AND ART HISTORIAN

During the Egyptian Revolution in 2011,

she began to protest through the act
of spray painting. She researched
Arabic calligraphy, found one thousand
different“Lam-Alif” (No) formations and
documented them in book “A Thousand Times
No: The Visual History of the Lam-Alif”.
After the revolution began, she started
to spray her No’s on walls around the
streets of Cairo, in conjunction with
political statements such as:

“
No to dictatorship”,
“No to violence”,
“No to military rule”,
“No to undressing the nation.”

46
47
48
49
50
51
52
53
54
55
 AS A WIFE HAS A
COW: A LOVE STORY
THE TASK:
Design a piece of work using the 1926
Gertrude Stein poem, “As a Wife Has a Cow:
A Love Story.

MEDIUM:
Video – vimeo.com/hanapisang

56
57
58
59
60
61
62
63
64
65
 OUR MAGAZINE
THE TASK:
Create three different articles
1. TIME
2. Music
3. Shakespeare’s Sonnet

66
67
68
69
 TIME IS
PERSEVERANCE
THROUGH
STRUGGLE
Each piece equals the 6 years of my life
from being born to now. The first part
is the calmness and tranquility I had
experienced 6 years of my life and at the
end things started to get messy. Second
stage is when they took my father for six
years in prison. Third stage is in between
because they started trying to bring back
my father to prison. The last stage is when
they successfully had taken my father but I
wasn’t in despair. The hand holding a paper
represents the memories and letters he had
given me. With that, it makes me stronger
to hold onto this because they may keep him
physically in jail but not his soul.

70
71
 I wanted to portray that it takes time to
forget what you had been through. That all
these struggles had made me stronger and I
wanted to portray the difficult steps that
I experienced in my life led me to this.

I used clay to mould the hands. And

painted white with gouache. The tissue
paper were the softness I wanted to
portray and the staples for the struggles
I had been through. The second and last
part I used were the wires to represent
prison.

72
73
74
75
 I used clay to mould the
hands. And painted white
with gouache. The tissue
paper were the softness I
wanted to portray and the
staples for the struggles
I had been through. The
second and last part I
used were the wires to
represent prison.

For six years, Malaysia’s

opposition leader was I wanted to portray that it

silenced behind bars. takes time to forget what

you had been through. That

For those six years, Nurul all these struggles had made
me stronger and I wanted to

Hana grew up without a portray the difficult steps

that I experienced in my life

Papa. They wrote letters led me to this.

to each other while he

was in prison.
— Sarah Ngu

T I M E I S
P E R S E V E R A N C E
T H R O U G H . . .
OUR MAGAZINE/Issue 1/ 9 OUR MAGAZINE/Issue 1/ 10

OUR MAGAZINE/Issue 1/ 11

76
77
 O MUCH AS MY P
ET TH
MOUR

I AM
LY

VILES
SULLE
N
FOR M E

OUGHTS WO
N BELL/

T WORM
W

GO
H GI
SHAKESPEARE’S SONNET

N
S
V

E
E
T LXXI

.
WARNI
O

/
DW

O
ELL

!
:/ N

BE
E ’ S S O NN E T L

N
E A R
AY,
F E S P

O
XX
IF Y

R
O
A K

N
I
R
H
GOT

E
.S

N
O YOUR MOAN. /A ND

,
,/I
NT

AM
T
O N
I
GH
L GER
F K MOCK
LOO
O E
THIN
YO

U
LD
N

BRI
R
APS COMPOUN
KING EH PERH DED U
U EN
I

N
AM

E
for me when I am d
ON M mourn ead H W

O
EAR /W IT

IN

WIT
l hear the surly

SH
SE, H
sh a l
you sul

LE
LOVE YOU SO,
VER
SE; an len
FOR I CLA

HM
Th bel
T, /TH

M AY S T I L L S H
g t o th e world l I AT Y
nin that
S

S
T

RLD
I

THI
/B a r I W R

,/
w am I
ve le world wi
S

E AFTER
s vi
fle T

ON
Gi A THIS VILE

DO
E WO
th v d
UT thi iles
OM

IN
m TH WOR

H
o t
FR

UP
F r read this w LD

DT
or
you

YOU
ms
line, D/

NOT SO MUCH AS MY PO
if

HAN

RS
, reme to

W
EST THE WIS

I SAY, YOU LOOK

y mbe

FLE
LET Y N a
writ it, for r n dw ALL
H E A R THE

IT
ER NOT /THE

W
a t o el SH

AT I A M
th I lo t l: SU
d

HV

EET
OU ha
IS
n v e yo

RL
U
GE R M O U R

I AM GONE. /O! NO
N YO
u

YS
e s
Th your sweet though o,

O LON

I LEST WORMS TO
N

ULLE
in ts

THA

THOUGHTS WOU
FOR M E
wou
N
I ld
at

D TH

N BELL/
Th be

D/
g on me then should for

DEA
MIR in got

W
k m

EMB
HE
i n a ke ,
N I AM
h

ORL
t you

GI
,
f , yo u l

M
a y o

/O! IF
W
I s ok up woe.
if, I

RE
E

V
AC O!
on t
his WARNING TO TH
E E

V
ver

LD
/L
O

INE
se,

OE.
DW
n I perhaps compounded
L

L
ELL
Whe

W
LE am wi :/ N S

BE
th cl HI

OU
AY

OR
a y,

Y
AY, T

FO
not so much IF YOU R E A D

EC
Do as m

N
R
y poor name rehe

NI K M
HAVE M GOT

E
arse
E

NAM
D
; MAK

,
,/I
l e t y o ur
F
But lov

E
e even with my life de LD

LIFE
THIN

U
cay

R
U KING EH
; ON ME THEN SHO
the wise wo

N
t i n t

Y
s o k o
rld should lo your
EAR
Le mo

L
an ,
SE;
HM

ES
mock you

CK
/B
A n d with me af te r I am g o ne. WIT

S
UT N TH
O! none, unles LET Y E
s t
hi s miracle ha
ve might, L A OUR LOVE EV IS
t in b

