"Portrait with House” by Marin Hart is a short eleven-line poem that packs heavy emotion throughout each description. I am fascinated by the use of hanging indentation, how it switches the perspective in a noninvasive manner. The poem opens with a strong line, using the verb “invade” to describe the events. Already, readers get a sense of what type of actions we’re going to read. The entire poem, though it is short, reminds me of a distant relative or friend who I still haven’t come to terms with for their actions, and now I have to face them. I must confront them like the speaker. Each line either utilizes figurative language or direct imagery, neither of which fall short. The poem itself is its own metaphor, liking the house to a creation or idea that the “she” has ruined. I find this to be intriguing, often larger metaphors are drawn out, require more time to be understood, but this poem doesn’t need elaboration because of the language given. The speaker of the piece is certain of their own actions and what the “she” is doing. I felt connected to this piece due to the sense of familiarity it brought. Though I am not in situation per say, I can imagine or recall a time where the events described feel like or mimic a moment in my life. The sense of individuality and universality with this piece is well calibrated, and I encourage readers to use this poem as a prompt, to use something mundane and compare it to a larger, more emotional topic. Mexican from the Corazón by Britney Garibay is a beautiful visual piece that I personally feel connected to through the emotional ideas being conveyed. Though I am not Mexican, I know the feeling of pride of where one comes from. It is love for the motherland, their background, their culture. I am in love with the depiction of the flag in front of the girl, showing absolute pride and no shame for their background. I think it’s important for viewers, no matter where they come from, understand another’s love or honor they feel from their native/homeland as depicted in the piece. For me, as I grow and learn what being an immigrant means, I find myself more and more connected to depictions of honor. The visual is beautiful with its wide perspective and vulnerability shown in the close-up of the subject. I’m glad we decided to make this piece have its own two-page spread as it adds to the piece’s larger emotional purpose. Garibay’s depiction of pride, specifically pride of one country/people that have been victims of extreme prejudice, is stunning and defies whatever words or ideas are thrown at her. There’s a sense of gravity and longevity that is exuded by the subject and what is in focus: nothing but the girl and her flag.  I encourage viewers to look at this piece and ask themselves: what in this can I learn from? What part of me am I proud of? Mexican from the Corazón is an engaging piece that illustrates youth and their pride. - Alexa Naparstek, Senior Poetry Editor

It is so rare that a poem leaves me with questions that I don’t mind asking. When I read Marin Hart’s “Portrait with House” during the initial reads process, I was shocked by the delicacy and precision with which the impulses were executed. I finished and wondered what exactly I had just experienced, as this poem is one of those that is felt before it is understood. Hart’s masterful display of ambiguity is a genuine treat—it leaves us with a number of implications, it keeps us invested, and, most importantly, it conjures the kind of atmosphere that is impossible to forget. The nuances—little moments that make more sense than they linguistically should—sharpen the mood into a very evocative little dagger of feeling. This poem summons “an ancestor real like wind,” and it is in its own right real like wind. The moves and turns are swift and not themselves seen, but they are deeply internalized. By the final, sinking line, we understand clearly that this poem is a well-oiled, complex, highly efficient machine with a sum greater than its parts. The lines depend on one another in this way: they all do work together, and they do it so cleanly that we’re left wondering what we missed in the equation. I was very excited to showcase this poem because it communicates subliminally the raison d’être of Élan so well. Youth writers, in their own way, are making art that demonstrates craft in the traditional sense that deserves voice. A thing I love about Élan is that there is no aspect of the publication that feels “teen” at all. However, we don’t mind donning that tag—even if it is a misnomer of the work inside—because we understand how special and beautiful it is to be teen and art-making and alive. The gift in this poem is that it truly means something different to every reader, and few poems have the ability of universal transference while retaining their power and sparing nothing. What a quiet storm this poem is. - Conor Naccarato, Senior Poetry Editor

