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Lost

June 5, 2026
AnnaLise Sandrich

Sometimes it’s easiest to screw up the things that look simple. Sunday afternoon, in Brown University’s orange-hued Riley Hall, mid-rehearsal of an arrangement of the Lord of the Rings soundtrack, I find myself lost in a series of slurred whole notes. Not a progression that is in any way technically difficult, but as I pull the bow across the C string, joining the rest of the cello section in a prolonged, contemplative low F, I realize I have no idea which measure we are playing. Too much of the same thing, the same note tied too many times over. I’ve completely lost track. Counting is critical in music. This is something we learn early: We position our stands high enough so that we can watch the conductor in the periphery while we follow the math on the page. We count the downbeats in our heads, sound out the rhythms, bring a pencil to rehearsal so that we can circle a reminder to look up when the tempo changes. We count the rests carefully so that we don’t come in too early. There is no such thing as right notes at the wrong moments. Even with years of practice, counting doesn’t come as easily as it should. One moment of lost focus, a single wayward thought, can knock you off track: the distraction of— I should have really gotten that assignment done before I came here and I haven’t been applying to enough internships and opportunities are closing cascading to How can I start applying when I have no idea what I even want to do? harmonizing with I should have practiced more and Is the cello out of tune or is it just me? then I wish I was more like my brother—so on top of things while I’m so lost professionally— And then—Shit. I realize I’ve been playing without paying enough attention. The whole notes weren’t sufficiently demanding. And while this section of the piece we are playing has been liberal with its reliance on the long low F, the measures of continuous droning will eventually run out. And when they do, I will have no idea where we are in the music, like a ballerina who has fallen a step behind in the choreography, a singer in the spotlight whose words have come out of sync with the band, an actor in a play who doesn’t know when to walk onto the stage. *** I rented a cello the fall of my sophomore year. Took an Uber to the shop fifteen minutes away, picked it up, Ubered back, placed it down in the center of my spacious Minden double where it sat untouched for the rest of the semester. Didn’t even open the case. Avoidance is a cruel offense to inflict upon an instrument. Guilt gnawed dully as the cello slowly became another piece of decor, akin to the rug I’d bought at HomeGoods, or the poster of Van Gogh watching from the wall. Instruments aren’t meant to sit unused. They fall into disrepair. The wood expands and contracts with the changing humidity, in turn altering the tension of the strings. Slack strings can translate to a whole host of other issues. A certain tautness is necessary to keep the bridge in the right place, to keep the sound post in the instrument’s hollow center from collapsing. The bow yearns to move, even if in the wrong direction, poking stand partners, to fake difficult passages, to be the lone voice coming in during a rest, to lay with the tip in the air and the screw on my knee, and, very occasionally, to play the right things. Very occasionally to create vibrations that dissolve into the triplets of the rest of the section, the section itself in harmonic vibration with the rest of the orchestra, to become Les preludes, or the second movement of Beethoven’s fifth, or New World Symphony. Or even to contemplate in the solitude of my room the haughty chord progression in Saint Saens’ cello concerto in A minor. But the only sounds that would reach the bow for months were muffled and unmusical. I began playing cello when I was ten or eleven years old, so bad at the piano that my teacher had gently suggested I might try something else. One lesson, instead of reiterating the same old motions of clumsy fingers on keys, I borrowed one of her cellos, just to see how it felt. Before I had so much as memorized the names of the four strings, let alone fingerings, thumb position, tenor clef—before the cello was even properly in tune—I sat there with its wooden body lying against my chest and knew it was something different. The tense metal strings dug into my fingertips as I pressed them onto the fingerboard, my left hand slow and graceless as it slid up and down, learning the first few notes in a D major scale. But the cello sang like a human—smooth, deep, melodic in an almost narrative way. Or like something above human-ness, a voice that squeaked and moaned for my first few weeks, but held the promise of an elevated ballad. Cellos, however, are difficult to transport. I didn’t touch the instrument once throughout my gap year—a matter of practicality, given my travels and the constrictive size of the instrument. In most cases, you have to buy a plane ticket to take your cello with you, and they don’t exactly fit in your average hostel locker. But then I came back home, cello waiting patiently for me in my childhood bedroom, and didn’t pick it up there, either. The