DigitalCommons@C.O.D.

Szwagulinska, Aleksandra

ESSAI 
Volume 17 Article 1 
Spring 2019 
Front Cover 
Aleksandra Szwagulinska 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/essai 
Recommended Citation 
Szwagulinska, Aleksandra (2019) "Front Cover," ESSAI: Vol. 17 , Article 1. 
Available at: https://dc.cod.edu/essai/vol17/iss1/1 
This Prefatory Note is brought to you for free and open access by the College Publications at 
DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of 
DigitalCommons@COD. For more information, please contact orenick@cod.edu. 
ESSAI
COLLEGE OF DUPAGE
ANTHOLOGY OF WRITING 
ACROSS THE  CURRICULUM
VOLUME XVII 2018-2019
What is Essai?
Created in 2002 by a cross-disciplinary faculty, ESSAI, College of DuPage’s 
Anthology of Academic Writing Across the Curriculum, is an annual academic 
journal that represents a unique but inclusive discourse community of student 
writers; it fosters student success through writing across the curriculum and in 
all levels of learning at College of DuPage.
lt rests on our belief that writing empowers and prepares our students for 
meaningful careers and advanced academic pursuits and that, to realize such 
goals, the entire college community is responsible for incorporating writing into 
their courses as a vital part of the academic experience at our college.
That we practice the philosophy of student success through good writing will 
become even more apparent in the journal's name. lt harkens back and pays 
homage to Michel de Montaigne, whose seminal style of writing ‘essais’ 
connoted one of triaIs and attempts.
The resulting published work is their expanded cultural and epistemological 
self-endowed with talent, sophistication, and fresh scholarship, all expressed 
with clarity, eloquence, and grace.
Join with us in honoring the exceptional talents of our student authors.
ESSAI  
 
 THE CO
LLEGE O
F DUPAGE  ANTHO
LO
GY O
F ACADEM
IC W
RITING ACRO
SS THE CURRICULUM
 
 
 VO
LUM
E 2018–2019
TRY
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Szwagulinska: Front Cover
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English

Front Cover

ESSAI 
Volume 17 Article 2 
Spring 2019 
Title Page 
Follow this and additional works at: https://dc.cod.edu/essai 
Recommended Citation 
(2019) "Title Page," ESSAI: Vol. 17 , Article 2. 
Available at: https://dc.cod.edu/essai/vol17/iss1/2 
This Prefatory Note is brought to you for free and open access by the College Publications at 
DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of 
DigitalCommons@COD. For more information, please contact orenick@cod.edu. 
1 
 
 
 
 
 
 
 
 
 
 
ESSAI 
 
The College of DuPage Anthology  
 
Of 
 
Academic Writing Across the Curriculum 
 
 
(Volume XVII 2018-2019) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
The College of DuPage, Glen Ellyn, Illinois 
 
 
The contents of this anthology copyright, 2019 
 
College of DuPage 
 
 
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et al.: Title Page
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Title Page

Khan, Fahad Ullah

ESSAI 
Volume 17 Article 25 
Spring 2019 
Box from Iran 
Fahad Ullah Khan 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/essai 
Recommended Citation 
Khan, Fahad Ullah (2019) "Box from Iran," ESSAI: Vol. 17 , Article 25. 
Available at: https://dc.cod.edu/essai/vol17/iss1/25 
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, 
please contact orenick@cod.edu. 
77 
Box from Iran 
 
by Fahad Ullah Khan 
 
(English 1130) 
 
 
 