BRI
a la ine B
Th ll sh

T
ck MIR
ink
ay sti IN
my lo v e m T AC

GH
THA HAVE MIGHT, /
LE

78
79 Pitch and Graffio Trade Gothic Universal Nineteen
 SHAKESPEARE’S SONNET

No longer mourn for me when I am dead CONTEMPORARY SIGNIFICANCE

Than you shall hear the surly sullen bell
Give warning to the world that I am fled
Sonnets remain significant because they offer examples of how strict, formal poetry can also offer some
LXXI
flexibility to authors. For example, switching the rhythm of a sonnet’s typical unstressed/stressed pattern
to a stressed/unstressed pattern in one line draws attention to the line and does not violate the more
important formal requirements such as stanza length. Contemporary poets have used the traditional rules
of line, rhythm and rhyme and the opportunity to bend these rules as a way to add new meaning and unique
expression to their poetry.

From this vile world with vilest worms to dwell:

Nay, if you read this line, remember not
The hand that writ it, for I love you so,
O L O N GER
That I in your sweet thoughts would be forgot, N mourn
u s h
for me when I am d

all hear the surly s

ead

yo ull
If thinking on me then should make you woe. Th
an en
bel

E ’ S S O NN E T L
t o t h e w o rld t l
PEAR
n i ng hat

KES
wa r I a
m
O! if, I say, you look upon this verse, Gi
v e

A thi
s vi
le w orld w
ith
vile
fle
d XX
H
Fr o m
you
r e a d this
s t wo rm I
When I perhaps compounded am with clay, S if
INT
line,
O YOUR MOAN. AND
re/me
s

GHT
to
. a y , m b e dw
N
that
w r
LO O
i K t i t , f or
I
r n
ot el
l: MOCK
Do not so much as my poor name rehearse; a n d l ove
YO
LD
h you

BRI
e H A P S C O M s
Th
U in
yo ur s
NI
w eeP t EtRhough
ts
POUND
wou
ED ,
o
A
U

NE
But let your love even with my life decay; I
H E l d b M W
at

O
Th / W e f IT

WIT
g o n m e t h e n s h org H

SH
ki E ,
n o uld m ot,
in V E R S R I LOV
E Y O UaSkOe

L O V E M AY S T I L L S H I
CLA

HM
Lest the wise world should look into your moan, th , F O , / yHou
T
If I say, yo T
uI look AT woe. Y

S
T

RLD
, I u p

THI
i f W R o n th

,/
O! i I

E AFTER
T s

ON
V
M THIS ILE WO
A

D
E WO
ver
And mock you with me after I am gone. se,

IN

O NOT
n I perhaps cFoRmO

H
pounded RLD

UP
e

DT
h am wi

YOU
W /D th cl

HAN

RS
a y,

W
IS

, I SAY, YOU LOOK

O! none, unless this miracle have might, not so much

FLE
H E A R THE
ALL

IT
o

W
a

SO MUCH AS MY PO
D s Smy
H

AT I A M
S U

R NOT /TH
poo

HV

EET
ame rehears

W
GE R M O U R r n

RL
U

I AM GONE. /O! N
e;

N YO

YS
et your l

O LON
l

I LEST WORMS TO
t
That in black ink my love may still shine bright. u

N
B

ULLE
ove

THA

THOUGHTS WOU
even with my life dec

FOR M E
N

D TH
ay;

N BELL/
T

D/
e wise w

MBE
h

DEA
t t

W
o k i n t

T
e s r o o o y
HE
L ld should l N I AM
o ur m

ORL
oa n

GI
S

E
EM
/O! IF
W
m oc k yo ,

V
E
And u wi

E
E
e r I a m g

,R
th me a f t WARNING TO TH o ne .

LD
/L

INE
.
DW

WOE
SHAKESPEARE’S SONNET
L
O! none, unles
S
ELL
:/ N

BE
ve might,
HI

;
s t

U
AY

O
LXXI. hi s miracle ha

Y
AY,
IF YOU READ T

FO
YO

O
R
i

EC
n
at

BRI

N
bl

R
INK M
shine
GOT
Th

E
ac
E

NAM
T
ill

D
MAK

,U
k in
,/I
y st
F
k my a

ER
m LD

LIFE
THIN
lo v e

GH
U KING EH
ON ME THEN SHO

NL
Y
EAR
SE;
HM

ES
CK
/B
WIT

S
N UT TH
LET Y E
L A OUR LOVE EV IS
B IN MIR
T AC
THA HAVE MIGHT, /
LE

OUR MAGAZINE/Issue 1/ 30

80
81 Pitch and Graffio
 WHAT IS THE
SIGNIFICANCE L O N O R ME WHEN I AM D
NO G ER M O U RN F EAD
OF A SONNET? Y S U L L EN BE
JORDAN WEAGLY

T HAN YOU S HALL H EAR THE S U RL L L

THE WORLD THAT I AM FL ED
G I V E WA R N I N G T O
M THIS VILE WORLD WITH VILEST WOR :
F RO MS T
I F Y O U READ THIS O DWELL
Y , L INE,
NA THA T W RIT IT, REMEMBER NOT
SONNET LXXI N D F OR I LOVE Y
E HA R OU SO,
T H IN Y O U S W E E T THOUGH
I TS WOUL
TH AT B E F O R G O T, D
I N K ING ON ME THEN
TH S HOULD MAKE YOU WO E .
IF
, I S AY , Y O U L O O K U P O N T H I S V E R S E ,
O! IF
PERHAPS COMPOUNDED A AY ,
OUR MAGAZINE/Issue 1/ 25 OUR MAGAZINE/Issue 1/ 26