Emma Flaire’s piece, Henry presents a depiction of an aging man with a sense of dignified wisdom and resolve. The man, presumably named Henry, is depicted with an intimacy that of which could only be derived from a knowledge so innate with detail and history as one in the immediate, is presented to us with poise and respect-demanding form. The piece’s composition draws into the folds of flesh that composes the countenance of the subject. These ridges and caverns carved into his face are not ones of disfigurement, but of vulcanized character. The galvanization of age is shown upon the rendition of a man at ease. The oils of piece accentuate age, and the dynamism of the face’s natural contours ebb toward a culmination of character evident upon the gaze emanating from the piece. As a writer, I am drawn to the subject of the piece itself. I used this piece, and another submitted by Emma Flaire in a generative exercise based of derivative origin in my own productions. I found my impression of reserved platitude, and the implication of a lifetime of labor to be of great potential for exploration. I focused, in my generative ventures, on the way the piece evoked a sense of demand for respect. The man in the piece gazes with authority at whatever meets his weathered gaze. I wrote extensively on the concept of virtue in labor and the continuance of genealogy through reproductive propagation. I find Emma Flaire to be adept at observing the qualities of an entire man, and the depiction of earnest and comprehensive depictions of the authentic. I encourage those viewing the piece to look within at their own reservations and associations with that of which they derive parallels from the work of Emma Flaire. Once I was able to divorce myself from the physical limitations of the medium of the visual, and look to find the memories and values within the gaze of this man, and other works alongside it, I was able to articulate and expand upon that which might not have been acknowledged without the assistance of a visual catalyst by which to direct my inner evaluation of those individualistic abstractions. A fantastic generative process by which I, and others have the potential to realize, is the disassembly of impressionistic conclusions as to the nature of the subject depicted in the piece, and the delving into the components of the derivative implication. The way the artist investigates the formlessness of Henry, and the sheer emotional intimacy evident in the care and detail put into constructing such a nuanced and specifically degraded face is the visual actualization of a memory, formulated from the impressions of a series of presumed interactions. She is, in a sense, immortalizing the impact the subject has on her through her close inspection of that which is common, and therefore making it evidence of a much greater understanding of universality in common interaction. Emma Flaire’s interpretation of this impression is evident in her apparent dismemberment of her memory’s account, and restructure of a far more connection inviting representation of a stranger, whose intricacies are plainly and eloquently given to us through his face’s austere gaze. - Sheldon White, Junior Fiction/CNF Editor

This year’s fall edition of Élan is something that I’m really proud of. This was my first time being a part of the editorial process as the senior Fiction/CNF editor and it was a really cool experience to play a big part in what pieces go into the book. Reading all the pieces that had been submitted and looking at the art was so interesting, as it always is. I think each piece is truly special in its own way, and each one impacted me differently. Two pieces that inspire me a lot are the CNF piece "Jew-ish" by Jake Shafran and the art piece The Whore, The Gunslinger, and the Guy Who Wrote Their Scripts by Nur Chodry. Both of these pieces stuck out to me in the editorial process and I am so happy that they are in the book. I’m going to start off by talking about the piece, "Jew-ish." Before I even begin talking about the piece itself, I want to talk about CNF. In my first year of Élan, the genre team made it a goal to include more CNF in the book. CNF is such a powerful form of writing and every reads process I am excited to see the CNF pieces that are submitted. This year, I had the same goal, and when I came across this piece I was immediately impacted. Writing CNF is so vulnerable in itself, and submitting it for other people to read is as well. "Jew-ish" is a very personal piece and I think most people can relate to it, even if they aren’t in that exact situation. The piece deals with feeling lost about what religion you belong to. It deals with those strong feelings of confusion, and I think most people can connect with this feeling. The reader gets to read this story about a young boy dealing with feelings. The reader feels close to the speaker, and it allows us to really be present in the pieces. We get to see him when he feels united with others and when he feels separate from them. It’s a powerful message and one that I connected to immediately, and I think the readers of Élan will connect to as well. Selecting the art for Élan is just as fun as selecting the writing. I’m always excited to see what people have submitted, and one piece that stuck out to me immediately was The Whore, The Gunslinger, and the Guy Who Wrote Their Scripts by Nur Chodry. Before I truly looked at the piece, the name of it grabbed my attention. I think the title in itself tells a story, and that’s important for something like Élan. We want the art to tell a story just as much as the writing. The piece of art itself is so interesting to me. The girl in the front grabs your attention first, and I think the way that her body has been painted is really beautiful. Once you see her, you then focus on the person behind her and how he’s looking slyly at her. It almost seems like she doesn’t notice either, by the way her eyes are looking up. The man behind her had a halo and she has wings, so that provides a aspect of heaven as well. As I said before, I’m really proud of this edition of Élan. I think the pieces that have been selected, both art and writing, are powerful in their own right. Each one has something special about them and I think the readers of Élan will be pleased with the writing and art coming their way. - Anna Howse, Senior Fiction/CNF Editor