 package was seen at the front door. When closely examined, the address was written in Farsi 
suggesting that this package came from the historic country Iran. As I further investigated, a 
memory box was found inside the package with “Marji” written on the box. The box itself 
had the subtle aesthetics that would complement its age and reflect the history of the owner. With 
words such as “Freedom” and “Revolution” engraved on the lid of the box, the childhood memories 
and experiences of the little girl could be imagined. 
 At first, while handling the box, a shift in weight could be felt accompanied by a rattle of 
mysterious contents which I was eager to uncover. I placed the box on the study table and began to 
open it. Upon removing the lid, a few items became prominent to my eye. Amongst these items were 
an old black silk veil, a key, some photographs, a crumpled letter and finally a hardened old bread in 
the shape of a swan. 
 The veil had traditional Persian embroidery with a small logo and a school name written on 
it. The sentimental value attached to it comes from the time when Marjane and her friends used to go 
to the French school which supported the co-education system. When school came under the forceful 
enforcement of the Shariah law under the 1979 Islamic revolution, girls were forced to wear the veil. 
The fundamentalists explained that the veil represents your modesty and protects you from the evil 
eye: “To protect women from all the potential rapists, they decreed that wearing the veil was 
obligatory” (74). For little Marji, this was hard to understand and was one of the reasons that caused 
her to be rebellious about these conservative laws. In 1980, the new law was against anything that 
would be influenced by western culture: “All bilingual schools must be closed down. They are the 
symbol of capitalism” (4).  Soon questions about gender differences began to arise in her head: Why 
do I have to wear this? Why do men not wear this? 
 The biggest factor influencing the revolution was the difference in social classes. The story 
behind the crumpled letter found in the box symbolizes this difference. Marjane soon discovered that 
she was in a higher class because her family had a maid, Mehri, who lived with them and had taken 
care of her since her birth. Mehri was more than a sister to Marji and would love to play and spend 
time together regardless of the difference in social class. A time came when Mehri fell in love with 
the boy next door, who thought of Mehri being Marji’s older sister. Soon letters became the source of 
communication between the two. Due to coming from a lower-class family, Mehri’s parents couldn’t 
afford her to send her to school due to which she couldn’t read or write. This obstruction was soon 
overcome by Marji when she began to write letters on behalf of her maid. The word broke out and 
Marji’s father came to know about the situation. Upon his confrontation, Marji questioned her father, 
“But is it her fault that she was born where she was born?” (37). Marji’s father answered her true 
concern by saying, “In this country, you must stay within your own social class” (37). The reality 
was enigmatic for little Marji and she had no other way to fix this social difference and the least she 
could do to make her maid feel good was to sleep with her. Marji comforted her maid by saying, “We 
were not in the same social class but at least we were in the same bed” (37). The revolution enlarged 
this social gap between the people and is perfectly depicted through these moments by the author. 
 The next following object from the box was a couple of photographs taken by Marji’s father. 
The photographs showed the pre-revolution city where the people could be seen wearing western 
clothes and embracing the culture. Following these came those photographs which were taken during 
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the rallies against the revolution. One night her father went out to take these photographs. Marjane 
knew that her father had been taking pictures of the demonstrations even though it was forbidden and 
could lead to serious consequences. As the family eagerly waited for him, gloomy thoughts began to 
arise in Marji’s mind: “I thought that my father was dead, that they had shot him” (30).  After hours 
of the long wait, he finally returned home. He described the family what he had captured in the form 
of photographs that he took of the people carrying bodies out of the hospital, honoring them for 
serving in the revolution even if they didn’t. “People came out carrying the body of a young man 
killed by the army, he was honored like a martyr. A crowd gathered to take him to the Baheshte 
Zahra cemetery” (31). 
 The swan made from the bread had a deep meaning within itself. For Marji, her Uncle 
Anoosh played a vital part in her understanding of right and wrong. She was really amazed by the 
struggles of her uncle and how he fought for democracy. Her uncle gave her the swan which he had 
made in the prison as a gift that would symbolize all the hardships which she and her family went 
through for the sake of their cause: “I tell you all this because it is important that you know. Our 
family memory must not be lost” (60). At one point where the political situations escalated, several 
people including Anoosh were arrested and were taken in as inmates for death row. During his time 
in jail, his last wish was to meet Marji. During this emotional meetup, he said to Marji, “You have 
honored me with your visit. You are the little girl I always wanted to have. Here! I made you another 
bread-swan” (69). As a memory of himself, he gave her another swan. After a few days, the news 
brought the death of her uncle which caused her to break down deep inside herself. Through these 
events, the writer portrayed the themes of family, death, and torture. 
 The golden plastic key is also known as the “Key to the Paradise” (100) and signifies the 
false hopes of being rewarded in the life after death. Young males were given these keys and were 
brainwashed in schools to fight in the Iraq-Iran war. When Marji and her mother went to talk to Mrs. 
Nasrine in school regarding this issue, she told her that, “they gave this to my son at school. They 
told the boys that if they went to war and were lucky enough to die, this key would get them into 
heaven” (99). Due to this illusory deception, many lives were lost on the battlefront and yet nothing 
was achieved on either end. The author describes this in the text: “The key to paradise was for poor 
people. Thousands of young kids promised a better life, exploded in the minefields with their keys 
around their necks” (102). 
 In conclusion, all the things which I had explored inside the memory box, were true 
reflections of how Marjane’s childhood was sculpted by such factors which affected her life. Each 
holds its own significance as each one them relates to her fight for freedom. Throughout the text, it 
can be witnessed that the writer chose the informal approach to deliver her message to the audience. 
The deep emotions embedded in the story were presented in the form of artistic illustrations and easy 
to understand words. The craft of the writing ensures that the reader’s interest stays intact as the story 
progresses. 
 