I M W I T H C L
W H EN
NOT S O M U C H A S M Y P O O R N A M E R E H E A
D O RSE;
T L E T Y O U R L O V E E V E N W I T H M Y L I F E D E C AY;
BU
WHAT IS THE SIGNIFICANCE ,
WISE WORLD SHOULD LOOK INTO YOUR MO A N
T THE
No longer mourn for me when I am dead
dead OF A SONNET? L ES
OCK YOU WITH
D M
JORDAN WEAGLY
you shall hear the surly sullen bell
bell
bell ME AFT
AN
Than
ER I AM G O N E .
warning to the world that I am fled
fled

U
Give

this vile world with vilest worms to dwell ,

HT
nderstanding the significance of a sonnet can
dwell:
dwell FORM , UNLESS THIS M
NONE I R A C L E H AV E M I G
help you strengthen close reading and analytical

skills, build a better appreciation for poetry,
and derive more meaning from your reading.
Nay, if you read this line, remember not
not The sonnet is a significant form of poetry with
a set structure. In Western literary traditions,
sonnets have played an important role because of
O!
Sonnets are poems with 14 lines, usually with 10 syllables in each
line, following the traditional English rhythm of unstressed and
stressed beats called iambic pentameter. Like haiku, sonnets
are strong examples of poetry with a strict form, as opposed to
free verse, which allows for unrestricted use of rhyme and stanza

hand that writ it, for I love you so

so,
so
the works of authors such as Francesco Petrarca (Petrarch) and structure. The significance of the sonnet is closely linked to this
I NK MY L O
BLACK
The
VE MAY STILL SHINE
William Shakespeare. Since these early beginnings, the sonnet has held form and how it has been used by authors. Rhyme schemes vary,
a significant place in literature for both its unique form and presentation
of this content.
but notable types have developed throughout literary history.
The most prominent types of sonnets in English are the Italian
T H AT IN
That I in your sweet thoughts would be forgot
got, or Petrarchan sonnet and the English or Shakespearean sonnet.
The Petrarchan sonnet consists of one eight-line stanza (an

BR I G H T
octave) followed by one six-line stanza (a sestet), traditionally with
If thinking on me then should make you woe
woe. a rhyme scheme such as abbaabba cdecde. The English sonnet
consists of three four-line stanzas (quatrains) followed by a single
two-line stanza (a couplet), following a rhyme scheme of abab
cdcd efef gg. The Spenserian sonnet is another prominent type
O! if, I say, you look upon this verse
verse, of English sonnet, which has a traditional rhyme scheme of abab
bcbc cdcd ee.

I perhaps compounded am with clay

clay,
Do not so much as my poor name rehearse
hearse;
But let your love even with my life decay
cay;
Lest the wise world should look into your moan
moan,
And mock you with me after I am gone
gone.
ET
SPEARE’S SONN
O! none, unless this miracle have might
might,
SHAKE
in black ink my love may still shine bright
bright.
LXXI
That

SHAKESPEARE’S SONNET
LXXI

OUR MAGAZINE/Issue 1/ 27 OUR MAGAZINE/Issue 1/ 28

82
83
84
85
 aft “Silver between the this way and that. joy. “Here Treasure yours.” Trees stoo pulse of the house Treasure yours.” Trees sto

kpnuonl o
says. And he adds,
The wind “Kisses
beat roars
gladly. without
“Theupnumber.” the avenue. Downs. “Safe safe,up the avenue.

pk

t
avenue. Trees s er, trees—”

soug
The wind roars stoosafe,” the pulseDowns. “Safe, beat gladly. “The The wind roars
ck
toop and bend this waycikng if t “Upstairs—” “In the we slept,”she says. Downs.And“Waking
he
“Safe, safe, upsafe,”
in the the the pulse
morning—”
avenue.
Treasure of thebetween
“Silver
yours.” house
Trees the of the Trees stoo
hea adds, “beat gladly. “The upTreasure
the
Treesavenue.
Theyours.”
stoowind roars The wind house beat gladly.safe, “The safe,” the Treasure yours.” up the avenue.
inglik
and that. joy. “Here we liek fter Downs. “Safe, pulse wind of the house Downs. “Safe, p
slept,”she says. And he , if Downs. , “Safe, safe, roarsthe
safe,” up the avenue.Trees Trees stoo
upsthe avenue. toop and Treasure yours.” The The wind roarsTrees stoo Downs. “Safe
r
e
th e a ft e s o u safe,that.
safe,”
joy.the beat gladly. “The
adds, “Kisses without fter, if theapulse of the house beat
after, if the bend ghthis
gladly.t waypulse and “Here we
Trees stoo slept,”she roars up the avenue. Trees safe, safe,”
Treasure yours.”
up the the he wind
Tavenue. safe,” the pb
of the house pulse of the Downs.
housestoo
Trees “Safe,
number.” “Waking Downs.in“Safe, the safe, safe,” the “The Treasure yours.” says.The And he adds, “Kisses without number.” stoo
without number.” The windbeat roarsgladly. the house beat

tha
“Waking in thebeat gladly. “The
morning—” “Silver Downs.between “Safe, Kisses
the safe, “Thesafe,” the “The Treasure
morning—” “Silver wind roars up the avenue. up the avenue. Downs. “Safe sa

t
pulse of the house beat gladly. Treasure yours.” safe, safe,”“Waking the in the morning—” Treasure pulseyours.” of the house The the wind roar
between the trees—” Trees s toop and bend safe,” puls

uielksiekeiekthetehtehe p u lse
Treessafe, stoo

p pupulslueslese
“The Treasure yours.” The The wind roarspulse of the “Silver house between the trees—” The wind beatroars gladly. “The
TEXTURAL “Upstairs—”wind “In theroars up the avenue. this way and that. joy. “Here up the avenue. beat gladly. “Upstairs—” “The “In the
Downs. “Safe
safe,” Kisses the Kisses pulse without of theup thenumber.” Treasure yours.”Downs. “Safe safe,
avenue. the avenue.
house Trees
beat gla

aft aafat ft
Trees s toop and bend Downs. “Safe, safe, we slept,”she
safe,” the pulse
silence the wood says. And
of he Trees stoo Treasure yours.” without number.” “Waking in gladly. “TheTrees The stoo wind roars p psafe,” the pulse of you
“The Treasure
house beat

e
this way and that. joy. “Herethe house beat gladly.pigeon “Theadds, Treasure drew “ its bubble “Waking in the morning—” p

r
Thebeat wind roars u

ike the
theroars morning—” “Silver between

,
Downs. “Safe, safe, safe,” the pulseThe of wind Treasure yours.” up the avenue.the p house gladly.
“SilverThe wind the trees—”