I am constantly amazed looking at the submissions Élan gets for both art and writing. There are so many talented teens in our community that I am glad they have found Élan as an outlet to make their voices heard. With every book every Élan member takes part in choosing the writing and art pieces that will be in the final look of the book that we create, no matter if it is an online or print edition. My favorite part is being able to read all of the writing and art before the list of both are narrowed down. This is my favorite part because it allows me to dive in to someone else's world for a second and see what is going on in their mind. My favorite writing piece in our Fall Online Edition is "Icarus Drowning" by Isabella Tolbert. Icarus was one of the first of many mythology stories I read when growing up, and is a story that has always stuck with me. I love the way the images move throughout the poem, as well as how Isabella chose to make the poem about more than flying to close to the sun and touched further on Icarus' death too. I feel mythology stories are very accessible overall because of how long they have been around and how many people know of them. There are many mythological stories that have been told over and over in several different ways, including Icarus, and when writing in the persona of a mythological character you can twist certain aspects of the story to your advantage. My favorite art piece that is in our Fall Online Edition is El Sueno Produce Monstruos by Sam Pabon. I felt the strong emotion in this art piece the first time I saw it, despite the lack in color, which is what makes the piece so connecting to me. There is depth in the height shown and the darkness show in contrast to that height I feel tells a lot of the art piece's story. This piece is accessible because of the emotion and the perspective. The art piece was created to resemble first person point of view looking over an area from a high place. The perspective makes the art piece accessible because at least once in everyone's life, we have looked at an area from a high perspective (i.e. a Ferris wheel, bridge, etc.) The emotion that comes in with that perspective is also accessible because the perspective feels as if we, the viewer, is observing from a high place. Many people have different reactions to having that sort of perspective. Art and writing both equally can have a large impact on many people and in many different ways. I encourage you to go read Élan's Online Fall Edition and allow the work to inspire you and your own art and/or writing. - Catriona Keel, Senior Web Editor

Every piece in Élan deserves to be recognized for their ingenuity, intuition, and attention to craft. One such piece is “GG Explains It All” by Thaiyana Pittman. Thaiyana recently gave life to her words at the Jax by Jax student showcase. The language in this piece exudes life and a fondness for culture. The speaker elicits a sense of domestic intimacy. Throughout this piece, the reader learns along with the character. We grow closer to speaker, and gain an understanding of her heritage and the importance of her roots. Another beautiful take on heritage come sin the form of the art piece Mexican from the Corazón by Britney Garibay. The two-spread piece depicts a woman gazing straight into the viewers eyes, her hair flowing to the side and fading into the flag of Mexico. The subject is stands unfaltering, embracing her identity as a part of her being. The colors in this piece are vibrant and lively, enhancing the subject. This piece is one that catches the eye and holds it prisoner. Mexican from the Corazón captures its viewers not just in its colors and composition, but in its roots in self-identity. Élan is such a special place for art and writing to live for this very reason. Every artistic endeavor comes from a need for self-expression. Art is what ties the world to a common understanding. Élan is a place where young writers and artists can express their visions to the world. We long to give the youth a platform for their creations. The Fall Online Edition of Élan is the first copy of Élan that I have helped produce firsthand. I am so delighted to be a part of the process that highlights fantastic works and recognizes their creator’s efforts. -  Grace Brodeen, Senior Marketing Editor