time between us stretched larger than any physical distance ever had. As it turns out, Sevilla to San Francisco is less than August to April. When I did finally open the case up in the spring of my sophomore year, I was confronted with my carelessness. The cello was so out of tune that the strings were nearly slack, the tuning pegs unwilling to wind them back into place, coming unstuck every time I tried to fix the flats. I snapped an A string trying to get the right pitch to stay. The bow, at least, showed no obvious signs of neglect. It was, however, thinner, longer, ill-suited to the thick cello strings—a bow meant for violins. Dennis, my cello dealer, had mistakenly given me the wrong kind. It seemed far too late to call and tell him this now. *** There are a few things you can do to try to recover when you are lost. You can pray that the conductor will give you a cue—a nod, a slight flick of the baton in your section’s direction—to let you know it’s time to transition to what comes next. But cues are more often given following long periods of rest rather than a series of whole notes tied together. In any case, we won’t get one today. You can try to play more quietly while you gauge the position of your fellow cellists to pick up wherever they come in—assuming they aren’t just as lost as you are. My stand partner flips the page. More whole notes. Should I be right at the top, or did she turn a few bars in advance? I have no idea. Still lost. The last thing you can do is resign yourself, accept the inevitability of playing the wrong things, disrupting the collaborative magic that is the chamber orchestra. But this perhaps also means accepting a broader incompetency, maybe one fueled by a long period of absence. Or accepting an even more terrifying character flaw. Is it a question of figuring out where to pick up where you left off in the music, or a question of how to pick up the cello again at all? Is it a question of how to get back on track with the right quarter notes, or how to get back on track to avoid a full-blown quarter-life crisis? What to do when you are lost in music, what to do when you are directionless in life? *** The music camp I attended the summer between ninth and tenth grade was large enough to get lost in the first couple of times you walked through it. This was something of a marvel to me at the time, an entire 1,200 acre campus dedicated to the arts. Nestled in the woods by a lake in Michigan, we were frequently told to let our surroundings inspire whatever it was our classes instructed us to create. The ballet studio overlooked the water; the visual arts building sat across from the picturesque woodsy Writer’s House; the acoustics at the camp’s three indoor and outdoor theaters nearly acted as instruments themselves, the finishing auditory touch tying symphonies together. Lost on the walk to class, we could hear everyone practicing scales, excerpts, arpeggios in their outdoor practice huts. Past the art building and the artists, the writing building and the writers, the various indoor and outdoor theatres, the cabins where we slept in bunk beds, twelve to a room. The crunch of twigs beneath our feet and the chatter of excited students and the flute drifting through the trees. I was one of the weakest cellists there. My first three weeks that summer, I was seated second to last. I got the sense that I’d barely gotten into the program at all. I found my ego crushed by how difficult I found the music, how short the distance between first rehearsals and performances felt, my moments of bad intonation, my poor understanding of theory, my disharmonizing, my inability to conquer the measures the way my peers could—triumphantly, like the final chord progression of confident horns at the end of a 16-minute symphonic poem about life itself. About three or so weeks into the program, the director handed out parts for Igor Stravinsky’s Petrushka. I had long adored Stravinsky’s ballets for how cleverly dramatic they were and yet—the second I stared at the pages I would have to perform in one week, the black notes seemed to blur before my eyes, an overwhelming onslaught of rapid time signature changes, accidentals, technical chord progressions. Impossible for me to master before the concert. Just looking at it, I knew—I don’t belong here. Still, collaboration was encouraged—at the end of the summer, all of the music students would come together in a combined orchestra to perform Franz Liszt’s symphonic poem Les preludes at the Interlochen Bowl, one of the camp’s large outdoor amphitheaters. The musicians would play beneath the open gable ceiling facing the audience while all the dancers leaped and twirled with ribbons on the roof of the auditorium. To this day, it is my favorite piece of classical music. It starts out soft, quiet, almost tentative. Unified pizzicato in the strings—we rehearsed the opening countless times to get us all together, making sure dozens of us plucked at the exact same moment. And then, the introduction of the first theme, slow slurred arpeggios, rising and falling like a question. More pizzicato. Transitions into a sentimental longing section Liszt composed to embody love, and then faster, frantically, allegro tempestoso—storm. Chromatic