Yfteere, r,
i
between Downs.s
we slept,”she says. And he yours.” The windof roars up the

f
sound. “Safe, safe, avenue.yours.” Trees
heethpulse

e
the trees—” “Upstairs—” “In Trees stoo “The Treasure

tta,rf,thififtiatfatfat ft
up the avenue.
e pulse
the house beat gladly. “The Treasure roars up the avenue. Trees
“Upstairs—” “In the Kisses safe,” the
adds, “Kisses without avenue. Trees s toop and
safe,” the bend pulse of the The wind roars up the drawing room, thethe apple The wind roarshouse up thebea

eera,fm
we yours.” Trees stoo stoo number.” “Waking in
without
number.” “Waking in the this way and that. joy. house “Herebeat softly. “The only
drawing
Downs. turned
“Safe, room,
safe, its theyellow apple

upeelupspleusls
avenue. Trees stoo yo

itffetoertm
avenue. Trees s toop and bend the“Safe morning—” safe, “Silver between Treasure
morning—” “Silver betweenslept,”she says. And he adds, treasure “Kisses buried;
this way the and that. joy. “Here wesafe,” side.
only
the pulse Yet, ofthe
turned the moment
its yellow Downs.

h
,r,ri,firi,f itf t
ee
safe,” thethe trees—” “Upstairs—” “In roars up the
the trees—” “Upstairs—” “In without number.” “Waking room...” in the the pulse after, if the door was

e
houseside. beat Yet,gladly. the moment pulse of the

h
eitkkhteehth
p
afntfatthefhteeeharae,faitfette
Kisses without number.”

e
slept,”she says. And he adds, “Kisses

t
morning—” “Silverstopped between the was “Waking in the“Theopened, spread
the doorabout washouse beat gladly. “Thethe “Waking in the morning—”

iQkeik
the aftaefrtt,eeirrf,,atfiihffteettrhha,eefitaafefftrtth,eeeirrf,,afiittffheettrhhaeeftaaefrt,er, short. Oh,number.” after, if yours.”
Treasure

ue
thatthethewithout

r, ifftetr,r,hrie,faitfftte
trees—” “Upstairs—” “In buried “Silver between theThethe floor,
roarshung theupon the

i
, if tfhteirf, tif t

i
af
opened,
wind spread
up about Treasure yours.” The wind“Silver between the trees—”

e
k
t
e
hiethe
e
h
h
tletyhiekburie
eafithf ethe
morning—”

ki
treasure?trees—” A mom“Upstairs—” “In the walls, pendant s from uponthe

eitkhtee t
the floor,
avenue. Trees hung the up the avenue. Trees “Upstairs—” “In the Kisses
roars
erh, e

aftae
a

heihf ethheehrhe, ehife thehe

ikiekik
ceiling—what? Mythe
if

tf efrrtt,ehre
Downs. “Safe, safe, safe,” the pulsetoop ofwalls,
theand bend pendant this Downs. from “Safe safe, stoo

eiktehtd
without number.” “Waking in

, , a fte
hands werejoy.empty. The Downs. “S

buehpe
Downs. “Safe, safe, safe,” the pulse ofThe wind roars up the avenue. Trees
house beat gladly. “The Treasure yours.” way ceiling—what?
and that. safe,” My the pulse the morning—” “Silver between safe,” the p

r
sshadow of a thrush

b
“Here hands were
we slept,”she empty. The

ieuudrpliseuelspeup
he
the house beat gladly. “The Treasure of the house beat Downs. “Safe safe,
the trees—” “Upstairs—” “In house beat gl
crossed the ofcarpet; from“The

r,
yours.” The wind roars up thewe slept,”she says. And he adds, “Kisses
toop and bend this way and that. joy.says. “Here shadow
And he adds, a thrush gladly. safe,” the pulsethe Treasure yours.

d lu
avenue. Trees s toop and bend without number.” “Waking in number.”
the
crossed
“Kisses deepest the
without wells
carpet; Treasure of
from yours.” of the house beat
Kisses without thesilencethe the wood
deepest
“Waking inwells pigeon of roars up the av

s
The wind roars gladly. “The

e
this way and that. joy. “Here we
pul
number.” “Waking in rees sto stoo

l
drew its bubble of
Q
silence the wood pigeon

s
morning—” “Silver between the trees—” the morning—”
Quuiiet
uu T

se sep
. up the avenue.

e ulsuls
Treasure yours.”
pul
the morning—” u e slept,”she says.
etllyy
And he adds, “Kisses Downs. “Safe safe, Downs. “Safe safe,
venthe

p
“Upstairs—” “In the “Silver sound.
drew
between “Safe,
its bubble
the safe,
Treesof stoo The the wind pulse roars

ppt t
“Silver between a without number.” “Waking in the safe,” safe,” the pulse Down
th
e safe,”
sound.
trees—” the“Safe, pulseDowns. of the“Safe safe,
safe,

hhee
trees—” Kissesmorning—” “Silver between the house Downs. “Safe of up safe,
the the
house avenue.beat of the house beat safe,
p
.u “In the without safe,”beat
“Upstairs—” the softly.
the safe,”
“Inpulse of“The thethe Bupulse Downs. the“Safe safe,“The

aavvee
“Upstairs—” e trees—” “Upstairs—” “In the t thB safe,” Trees
pulse
gladly. stoo gladly. “The pulse o
treasure buried; the

s
house beat softly. of the
“The house beat

tree
u number.” “Waking in safe,” the pulse

ssspsun
n e
u Treasure yours.”beat gl

trtreeee
“The of t rtehthe house beat yours.”