Élan's Fall Online Edition's accepted pieces have been some of the most unique and beautifully written pieces I have seen in Élan. My personal favorite pieces are all about human connection, and new change. The cover of Élan, Hidden Look by Britney Garibay, strays from our usual covers over the past few issues. Over the last several issues, faces and portraits have always dominated the cover of Élan; yes, they are eye-grabbing, yes the pieces are beautiful, but Élan had gotten into a rut of staying safe. With Hidden Look I believe that we have taken a step towards change. This art piece is something different from previous covers, but it still has an interesting eye-grabbing effect to it. The hands arrange themselves to create a face, which is hitting back to what we are used to almost. I feel like this piece is an amazing way to start choosing different and unique issue covers in the future. For written pieces accepted into Élan, I have a few pieces that hold a special place in my heart like: "Ars Poetica" by Esther Sun; "Portrait with House" by Marin Hart; "In Which I Try to Explain to my Grandmother Why I Don't Call" by Sofia Miller; "forgot again" by Katlynn Sherman. But the one that struck me the most was "Ars Poetica" by Esther Sun because of the connections that is has with poetry, writing, and the writer themselves. The descriptions that are used connect the writer to their art with lines like "Soil & stones clumping under my fingernails," and, "Shows me where to find the softest moss..." These details create a scenery that settles the reader into a story. This poem sets itself nicely into the book, but is also a piece that stands alone strongly. - Luz Mañunga, Senior Layout and Design Editor

I connect with this piece, specifically, for a lot of reasons. This piece revolves around a conversation from a grandfather to a grandson – that conversation, while important and logical – has lots of emotional ties as well. The grandfather utilizes metaphor in order to communicate not only his deep love for his grandson, but his wanting to pass on knowledge himself. I think these lines dictate everything: “You are my blood, an extension/of my old life.” The extension of an old life is something important for generations of families. In this moment, the grandfather was in such a tender moment with his grandson to reveal something like that. In my current point of life, I mainly live with my grandfather. I have experienced my fair share of lectures and tips on how to live a full life – as most grandparents give to their children – but the vulnerability of this specific grandfather strikes a different chord in my own relationship with my grandparents, giving way to an upheave of emotions I have yet to even comprehend. It is these complex emotions that initially got me interested in the piece and I hope to dive deeper into the study of these emotions and see what I can get out of it. This poem, however, goes farther than just a grandfather talking to his grandson. This poem, hidden underneath the emotional conversation, houses themes such as loss and life; sorrow, and joy; pulling up, and bringing down. These themes have much more than meets the eye – they are the backbone of what’s actually making the poem emotional for the reader. This poem is about a tender moment between a grandson and a grandfather, yes, but this courageous work also lets the reader connect to moments that they themselves have experienced, thus making the poem so much more impactful. “Every breath that you take/has a purpose.” These two lines let the grandson know that he matters. That he has a purpose. That he isn’t a meaningless speck in the great universe – he means something. This specific phrase is something that so many people need to hear for themselves. It is important, it is necessary, and it helps the poem achieve even more intellectual integrity than it has already. I connected with this poem because of my relationship with my own grandfather, but I stayed because of the deeper meanings it has layered underneath the heart-blistering conversation. I hope more people read this poem and think, for themselves, “What can I do to better myself? How can I continue the legacies those before me have worked so hard to build?” - Jasper Darnell, Junior Layout and Design Editor