 
  
 
Works Cited 
 
Satrapi, Marjane.  Persepolis. Pantheon, 2004. 
 
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Box from Iran

Scranton, Andrew

ESSAI 
Volume 17 Article 37 
Spring 2019 
The Effectiveness of "Money as a Weapons System" 
Andrew Scranton 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/essai 
Recommended Citation 
Scranton, Andrew (2019) "The Effectiveness of "Money as a Weapons System"," ESSAI: Vol. 17 , Article 37. 
Available at: https://dc.cod.edu/essai/vol17/iss1/37 
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, 
please contact orenick@cod.edu. 
122 
The Effectiveness of “Money as a Weapons System” 
 
by Andrew Scranton 
 
(English 2820) 
 
 
 
t the onset of the Iraq War, politicians and generals were confident that, unlike in Vietnam, 
the war would result in a swift and complete victory that would not only overthrow Saddam 
Hussein’s regime, but would also turn Iraq into a thriving democracy that would stand as a 
model of civilization for the rest of the Arab world. Instead the Iraq war (2003-2011) turned into a 
decade-long quagmire, with significant U.S. military presence still deployed in Iraq to this day. One 
of the more surprising things about the Iraq War is how it has failed to garner many depictions in the 
popular culture. Even now, many years after the war has officially ended there appears to be little 
desire to revisit or make sense of the conflict and what America ultimately accomplished through 
fiction. And of the few works of fiction that do appear that are set in Iraq, most of them are take the 
lens of a standard enlisted infantryman. They will inevitably be typical, simple, coming-of-age 
stories set in the early days of the invasion, when the conflict was simpler and easier to understand. 
 In contrast to this trend, Phil Klay’s short story “Money as a Weapons System” is a complex, 
multi-faceted look at American efforts at nation building in the later period of the Iraq War. The 
story is about Nathan, a young, inexperienced Foreign Service Officer, who is put in command of an 
Embedded Provincial Reconstruction Team. This team, consisting of only three members, none of 
whom has the necessary experience or qualifications for the job, is tasked with assisting the 
counterinsurgency efforts by reconstructing their Area of Operations. Their attempts to do this, 
including a women’s buisness association that has never started a buisness, a beekeeping program for 
Iraqi widows, and fixing a water treatment plant that, despite millions of dollars spent, if made 
operational will destroy everything connected to it, are complete failures, marred by local corruption 
and their ignorance. They are not helped by an embassy that prioritizes projects that look good in 
photos or fulfill multiple “lines of engagement,” such as training Iraqi widows how to keep bees, 
rather than the projects that stand to most benefit the Iraqi people, such as a women’s health clinic. 
An entire convoy is sent to them solely so they can receive baseball uniforms, completely useless to 
the reconstruction effort but, because it was the idea of an influential constituent, a senator pressures 
their superiors to make use of them. They give the uniforms away as clothes to children and fake a 
series of photos of them playing baseball. The story ends after these photos being taken, with an 
exclamation of “success.” But, as Nathan says at the start of the story, “Success was a matter of 
perspective. In Iraq it had to be. There was no Omaha Beach, no Vicksburg Campaign, not even an 
Alamo to signal a clear defeat” (Klay 77). The question of whether, in the end, anything of 
importance has actually been accomplished in Iraq is, as it is in real life, left ambiguous. 
 This story is especially noteworthy in that it, in contrast to all of the other stories included in 
the collection, as well as most war literature in general, the protagonist is not a member of the 
military. Instead, he is a Foreign Service Officer, with a completely different background, objective, 
and perspective from traditional soldiers. Though he is working in an Embedded Provincial 
Reconstruction Team, which, unlike a traditional Provincial Reconstruction Team, is embedded with 
a U.S. Brigade Combat Team and works closely with them, (Stone, 148) he does not report to the 
military chain of command. Thus, he has a much higher degree of agency than traditional soldier; he 
does not merely carry out the tasks assigned to him like an enlisted man, instead he is in a position of 
leadership where he has to use his own judgement as to what his team should do and how they do it. 
Thus, throughout the story he constantly questions not only what tasks are the most important to the 
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reconstruction and how they should be accomplished. This questioning, reflective type of protagonist 
allows Klay to compel the reader to ponder the same questions that Nathan ponders during the story 
naturally, without the story feeling didactic or patronizing. The intense questioning of and broader 
look at American policy in Iraq is the most unique and compelling aspect of the story, setting it apart 
from most other works of war literature.  
 Another compelling element of this story is its use of satire. Klay understands that in order 
for readers to remain engrossed in a story with upsetting or depressing elements like “Money as a 
Weapons System” has in abundance, humor must be used to make the story more palatable. He does 
this masterfully in “Money as a Weapons System.” Klay’s grasp of the absurdity of the American 
occupation rightfully merits comparisons made to Joseph Heller (Docx). For example, consider the 
following lines: 
 