nnuuee
e Downs. “Safe, safe, safe,” treasure the pulse ofburied;
room...” the pulse gladly. Treasure
av the morning—” the

sppuund
ofe sthe
gladly.
e house
“The beat ness
h
O The , was wind roarsTreasu
the the th
e gheogsthloystly
the house beat gladly. “Theroom...” Treasure the pulse tsree The wind roars dark knnesesssssy t a

trtterttertere
.u.upp
“Silver between Treasure yours.”
g teh g yostthly ththe hgohsotsltyly Kissesyours.” sDowns. “SafeTreasure safe, atsshaaavenue. uri

ndd
gladly. “The safe, safe,” buried sttht he b bbThe
pupnuunnndddaaarrkrgknheostl he rgkaarnr

rereseeseses
hO
h,,hww, aw

e
Downs. s yours.”
up “Safe,
the avenue. OO“When
up the w
ssppsspu thheoset hgohst The wind roars up the

th
s

p
trees—” s t l without number.” The e s wind roars
s
h, wattshhsummer came
uup
ubrriui rth

ththee
slytlythhee ggwithout safe,” the The pulse
he gh oshte gthheo gh hotKisses Treasure yours.” es spspu the hokeknsnes

ss
ns the OTrees i

up
thewind pulseroars of the house stoo beat atatstoo
atThe

ed tr e
Kisses without “Upstairs—” ssp“In tthe
puuuunnwithout hostly “Waking avenue. Trees “When
s summer
toop and came—” bend “In awinter kup snowtime—” Trees tretreereesesss t t eehedoors

p
Kisses n r s avenue. snowtime—” t h
h
t
stl estsrest e
t d te rgehesoossssttspllppyuuunnn in the morning—” ne Trees of the house beat h b u ri
p tnhhdedaaark ghostt eghgoosstlesythswithout The wind
“Theroars Tree

eedd ttr e
ed etdrret
gentlyup the avenue. a t gently
n rdkthe gladly. Treasure yours.”

aavveennuuee. .TTrereessss
ddedaarggkrrhkknnonesostin htehKisses

ly ly lysttysrrtetyerreetree e
number.”unn“Waking The doors joy. go shuttingwe far in distance, t he a kn
y t rterse sp

ly
number.” “Waking in
hssstterrtteeergeehe“Waking
sssspyun “Silver this waythe andtrees—”
that. “Here stoo the distance,
trt
thehdgaonumber.” lyynneeest“Waking in
he esssuspnu
between gladly. “TheTrees srue

ly
the morning—” arrkkhnoneesseest s number.” aahrrsskkrrttkknnnlthe r s spuinn “Upstairs—” slept,”she says. And drawing
knocking like the
he adds, room,
pulsesnpof
“Kisses uthe
daa heart.snowtime—”
appleTreasure upThe the avenue.
stoo
wind roars up the gho punn
the morning—” s s t gdhao e s stmorning—” “In the Kisses s yours.” Trees stoo pulse of a heart.snowtim
stly as
nest thueeungnnthe d k morning—” only turned eitsu yellow avenue. Trees stoo

s sl sl s
“Silver between the d a r without The
number.” doors
“Waking go
“Whenshutting
in the
t r e
summerpfar in the
came—” distance, “In gently
winter snowtime—” Downs. “Safe, safe, safe,”
“Silver between the tphspuun d “Silver between the
between the without number.” “Waking in likeYet,
side. s s go
ethe moment The wind roars gently go shutting far in the d
trees—” trees—” s sssssppspu“Silver
n
trees—” the morning—” “SilverThe morning—” knocking
“Silver
between betweenThe thet r e pulse
doors
the ofshutting
a heart.“When snowtime—”
far
up
in the
summer distance, came—” the
“In pulse
winter of the
snowtime—” house beatknocking like the pu
athe avenue.

b uu r i e d
ried
“Upstairs—” “In the Kisses without “In the
“Upstairs—” ss
“Upstairs—”
trees—”
“Inthe thetrees—” trees—” doors
“Upstairs—”
“Upstairs—”
after,
“In
go“In if the
the door
shutting
knocking far
likeinthe was
thepulsedistance,
The of doors
Trees
gently
heart.snowtime—”
go
stoo shutting fargladly. in the “The distance, Treasure gently yours.”
snowtime—” The doors
number.” “Waking in “Upstairs—” “In the knocking opened, like
The the spread
doors pulse go ofabout
a heart.he
shutting far trees—”
in the distance, gentlyof aThe
VARIATIONS
Waking in the the morning—” “ knocking like the pulse wind roars up the
heart.snowtime—” the distance, gently kn

toto
Kisses without the morning—” Kisses without number.” “Upstairs–oh,the floor,
Silver between the trees—”knocking like the pulse the hung
trees likeupon the the
gentlyThe knocking.
of adoorsheart. gosnowtime—”
shutting far in the avenue.distance, Treesgently pulse of a heart.he “Whe
stoo trees—
number.” “Waking“Silver between in the “Waking in the morning—” “Upstairs—” “In the garden—” walls,The pendant
doors go from theknocking

e dd b
Kisses without shutting far in the like distance, the pulse of a heart. snowtime—” the trees like theThe
gently gen
number.” “Waking in the morning—” trees—” “Silver Kisses between without the trees—” number.” “When summer came—” ceiling—what?
“In knocking likeMy the pulse of a heart.he trees—” knoc