triplets on repeat, such a strong evocation of desperation that when the brass section finally declares the triumphant finale, we feel as though we’ve battled something and won. I didn’t play it perfectly, but it enveloped me just the same. When we hit the right notes on the chromatic triplets we’d spent hours practicing, it wasn’t just the music ascending. We climbed with it. When us cellos got the romantic legato melody of the “Love” section, we dissolved into it with each long bow movement; the resonance felt like being in love. More than that, the skill and expertise with which the notes around me were played reminded me that the girl sitting four chairs up from me was determined to study music, and the boy a chair or two up from her would go on to play professionally, and the principal—well, he was just brilliant. My friends are prodigies—how cool is that? Weak link or not, I was right there with them, buried in Les preludes, breathing it. I was playing in their midst. *** The conductor—a student himself—taps his baton against the stand carrying the score and we stop playing. The inevitable has happened—we’ve come apart. Not just me mistepping through the measures; confusion has spread through the entire section. None of us are in the same place. I’ve moved on from the whole notes to the eighths, unsure of whether or not I did so too early or too late. In a concert, this would be a disaster. But today is only a rehearsal. It’s only a Sunday afternoon in the Lindeman. It’s a casual group, so I am surrounded by musicians of varying levels of experience. Some music concentrators. Some relative beginners. We are united for this hour in Riley Hall by only our love of music and dissolution: we are not a group of cellists, but a cello section. Not a cello section, but a chamber orchestra. Several weeks earlier, I bought peg drops to help the tuning pegs stay in place. I had my bridge adjusted, got a cheap new A string and twisted it gently into place, put rosin on my bow, tuned. I play imperfectly, but then, perfection is not why anyone in the orchestra plays. “I think we got a little lost there,” the conductor says. “Let’s try it again from measure 180.” He picks up his baton and we pick up our bows, and after two measures of preparation, we count more carefully and play again.

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When to Say Amen

Lucy Kaplan
June 5, 2026

I cried on Christmas Eve. I certainly had not prepared myself: my pockets held no tissues, something a more experienced churchgoer would have anticipated. Instead, I sat helplessly alongside my mother and grandmother as my eyes welled uncontrollably and my fingertips buzzed. Eyelids tightened to a close, my heartbeat firmly between my brows for eight, then sixteen, then thirty-two counts of music. I put words in time to the mighty organ that flooded the pews with sound. Not my people. Not my worship. Not my turn to cry. But when the chorus broke, so did I. The song that drew my peculiar tears was “O Holy Night,” a classic Christmas carol with a less than conventional past. It was 1847 in a small French village when the local priest made a strange request of the town’s wine commissioner, Placide Cappeau. An academic with a penchant for oversized peacoats and weaving legal jargon into his merchant practice, Cappeau was not a pious man—but, on a bumpy carriage ride to Paris, he browsed the small Bible he kept buried in his briefcase and mindlessly penned “Cantique De Noel” into existence. Three verses, nine lines each, soon after put to music by his dear friend Adolphe Adam. Neither could have predicted what their patchwork hymn would become, or that someday, nearly 200 years later, a Jewish girl in a Presbyterian church would unwillingly cry to its tune. *** Though she may not recall the Hebrew she spoke at the bimah—the altar—every Jewish girl can conjure an image of the dress she wore to her Bat Mitzvah. Navy blue or shell white, cut off right above the knees, chosen after weeks of quibbling with mothers, aunts, grandmothers, because none of the options were just right. She will also never forget the prayers she stumbled over, the unfortunate hotel her grandmother was put up in, and the bagels that were a touch stale by the time the service came to a close. “We were so proud,” her parents will say over family dinners for years to come. “Just so proud.” They praise their daughter, of course, but also covertly themselves for keeping their heads on straight throughout the whole production. My own Bat Mitzvah was no exception. The occasion found us on a rare sunny Seattle morning, a delight that left us cheery but admittedly a little disappointed to be spending our unicorn of a Saturday inside. When I stepped inside the sanctuary, long before the first guest would arrive, I found myself embraced by the unexpected warmth of the room. Pools of light spotted the ground, filtered through dramatic stained-glass panels. The scene evoked a holy assuredness, which I commanded myself to embody as I paced the room. An hour later, relatives, classmates, and friends of my parents—some of whom I barely recognized—filed through the twin oak doorways. Already perched atop the stage, I watched them roam the