“USAID claims agriculture should be employing thirty percent of the population,” I 
said. “Right,” said Bob. “But the whole system broke down after we trashed the state-
run industries.” “Fantastic,” I said. “It wasn’t my idea,” said Bob. “We remade the 
Ministry of Agriculture on free market principles, but the invisible hand of the market 
started planting IEDs” (Klay 81).  
 
 This exchange uses humor to not only entertain the reader, but, at the same time, reveal 
important story information in a memorable way. A dry description of how the U.S. closed Iraqi 
state-run industries lead to unemployed farmers becoming jihadists, while accurate, would not 
engage the reader like the hilarious, and just as accurate, description of how “…the invisible hand of 
the market started planting IEDs” (Klay 81).” Few stories about war, particularly stories about a war 
as recent as the Iraq War, are brave enough to risk causing offense mine humor from wars absurd 
elements as “Money as a Weapons System” does, and this makes this story stand out from other 
works of war literature. 
 However, while the humor of the story is self-evident to most readers and results in a 
stronger, more engaging story, many of the story’s important details and background information 
necessary for further understanding of the plot will be excluded from them if they do not have more 
than a layman’s knowledge of the Foreign Service. If the reader is unsure at the onset of the story 
what the Foreign Service is, what a provincial reconstruction team is and how it differs from an 
embedded provincial reconstruction team, what “IRRF2 Funds” are, or what a civil affairs brigade 
does, he will not be any more enlightened at the story’s end. Knowledge of these elements is not 
strictly necessary for understanding, much less enjoying, the story, but without it the reader may, at 
times, feel as if they are not understanding the full picture. This is, in a story that seeks to paint a 
broad picture of the conflict, at times counterproductive to the story’s overall ethos.  
 Yet, despite these occasional cryptic references, the story remains deeply captivating due to 
its many strengths. Its unconventional protagonist and dark humor draw the reader in, while also 
bringing them to contemplate the current state of Iraq and what America has actually achieved by 
invading. No other piece of contemporary fiction, or any other form of popular culture for that 
matter, actively invites this kind of critical engagement with the Iraq War and its consequences as 
“Money as a Weapons System” does. 
 If, as the story suggests, success is a matter of perspective (Klay 77), then the question of 
whether or not the Iraq War was a success will depend upon your individual perspective. Some 
characters in the story, like the professor, believe it was disastrous for Iraq. Others, like Nathan, 
remain unsure. Regardless of the readers own conclusion, the story achieves a “success” of its own 
by getting the reader to question their own perspective. 
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124 
  
 
Works Cited 
 
Docx, Edward. “Redeployment by Phil Klay Review – ‘Incendiary Stories of War’.” Review of 
Redeployment. The Guardian, 26 Mar. 2014. 
Klay, Phil. “Money as Weapons System.” Redeployment. Penguin Books, 2015. 
STONE, BLAKE. “Blind Ambition: Lessons Learned and Not Learned in an Embedded PRT.” 
PRISM, vol. 1, no. 4, 2010, pp. 147–158. JSTOR, JSTOR, www.jstor.org/stable/26469083. 
 