bbbuuuu rr iuer bi eudr ii e

Kisses winter snowtime—” The hands The doors go shutting far in the distance, gently
“Silver between
“Upstairs—” the “In the “Upstairs—” “Waking in“In thethe morning—” gowere empty. The knocking
“When summer came—” “In winter snowtime—”

rr iii eee bdd u r

the morning—” doors“Upstairs–oh, the trees like the gently knocking.
like the pulse of a heart.he trees—” The
“Silver between the trees—” without“Silver between“Waking
number.” the trees—” in shutting far in the distance, shadow
gently of a thrushThe doors go shutting
“Upstairs–oh, thefar trees in the likedistance,
the gentlygently knocking. knoc
trees—” “Upstairs—” “In the the morning—” “Upstairs—” “In the
“Silver Kissesknocking like the pulse ofcrossed
between a heart. “When the summercarpet;came—” from “In
knocking likewinterthe pulse of a heart.snowtime—”
snowtime—” The
drawing room, the apple

b b
“Upstairs—” “In the the without
trees—” number.” “Upstairs—” “Waking “In in He left it, left her, wentthe North, deepest
The doors wells of
The
go shutting doors go shutting
far in the distance, gently far in the distance, gently
“When summer came—” “In wintekno
only theturned “Silverits yellow

But
the morning—” between silence the wood
went East, saw the stars turned nknocking like the pulse of a heart.snowtime—” pigeon
knocking like the pulse of a heart. snowtime—” The doors go shutting far in the
“Ups di
Kisses without number.” the trees—” side.“Upstairs—” Yet, the moment “In the Southern sky; sought drew its bubble of The
“When doors
the The doors go shutting far in the distance, gently summer go shutting
came—” far “Inin the
winter distance,
snowtime—” gently
knocking like the pulse of a heart
“Waking in the morning—”
Kisses without after,the ifnumber.” the door was house, found it dropped sound.knocking “Safe, like safe,the Theknocking
doorsofgo
pulse like
a shutting
heart.the pulse far in
snowtime—” of thea heart.he
distance, trees—” The doors go shutting far in the di
gently
“Waking opened, spread about
the
“Silver between the trees—” safe,” The the doors pulsegoofshutting the farlike
“Upstairs–oh,
knocking trees like
thedistance,
pulse of agentlythe gently knocking.
heart.snowtime—” knocking like the pulse of a heart.
in the morning—”
gho
“Upstairs—” “In the Kisses the floor, hung upon the in the stly
“Silver between the trees—” house beat knocking softly. likeThe “The
the doors
pulseOgo h, awshutting
of s thh, wasfartrees—”
aheart.he in the distance, gently The doors silence go shutting thefarwood in the di
ugghht t without number.” “Waking in walls, “Inpendant the Kissesfrom the treasure buried; the O
sosou the morning—” “Silver between “Upstairs—”
ceiling—what? My “Upstairs–oh, knocking
the trees like likethe the pulse ehofba uariheart.
a t t htknocking.
gently e burisnowtime—” knocking pigeon like drewthe pulse its ofbubblea hear
without number.” “Waking in room...” the pulseThe doors go shutting far in tthe
Kisses without number.” t h distance, e gently “Upstairs–oh, of sound. “Safe, safe,
the trees like the ge

ed tr e
hands were empty. The

ed tr e
the trees—” “Upstairs—” ttllyy “In “Waking in the morning—” k e
ie
ie
uuiuetileytly knocking like the pulse of a heart.he trees—” safe,” the pulse of the

h
QQ the morning—” “Silver between n
k

e? S
o
n

h
QuieQtthe u
lQ
y shadow of came—”
a thrush Kisses without
“Upstairs–oh, the trees like theacoskcgently number.”

e? S
the trees—” “When summer
“Upstairs—” “In “In winter “Silver between the trees—” uiknir a sknocking. house beat softly. “The
Kisses without number.” snowtime—” crossed the The thedoors carpet; from far
go shutting “Upstairs—” “In the Kisses “Waking in the morning—” gngl u r Wakingtreasure in the buried;
morning—” the “
“Waking in the morning—” in the the deepest iklie
gentlywells of like the without number.” “Waking in “Silver between the trees—”
l y distance, knocking ket betweenroom...” the trees—” the“Upstairs—
pulse
Quietly
Q u ie t “Silver between the trees—” silence
pulse of a heart.snowtime—” The doors the wood pigeon the morning—” “Silver between “Upstairs—” “In the Kisses ht h stopped
garden—” “Whenshort. Oh, was
summer cam
“Upstairs—” “In the Kisses go shutting drew its bubble of gently without number.” “Waking in

e ep
far in the distance, the trees—” “Upstairs—” “In winter“snowtime—” that the buried The doors g
without number.” “Waking in knocking sound.like “Safe, safe, the morning—” Waking “Silver between in the morning—” Silver

upul
the treasure?
the pulse of a heart. the trees—”between the trees—” far in the
“Upstairs—” “In the A
distance, momknoc
gently

l
the morning—” “Silver betweensnowtime—” safe,” the The pulse doors goofshutting the far “Upstairs—” “In
thecame—”
pulse of a“In heart. He left it,
the trees—” “Upstairs—” “Inin the house distance, beat gently softly.
knocking “The
Kisses
like without
the number.” Kisses without Waking
number.”
in the morning—” “
garden—”
the Silver
“When summer
went North, went East, saw the s
treasure buried;trees—” the “Waking in the morning—” winter snowtime—” The doors go shutting
Qthe
uQietly pulse of a heart.he “Waking in the morning—”
“Silver betweenbetween the the
trees—”trees—” “Upstairs—” far “In
in thedistance, gentlynknocking
the the Southern like sky; sought the