The importance I attach to my appointment with the publication was spurred by the rumored quality and responsibility attached to current editors and their positions. I found myself drawn to the value in sourcing new literacy works, and found the prospect of producing a tangible product, such as the magazine, to be of alluring interest. As genre editor, I get to determine and monitor the content that the publication selects, as well as ensure the preservation of the image we have cultivated in public events in and around the artistic spheres of greater Jacksonville. It is in this duality I have found myself in that I am allowed an integral role in the function of the product itself, as well as involvement in the managerial direction of the organization itself. My position, which allows a wide array of vested opportunities for involvement in all aspects of the publication, lets me engage with the artistic community of our community, and many facets of our production process. As I am tasked with the vetting and control of quality for the pieces we receive from our community of writers, I am able to apply my especially stringent filter in order to source the finest pieces in the expansive pool of selections we receive. It is in this way that I hope to be able to bring to the publication a renewed spirit of quality and a standard for acceptance in our selections. My hand in the presence of our magazine in events throughout Jacksonville and beyond will allow me, to an extent, the opportunity for supervision and direction to the way we present ourselves as a brand. My connections to the artistic community we pander to, as well as my knowledge of potential spaces for our introduction in events will bring to the publication a new dimension of viability in the realm of local literary talent. It has now become an investment for me, to be able to contribute a level of standard, and to ensure the level of communication delegated to me by my superiors permits me an emotional connection to the success of our product. To become involved in something as goal driven as a periodical publication such as this involves the intense binding of my personal character to the performance I provide to the team. I inherently need opportunities for me to explore and grow facets of my artistic abilities, as well as contribute to a common goal with a team of others sharing a vested interest. I expect my role as genre editor to be expansive, with responsibilities ranging through many aspects of the organization. I want to be able to wield both my family’s connections to the artistic community at large, as well as my desire for our success to further the interests of our fiscal success and mission. It is of supreme importance to my artistic growth, as well as the success of the publication that I have been allotted the space to operate that I have. Élan brings an exciting chance for experience and the improvement to the literary oeuvre of Jacksonville. - Sheldon White, Junior Fiction/CNF Editor

I didn’t picture myself as a poet two years ago. Now, I’m part of Élan as a senior poetry editor. It has always been a goal of mine to represent the very best of what Douglas Anderson produces, especially in a department that rarely gets recognition or acknowledgment by the student body. Élan is the physical embodiment of what we do: create. I applied to the Élan staff wanting to give back to the literary community that has so deeply taken care of me for years. I’ve been very privileged in the programs and shows I’ve partaken in and I know that many young writers around the world don’t get the same opportunities whether it be a result of lack of resources, lack of interest in the arts, or lack of confidence. Being accepted onto the Élan staff has helped me understand the sheer magnitude of this platform, often undermined, where I can help and give my peers a voice and be heard as well as a larger perspective. My privilege comes from Douglas Anderson and the opportunities granted that I otherwise would have no context for. I’m aware of the literary community and competitions and the process of submissions—only few young writers do. Élan has the ability to give a stage to the voices of teenagers with little access to the literary world, give a stage to upcoming young writers, and showcases just how powerful teenage creation is. Élan’s importance to people within my community is not unknown to me. We are able to produce and demonstrate young artistic excellence beyond our own communities, which is the most significant aspect of Élan. We get to lift our peers’ voices and represent our work as equal importance to established writers. I won’t lie. I’ve been struggling as a writer throughout the few months with very little emotion toward creating until school started and I was introduced, once again, with the power of art. This isn’t to say I’ve been creating masterpieces every night. I’ve started to realize the art in learning how to edit, check, approve of pieces. How do we determine which piece is accepted or denied? How do we, as a team, show our magazine to locals and strangers? I find there’s beauty in rekindling the relationship between a creation and its future. Reading new pieces and evaluating our archives for different posters or needs subconsciously flows one’s mind with lines and poetic language, it sneaks into our brains late or during class, and the simplest, mindless engagement with art will create something. Something churns in my head, I can feel it, and I know it’s from familiarizing myself with this craft. The engagement with art does so much more than one realizes, and I’m excited to see how it will pave a way for my own writing. - Alexa Naparstek, Senior Poetry Editor