 
 
 
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The Effectiveness of  Money as a Weapons System

This paper examines American choreographer and dancer Daniel Nagrin’s choreographic methods as a study in Jewishness. It extends the notion that dancing Jewish not only resides explicitly through overtly Jewish themes, time and place, subject matter, and tropes (Brin Ingber 2011, Jackson 2011, and Rossen 2014), but also is posited subtly and discreetly within the methods, content/function, and structures and devices used to create and perform concert dances.   The author\u27s personal experiences with Nagrin, first as a graduate student and later as a researcher, coupled with admiration for his work are the inspiration and force behind this paper. From viewing video- tapes (Nagrin 1967, 1985) and tracing patterns (Adshead et al 1988, and Kane 2003), she asserts that Nagrin’s choreographic methods em- body characteristics of Jewishness that are implicit yet tangible. The analysis contributes new knowledge to the dialogue surrounding not only Jewishness in American dance, but also American modern dance in general

Wawrejko, Diane

Daniel Nagrin: On ‘This and  That’ and Choreographic  Methods as Jewishness

Crawford, Ronda

The Prairie Light Review 
Volume 42 Number 1 Article 12 
Fall 12-1-2019 
36 Hours 
Ronda Crawford 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/plr 
Recommended Citation 
Crawford, Ronda (2019) "36 Hours," The Prairie Light Review: Vol. 42 : No. 1 , Article 12. 
Available at: https://dc.cod.edu/plr/vol42/iss1/12 
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in The Prairie Light Review by an authorized editor of DigitalCommons@COD. For 
more information, please contact orenick@cod.edu. 
36 Hours
     Were you even outside when Bishop shot Raheem to get the Juice? 
You probably don’t even know what I’m talking about. I’m rapping to 
you about history, real hip hop roots from the source, the motherland… 
I’m talking New York City, baby. Like real New York before Giuliani and 
Disney cleaned up Time Square, or Spike Lee bought all the Harlem 
brownstones. Before Brooklyn was some place you moved to because you 
had arrived, instead of  a place you survived or escaped from if  you got real 
lucky. Blocks where you walked hard or didn’t come home. Yeah, those 
streets… I mean really outside.
     And the music, it breathed through an open mouth and had a heartbeat. 
You knew when you heard it that it was made of  flesh, and when it was 
dead and gone it would meet Jesus, because it had a soul. I don’t mean the 
craft beer and lifestyle shit y’all listen to now. But killing your enemy with 
16 bars, because it was him or you, in a park or on a playground, with a 
boombox backing track and what felt like the whole world or at least all of  
121st street watching. We heard the call all the way home, on our block in 
Chicago, but we knew that some shit you had to see for yourself. How else 
you know it’s true. 
     Good and bad things always come in threes, and at the time it was 
me, JoJo, and Dana. Knuckleheads who read the paper one day, when no 
one thought we could read, let alone did. And it was JoJo who was talking 
about how they were having airfare wars and we could get round trip 
tickets to New York on a red-eye flight, if  we left at 2 in the morning. And 
because we had ends... no need to ask where from, all you need to know 
is it was real and green and enough to get us there. We figured we could 
eat good, and wild out before anyone would even know we were gone. 36 
hours with little to no sleep was anticipated, we were young and reckless 
enough not to care about that. We would sleep when we were dead, and 
with the way we were living that might be soon enough.
     I fancied myself  a Renaissance man, an artist and a poet. I read Interview 
magazine at the library, and stole the Village voice whenever I passed the 
big newsstand that used to be on Clybourn… I was always on the north-
side. So I wanted to tag a subway car, maybe get me a piece of  immortality 
on a brick wall. I knew that by the time we would get there Andy would 
have been long gone, from complications of  a gallbladder surgery, and 
Basquiat followed shortly after because he couldn’t kick that needle 
without his momma and Andy. It was a loss I wanted to feel, I needed to 
see where they had walked, and lay my hands on the masterpieces that 
would soon be taken from the street and auctioned off for numbers that 
still don’t seem real.
     Dana didn’t want to admit he was scared to fly. He was old school hard, 
older than us by a couple of  years and the only dude we knew who went 
to jail and got fat. In his time, he had walked through the craziest projects 
and never got touched. I mean he frequently got drunk and slept through 
unknown westside territory on the subway, with fresh J’s and a leather 
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starter jacket and kept all his gear. He claimed he never tucked a chain in his 
life, and he always wore a stupid fat one.  And me and Jojo had seen enough 
with him to know the truth of  the legend, but even if  it was a lie we wouldn’t 
clown him about it cause we was boys with our own lies to tell. But Dana 
said he felt like flying was something unnatural because he couldn’t hit it, or 
make it bleed, but that’s just how he was back then. Jojo said it was because 
he was a crack baby, as Kendrick would say we all was, but we didn’t talk 
about mommas like that back then, so we just kinda changed the subject if  
it ever came up. 
     If  we had had any sense, good or otherwise we would have stayed home. 
But we had heard that New York smoke was fire, and the honeys were fine, 
and we weren’t gonna leave sober and without stories, so everyone had to sack 
up and fly. We drank through the flight, maybe slept some, but not much, we 
didn’t have no checked luggage, or anything but the clothes on our backs, 
the plan was to buy and bring back authentic fresh ass Brooklyn gear, new 
fitteds and jerseys. We wanted to look like natives, to blend. And by the time 
we landed, and our feet touched the ground that Dana was gonna kiss, until 
he saw a grown man pee on it right out in the open. We stepped out into the 
daylight, ready to get something started, and hailed a cab with no destination 
in mind, maybe just ask the driver to take us somewhere to get a room. But 
the driver saw the three of  us, and wouldn’t stop, and it was just like home. 
     36 hours left, so we just walked, nowhere in particular. 
Ronda Crawford
The Interception. Edward Karl Fresa, Acrylic on Canvas
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The Prairie Light Review, Vol. 42, No. 1 [2019], Art. 12
https://dc.cod.edu/plr/vol42/iss1/12