was that the

Kisses
Kisseswithout number.” “Waking in the uietly
withoutnumber.” room...”the thetreespulse d
rie“Silver between the trees—” garden—” “When summer came—” “In of a heart. He left it, left found
“Upstairs–oh, like the gently “Upstairs—” “In the Kisses the pulse drawing room, the apple her, it dropped
“Waking
morning—” in the“Silver
morning—” between the trees—” bu “Upstairs—” “In the Kisses winter “Wakingsnowtime—” in The doors went go shutting
“Whenknocking. summer came—” without “In
number.” “Waking without
in number.” North,only went East,
turned saw its the stars
yellow
Waking in the morning—” “ Silver turned
“Silver between “Upstairs—”
the trees—” “In the the morning—” far“Silver
in the distance,
between gently knocking like

l
winter snowtime—” theThe doors “Silver between n the Southern sky;the sought the house,
“Upstairs—” “In the Kisses Kisses without number.” “Wakinggo shutting far in the heart. He left it, left her, side. Yet, the moment

k cking like the pul

morning—” the pulse of a“In between trees—” “Upstairs—” “In the

knnoocking like the pu

in the morning—” “Silver the distance,
trees—” “Upstairs—” the“In trees—” “Upstairs—” after, found ifitthe droppeddoor was
without number.” “Waking in went the North, went East, saw the stars turned garden—” “When summer came—” “In
between the trees—” gently knocking like the pulse the opened, spread about
the morning—” “Silver between of a heart.snowtime—” The “When summer n the came—”
Southern “In sky;wintersoughtputhe le phouse,
ul e pthe
gpulilke thin ulwinter snowtime—” The doors go shutting
the trees—” “Upstairs—” “In “Upstairs—” “In the
snowtime—” The doorsfound ceekhitnehWaking
kntlohifar
it dropped the morning—”
farfloor,
in thehung “ upon
distance, gentlytheknocking like

A
doors go shutting far in the go shutting k t Silver between
the “When summer came—” “In winter
in the distance, gently knocking c nkgelikethe
knliilike walls, the trees—”
pendant
the pulse fromHe
of a heart. theleft it, left her,Wak
snowtime—” The doors go shutting far indistance, gently knocking like o
kncinkgi g “Upstairs—” “In the
ceiling—what? garden—”
went North, went East, My saw the stars turned betwee
the distance, gently knocking like the the pulse of a heart. pulse of a heart.snowtime—” koncok The doors “When summer hands came—”
n the were “In
Southern empty. sky;The sought the house, garde
pulse of a heart.snowtime—” The doors snowtime—” The doors go go shutting far in the distance, kn gentlywinter snowtime—” shadow Theof doors
a e d
go
thrush Waking in the morning

was that the bur

Waking in the Waking in the
r i
found morning—”
it dropped
bugently between the trees—” “ winter
knocking like the pulse of a heart. shutting far in crossed
morning—” “ Silver go shutting far in the distance, gently shutting far in the distance, snowtime—” The doors go shutting far
the distance,
Silver the between carpet; from
the trees—” far in
“U

a ft
between the trees—” knocking like the pulse of a heart. gently knocking like thebpulse urie knocking like the the pulse
deepest
“Upstairs—” of a heart.wells ofgarden—”“When summ
“In thegarden—”

kno kingthe pul

the
Thep

like
d

er,
in the distance, gently knocking like the

knockinglilkikee
of a heart.he trees—” He left it,
“Upstairs—” “In thesnowtime—” The doors go shutting far in “When summer came—” “In winter
pulsefarof a heart.he trees—”
left
kknkn silenceher, went
“Whenthe North,
summer went
woodcame—” pigeon
winter snowtime—”
“In went N

if
garden—” “When the distance, gently knocking like the“Upstairs–oh, the trees like the The doors go shutting
snowtime—” East, saw thedrew stars
winter turned
its bubble
snowtime—”n the ofThe far indoors the distance,
go gent

king
the
of a heart.n He th

ococckkii
“Upstairs–oh,
like the the “When trees like the gentlySouthern sky;sound.

no
summer came—” “In pulse of a heart.he trees—” in the distance, gently knocking sought the
shutting farhouse,
“Safe, in the safe, the pulse
distance, gently

kinngoclike

ki nngg
knocking. summer came—” “In winter

ng lli
winter snowtime—” The“Upstairs–oh, the trees like the gently found safe,” itknocking
dropped thelike pulse of
went the ofNorth, went East, sa

c
pulse of a heart.snowtime—”
“When summer came—” The“In doorswinter snowtime—” The doors go shutting the pulse a heart.

ied
far

likikkee
doors go shutting far in knocking. go shutting
snowtime—” far in the Thedistance,
doors go gently shutting farin the distance, gently knocking like house
Hetheleft it, beat left softly.
her, went“The nNorth,
the Southern went sky; so

e t tthhe
treasure
East, sawburied; the starsthe turned n thefound it dro

HAUNTED
knocking like the gently
pulse of a heart. like the

he eppu
the distance, gently in the distance, knocking

waas t
pulse of a heart.snowtime—” The doors

c
w
room...”
Southernthe sky;pulse

kno
snowtime—”
pulse of aThe doors go shuttingThe fardoorsgo shutting far in the distance, gently

pu ull
sought the house,

s thhat
knocking like the pulse of heart.snowtime—”

l
a heart. He left it, left her, in the go distance,
shutting gently
far inknocking
the distance, like the gently knocking like the pulse of a heart. found it dropped

at t the

nt
went North, went East, pulse of a heart.he
knocking like the trees—”pulse of a heart. snowtime—” The doors go shutting far

aft

mome
e
saw the stars turned n the “Upstairs–oh,
snowtime—” the trees
The doors like the gently farin the distance, gently knocking like the
go shutting

er,
buur ried
b

kno
Southern sky; sought the in the distance,knocking.gently knocking like the pulse of a heart.he trees—”

if
ied

t he

Yet, the
house, found it dropped pulse of a heart.he trees—” “Upstairs–oh, the trees like the gently

ck
“When summer came—” “In winter
l

ing
snowtime—” The doors go shutting far “Upstairs–oh, the trees pulike the gently knocking.
knocking.