I’m the junior managing editor and I’m super excited for this school year. I first heard about Élan at the first arts area meeting my freshmen year, from that moment on I knew I wanted to be a part of the team. When it was time to fill out the course recommendation sheet the summer before junior year, I was ecstatic to pick Élan as my number one choice. Élan is important to me because I’m apart of such a great legacy. I’m honored to be a part of it, and I can’t wait to leave my mark. It’s important for me to be able to help spread the love of creative writing in the community. Community service is important to me. I really enjoy helping others, it warms me up inside. I know that sounds very cliché, but I enjoy helping others, especially with writing. Often the first thing people say when they hear about Creative Writing is; “I can’t write”. I believe that statement is false. Because everyone can write. Putting together a sentence is technically writing. People believe their first draft must be perfect, which is wrong. First drafts are where you make the most mistakes, where you experiment, where you do too much or too little. There's no such thing as the perfect first draft and that's what I love to tell people I enjoy helping others find their creative grounds. So, I'm excited to help young ones write and learn about other styles of writing besides poetry because they don't know about the others. Most young writers just think of creative writing as writing poetry or fiction. There are different genres inside of each other and they intersect, the possibilities are endless. There’s more than poetry. I also enjoy exploring other people work besides my own and Élan is the perfect place to do so. Not only do I get to read and see some of the art students at my school produced I get to see work from other students outside of my school and around the world. That by itself is mind blowing to me. I believe being junior managing editor will allow me to step out of my comfort zone and communicate with others. Those who already know me knows communication is not easy for me, so being able to improve my communication skills will really help me in the long run especially because senior year is quickly coming up. Being managing editor will help me with my organization skills. I’m already kind of organized, but that’s commitment will allow me to take my skills to another level.  I believe being on Élan will help me explore my writing style and the genres I love to write, which will ultimately Improve my relationship with writing. Being able to write whatever you want whenever you want is such a blessing that you don't really get to have your regular art classes, you must do what was assigned and there's not really much wiggle room. So, I'm excited to explore my personal writing project. I believe this year is about growing a writer. - La’Mirakle Price, Junior Managing Editor

The role of Marketing Editor for Élan Literary Magazine comes with an obligation to understand the evolution of the magazine. It is more than seeking out ways to publicize Élan. It is sharing the continuous legacy of the publication according to the foundation that has been laid over the past three decades. At the same time, the role asks each individual to search for the spaces where there is room for expansion. What people often don’t see about this role is the paper shuffling and calendar conniving that happens beyond the scenes. I create content for the website and all platforms of social media, which requires a lot of collaboration with the layout and design team. This role has forced me to live in multiple worlds at once. I have to have one foot in our many community outreach engagements, another in our current publication, and another in the publication to come, all while juggling our past and our future. I have to be aware of each community engagement event Élan is a part of and plan ways in which to maximize the turn out of the event, and create opportunities in the community that fall in line with our precious legacy. Though this role is the most hands off when it comes to the creation of the book, I have enjoyed the way this role has challenged my creativity. I always review how Élan has represented itself in the past, but brainstorming different approaches to marketing are key. When working with another organization I often have to research to understand the way the other organization has branded themselves, and activate my own strength for pattern recognition to see how the bigger messages and themes of Élan relate. It is important to understand the connections Élan already has in the community and the audience it seeks to reach. Élan has foundational marketing plans, which include Élan posters that highlight an event in detail, video content of staff members preparing for events, and a social media posting schedule which highlights Élan events as well as book content. However, the world moves fast and is constantly evolving, and Élan must keep up so the search for new ways to market is never ending. There is a constant battle to feel fresh yet familiar. Apart from the objective of publicizing the many events Élan takes part in is actually hosting and attending them. This is by far the best part of my job. At its heart attending events is an opportunity for Élan to gain exposure and reach new crowds of people. It is true we are always considering how it could easily turn into a book selling opportunity, but even more than that, each event is an opportunity to advocate for teen artists worldwide. Each sale is their work reaching more hearts. That is why I joined Élan, and it’s the reason you’ll see me at any event with a smile on my face. - Ashley Chatmon, Senior Marketing Editor