36 Hours

Simanskiene, Rolanda

The Prairie Light Review 
Volume 42 Number 1 Article 30 
Fall 12-1-2019 
Fall Mood 
Rolanda Simanskiene 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/plr 
Recommended Citation 
Simanskiene, Rolanda (2019) "Fall Mood," The Prairie Light Review: Vol. 42 : No. 1 , Article 30. 
Available at: https://dc.cod.edu/plr/vol42/iss1/30 
This Artwork is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in The Prairie Light Review by an authorized editor of DigitalCommons@COD. For 
more information, please contact orenick@cod.edu. 
Fall Mood. Rolanda Simanskiene, Digital Artwork
26
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Fall Mood

Crawford, Rae

The Prairie Light Review 
Volume 42 Number 1 Article 84 
Fall 12-1-2019 
Chelsea Market 
Rae Crawford 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/plr 
Recommended Citation 
Crawford, Rae (2019) "Chelsea Market," The Prairie Light Review: Vol. 42 : No. 1 , Article 84. 
Available at: https://dc.cod.edu/plr/vol42/iss1/84 
This Artwork is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in The Prairie Light Review by an authorized editor of DigitalCommons@COD. For 
more information, please contact orenick@cod.edu. 
When the oven is set and apron donned,
Let me bake in your warmth, expand beyond the pan.
As long as you forget me not,
I believe we shall turn out just fine.
For I am Taurus
And that means food is my love language.
The culinary jargon is meticulous to decipher
But loving me to well-done perfection is well worth the time.
Ninetta DeBoni
Chelsea Market. Rae Crawford, Digital Art.
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Front Cover

Title Page

Box from Iran

The Effectiveness of Money as a Weapons System

Daniel Nagrin: On ‘This and That’ and Choreographic Methods as Jewishness

36 Hours

Fall Mood

Chelsea Market

image12

image20

7,467

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