pews, settling into familiar clusters. Suddenly, a gentle hand laced its fingers through my own. I recognized my mother’s soft palm even before I turned my head. “You ready?” she asked. Sensing my nerves, she spoke with a leisure that comes naturally to neither of us. “Guess we’ll find out,” I joked, countering her sincerity with a practiced nonchalance. My gaze averted hers, glued instead to the ever-present scab on my left knee. I tugged at the hem of my dress. “Here, look at me.” My mother’s voice was gentle. She reclipped a rogue shoulder-length curl behind my ear. I rolled my eyes and turned to face her seated frame. Her sandy pin-straight hair was just a touch lighter than usual. The result of a recent dye job, perhaps, or a mirage that brought her color one shade closer to mine. “Breathe,” she reminded me, as she so often did. The service was, frankly, nearly indistinguishable from the seven other B’nai Mitzvah my seventh-grade class sat through that spring. Besides, the melodies that once rolled from my tongue now escape my memory. But I promise that I hit the canonical moments. My dress was blue and lace and itched at the seams. I forgot the words to at least two prayers and confidently continued in a language that was certainly not Hebrew, but far enough from English for anyone but the Rabbi to notice. And, in a most compelling addition to the classic proceedings, I strummed “Tikun Olam” on my ukulele, accompanied by my musically gifted and relentlessly improvisational father. He accidentally knocked his guitar into the bimah a couple of times. As the service closed, my mother cried, my father tried to pretend he didn’t, and I went home for an afternoon nap––hungover from a self-important glamor that was rapidly diffusing with the daylight. That evening’s events also proceeded in the traditional fashion. I sat at the end of a pristinely laid banquet table, one of many lining our neighborhood’s Russian Community Center. My mother and I had toured the venue three months prior, awkwardly interrupting a Slavic line dancing class to inquire about rental fees. She had done wonders to the place since, the walls now blooming with ribbons and florals instead of flyers for poorly attended youth talent shows. My mother now looped through the aisles, proudly attending to the buffet in a sparkling champagne v-line gown. If she’d been equipped with a clipboard and a pen to secure her updo, I could’ve mistaken her for the thirty-something party planner she had hired as her right-hand woman. But if my mother was in her element, I was far from mine. My face flushed with embarrassment as a slideshow of childhood photographs put to The Beatles’ Abbey Road rolled on a rented projector for all to see. A boy in my middle school class––who I swore I was hopelessly in love with––jestingly poked my side when my nude toddler self was broadcast onscreen. “Ooooh, whereee are your clothesss?” he teased. “Why are you nakeddd?” My classmates, arranged along the banquet table, giggled between contented bites of roasted summer squash and bacon-wrapped dates. I squirmed in my seat and whispered a futile prayer that the slideshow would end immediately. Desperation made a believer out of me—briefly. Thirty minutes later––when the dancing commenced––I was in the spotlight again, no longer a grainy image of the childhood I was so eager to outgrow. For the rest of the party, God didn’t cross my mind. The end of the night was punctuated by my mother’s drunk best friend, Laurie, who compelled me through haphazard scribbles in the guest book to “dance my ass off.” That, I most certainly had. For two nonstop hours, I was spurred on by a dizzying mishmash of ABBA, Maroon 5, and the Jewish Orthodox Maccabeats. With the DJ now long gone, my father helped Laurie into our family Mazda, halfheartedly insisting on escorting her home. As he drove, my mother held his hand over the center console, tracing circles with her thumb as an apology for the raucous middle-aged liability in the backseat. “Turn the music up!” she exclaimed, starting for the radio dial. “No,” my parents said in unison. If I had been awake enough to speak, I would’ve cheered at their refusal. I watched Laurie’s glasses slip down her slender nose as I melted further into my seat. Kitten heels loose around my ankles, I soaked in the residual bloat caused by one too many Italian sodas. I replayed the day––or a partial version of it—behind bleary eyes. I conjured the rows of smiling faces beaming at me from my gleeful audience, but not the crosses that hung from so many of their necks. When my aunt, a quilt maker, complimented the woven tapestry that hung behind the Torah ark, I hadn’t mentioned it hid a ten-foot crucifix. I massaged my fingers where they had clasped the chipped wooden bimah to calm my nerves, forgetting the Bibles that were carefully concealed in its belly. That morning, when my half-Christian family ducked through the sanctuary’s unassuming doors, ready to bear witness to a Jewish girl’s coming of age, had they noticed the sign tacked onto the brick façade? The one that read “Madrona Grace Presbyterian Church” in blue and yellow letters. Too young, too innocent, too exhausted to consider the contradiction, I wandered into an untroubled