HOUSE

like
in the distance, gently knocking like the ul

he
p

et
pulse of a heart.snowtime—” The doors

the
l

hliek
go shutting far in the distance, gently pu

egt

pul
ikein
knocking like the pulse of a heart.

gctlhk
snowtime—” The doors go shutting far

ineo
cklkik
in the distance, gently knocking like the
Virginia Woolf

nnog
pulse of a heart.he trees—”

kki
oc
“Upstairs–oh, the trees like the gently

kn
knocking.

86
87
 SO FINE,
SO RARE,
coolly sunk beneath the surface the
beam I sought always burnt behind
the glass.

88
89
90
91
 Waking, I cry “Oh, is this your buried treasure? The light in the heart.”

92
93
 the street in front
of your house,
You sleep
for thirty
years with
For five months -out open-
straight you flip ing your
eyes.
through magazines
while sitting INFOGRAPHICS
on a
You take
all your pain
at once, all
twenty-seven
intense hours
toil

of it. Bones
break, cars
et

crash, skin is
cut, babies
.

are born.

7 months
having sex.
SUM David Eagleman
For this assignment, we had to
convey a text into an infographic.
We had to make a hierarchy on the
e afterlife you relive all your experiences, but this time with the events reshuffled into a new order: all the moments that share a quality are grouped together.
texts we find important based on
our own understanding. We would
summarize the story based on
our own feelings, perceptions and
convey the feeling of the message
into an infographic.

94
95
 I
n the afterlife you relive all your experiences, but this time with the events
reshuffied into a new order: all the moments that share a quality are grouped
together. You spend two months driving the street in front of your house, seven
months having sex. You sleep for thirty years without opening your eyes. For five
months straight you flip through magazines while sitting on a toilet. You take all
your pain at once, all twenty-seven intense hours of it. Bones break, cars crash, skin
is cut, babies are born. Once you make it through, it's agony-free for the rest of your
afterlife. But that doesn't mean it's always pleasant. You spend six days clipping
FINAL PROCESS
your nails. Fifteen months looking for lost items. Eighteen months waiting in line.
I made the type to look harsh
Two years of boredom: staring out a bus window, sitting in an airport terminal. One
and bold to give the feeling of
year reading books. Your eyes hurt, and you itch, because you can't take a shower
overwhelmed due to the things
until it's your time to take your marathon
that are repeated.two-hundred-day
I wanted to shower. Two weeks
wondering what happens when you die. One minute
emphasize the big forms to realizing your body is falling.
Seventy-seven hours of confusion. One hour realizing
actually be the unimportant one you've forgotten SUM
someone's name. Three weeks sincerealizing you
I want to are the
show wrong.
ironyTwo days lying. Six weeks
of how
waiting for a green light. Seven we focus
hours on things
vomiting. that minutes experiencing
Fourteen
pure joy. Three months doing are laundry.
more unimportant.
Fifteen hours writing your signature. Two
days tying shoelaces. Sixty-seven days of heartbreak. Five weeks driving lost. Three
days calculating restaurant tips. Fifty-one days deciding what to wear. Nine days
pretending you know what is being talked about. Two weeks counting money.
Eighteen days staring into the refrigerator. Thirty-four days longing. Six months
watching commercials. Four weeks sitting in thought, wondering if there is
something better you could be doing with your time. Three years swallowing food.
Five days working buttons and zippers. Four minutes wondering what your life
would be like if you reshuffled the order of events. In this part of the afterlife, you
imagine something analogous to your Earthly life, and the thought is blissful: a life
where episodes are split into tiny swallowable pieces, where moments do not endure,
where one experiences the joy of jumping from one event to the next like a child
hopping from spot to spot on the burning sand.

SUM
David Eagleman
In the afterlife you relive all your experiences, but this time with the events reshuffled into a new order: all the moments that share a quality
are grouped together... Once you make it through, it’s agony-free for the rest of your afterlife. But that doesn’t mean it’s always pleasant. In this part of the
afterlife, you imagine something analogous to your Earthly life, and the thought is blissful: a life where episodes are split into tiny swallowable pieces,
where moments do not endure, where one experiences the joy of jumping from one event to the next like a child
hopping from spot to spot in the burning sand.

96
97
 BRANDING

VILLAGE
PLAYBACK T he experience that I had when I
first watched this theater was that
it was not like the usual theaters that I
THEATER have seen. This theater portrays a raw,
emotional and moving stories of people’s
past lives. It is a form of improvisation
with great and professional skills. People
connect it instantly with our daily strug-
gles. Not only that, this theater empha-
size a group of underpriviliged people
who’s voice is not heard; prisoners,
homeless, people dealing with mental
illness and more.

The one thing that I took from this

experience was that they are giving back
to society, therefore a form of handing
something back to us.

98
99
 I drew most of my logos and traced the real
hands. I found a few hand studies to make
the logos more human.

I drew the type as well to add the raw

feeling towards the theater. It is also
contrasting with the logo so both will
stand out equally. I also decided to make
the font not in a line to show the move-
ment and flow in the theater.

100
101
 I used these colors to create a warm and
hopeful feeling. The hand emphasizes
the giving and leaves are to portray the
growth and maturity of people as they
discover their inner selves.

NURUL HANA ANWAR

102
103
 THRIFT STORE
OBJECT PACKAGE
THE TASK:
Making something mundane into
something extraordinary.

OBJECT:
Russian Spoon

104
105
106
107
108
109
110
111
 PACKAGING
ITEMS:
• Candy

• 
M arinara Sauce
Honey
Olive Oil

112
113
114
115
116
117
118
119
120
121
 CHARACTERS,
FELTIES AND
DOODLES
PROJECTS:
• OH DOLLS
• PLUSH
• DOODLES

122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137