sleep. *** I had never before witnessed such an outburst at the mention of Jesus Christ. The letter came as a shock to me, a simple postcard hand-delivered to my family’s cabin door by Aunt Daisy, my grandmother’s sister, during our annual family reunion at Silver Lake Resort & Campground. Aunt Daisy is the faux Texan of the family, a woman you’d never nail as a Los Angeles native. After spending the past several decades with her wife in Austin, she is armed with all the southern classics: a closet full of checkered button-downs, a deeply Christian spirit, and an unabashed love for Donald Trump. Her character sheet reads like a stand-up routine, as did the letter I thumbed carelessly over breakfast, which went something like: Dear Lucy, I am so proud of you and your coming of age as a young woman. It was an honor to watch you deliver such beautiful words and melodies––you were a powerhouse on that stage. I also hope you someday let Jesus into your heart. May God bless you, Your Aunt Daisy She certainly also slipped in a verse from the Gospels in closing. I asked my mother if she remembers what it was. Her retrospective summary delivered via iMessage: “She was trying to connect with you and wanted you to find Jesus. I think I blocked it out!” But seven summers ago, when I ambivalently brought the letter to my mother’s bedside, her response had yet to develop any humor about the situation. Slamming the screen door behind her as she marched across the campground to Aunt Daisy’s cabin, she vibrated with fury. My mother’s family has reunited annually in this corner of the Eastern Sierras for over a century. My great grandfather’s favorite fishing spot—to my dismay and amusement nicknamed “Grandpa’s Hole”—has backdropped generations of Smith family engagements, cookouts, and parties with no motivating occasion except for a shared amazement that we still do this every year. And, for as long as I can remember, Aunt Daisy and her wife have staked their claim to Cabin 12 at Silver Lake. Every day, they welcomed the early risers with griddled pancakes and greasy bacon. The smell wafting from the kitchen never failed to entice my uncles into a lazy morning meal, even if the trout they meant to catch were hungry for their own breakfasts at those very same hours. The one-story cabin nestled unassumingly between those of my third cousins and second cousins twice removed. It was now—likely for the first time—being raided by a very angry Jewish woman. I perched barefoot on the plastic Adirondack chair out back, half-listening to the muffled confrontation that ensued, a little shocked but amused. “Heather, I meant only to inspire her to think, to choose, to ask the important questions. You know this, of course. You know our family.” “Daisy, please, this is so inappropriate. I—” The wind picked up, rustling the acacia leaves and interrupting my poor attempt at eavesdropping. In the stillness that settled, I was left mapping out my family geography. My father: raised in weekly attendance at a New Jersey synagogue, whose mention evokes complaints about the insipid tedium of his Jewish education. Not quite religious in his adulthood, but protective of the time our family sets aside for our weekly Shabbat dinners. My mother: raised as a member of a close-knit Presbyterian church in a Seattle suburb. A former altar girl and avid Bible study member, she outgrew her religion in young adulthood, stubbornly cutting her hair short and travelling the world to the tune of her mother’s protests. She had converted to Judaism the summer before, electing to pursue a Jewish education every Wednesday evening after she finished charting her oncology patient visits for the day. And finally, me: Bat Mitzvahed only two months prior at Madrona Grace Presbyterian Church––which our synagogue rented out on Saturdays––reciting Hebrew prayers that I could barely translate before a split audience, half of whom were wearing their yarmulkes inside out. Currently spending my summer in eastern California, fishing, barbecuing, and sneaking sips of beer under the table with my mother’s dubiously evangelical extended family. At the moment, a passive listener to a heated custody battle over my faith. We gathered around picnic tables for our annual fish fry dinner that night––all twenty-six Christians and three Jews of us––pausing customarily to say grace. My great uncle Carl began the prayer with a zeal channeled from his round belly: “Dear Father who art in heaven, please bless us and the meal before us, which we are about to receive from thy bounty, through Christ our Lord.” The hem of Uncle Carl’s oil-spotted tee-shirt rose and fell with a breath that flowed through his stocky frame. As my left hand linked with my cousin’s rough palm, and my right with my grandmother’s smooth one, I closed my eyes on cue. I mouthed only the first syllable of a practiced “amen” before the word got stuck in my throat. It felt like catching myself in the act. It was far from secret that I was no believer in the Holy Trinity; what then compelled me to join the fray while God supposedly blessed our picnic table full of fried trout? Respect? Tolerance? Or––the answer I prayed was the wrong one––did I secretly want in? Most years, I stuffed myself silly with buttery rolls and mayonnaise-y slaw, but this year’s fish fry tasted only of guilt. A guilt that I might envy this religion, a religion I did not claim, more than I cared for my own. This religion boasted days on the lake, clandestine sips of beer provided by a tipsy uncle, late nights spent listening to older cousins argue about libertarianism and sex and everything else foreign to me. My religion offered tedious Hebrew classes on Tuesday evenings, trips to the humid Jersey suburbs, stuffy Kol Nidre services I spent hoping someone in the crowd would faint just for the excitement. With his chin tucked and boots planted in the gravel, Uncle Carl could command an audience with praises of his God. I stumbled to explain what exactly the Hamotzi meant, let alone why we always passed a loaf of bread around the table after we recited it. Would it ever feel so effortless? Would it someday just “click?” While I sat pondering if life was easier under a Christian God, Uncle Carl cracked open his fourth beer. I never discussed the letter with Aunt Daisy, and to avoid aggravating my mother, rarely rehash the drama with her either. Nowadays, I occasionally slip the story into dinner party small talk—but I most certainly never mention how my aunt’s attempt at conversion nearly enticed me, if only for a moment. *** After a childhood spent struggling to answer the Four Questions of Passover––the Mah Nishtanah––I was finally given the stage to ask them. Though the Passover Seder has no formal clergy, rarely is it led by the eldest daughter of a family, the duty instead falling to the patriarch. But in my senior year of high school, I nominated myself for the role. My father gleefully obliged, content to relinquish responsibility for the complex twenty-person ritual dinner. My mother, too, offered little resistance. Though my father championed the Seder’s theatrics, she was always the one to lay the tablecloths, manage the food, and plan just about everything else. So, stationed at the head of the table for the first time, I called on my father to answer the final of the Four Questions. The task was traditionally reserved for the youngest child at the table, to highlight why the nights of Passover differ from all others. At my Seder, the responsibility would fall upon the lanky bald man wearing too-short rose-colored trousers that his wife let him pull them out only for special occasions. “On all other nights, we eat sitting upright or reclining,” I began with a grin. “So, father dearest, why on this night do we all recline?” “Because we are free people,” he answered with a flair unstifled by his demotion to a chorus role. “Free people who recline to celebrate our liberation after generations of enslavement.” Awash with a newfound tipsiness, I had a sneaking suspicion the reason we lounged also had something to do with the Seder’s divinely mandated four glasses of wine. By Jewish law, I had entered adulthood five years before, when I clumsily recited Torah in my itchy blue dress. In reality, today was my very first day on the job. Not as a believer, but as a steward. I was changed by my chosen responsibility to the corporal table of twenty who sat before me. I let the image of the man in the sky untether and float into afterthought, realizing for the first time that the God-shaped hole in my faith had been filled by ritual itself. “Dayenu,” goes the Passover song of gratitude. “It would have been enough.” Tonight, our cacophonic harmonies and shared smiles more than fulfilled that affirmation. So, despite the Biblical command to relax, I sat tall, reciting the story of Exodus with a tenacity I hadn’t felt behind the bimah. Three thousand years ago, Moses parted the Red Sea and freed the Hebrews from Pharoah’s wrath. Tonight, I remembered the correct tune of the Kiddush. I would’ve weighed them as equally impressive feats. With no rabbi to guide my still stumbling prayers, no divine authority above my own command, I had somehow convinced my guests that I knew my way. Invigorated by the warmth of my audience’s attention, I began to recite the Hamotzi: “Baruch Atah Adonai, Eloheinu Melech ha-olam, hamotzi lechem min ha-aretz.” Blessed are You, Adonai our God, Sovereign of all, who brings forth bread from the earth. My focus turned upwards as I closed with an “amen,” this one freely spoken. Just over the flames of the waning candlesticks, I locked eyes with Jackson, a dear friend, devout Christian, and always curious companion. Jackson was a good sport, having spent the night with his tortoiseshell glasses and mop of curls buried in his Haggadah––his prayer book––attempting to make sense of our practice. He mouthed the sounds of our melodic prayer, as though chewing on rubber. I wondered if he knew that I too was reading from the transliteration, a compromise of English and Hebrew, not from the traditional text I was perhaps supposed to. We reached the end of our meal with the sunset, bellies full and hearts at ease. I finally found myself reclining into the expected posture, delighted to relinquish my authority in exchange for quippy gossip with my neighbors. My checklist was complete: the bitter herbs dipped twice in salt water, the matzah smothered with sweet charoset and devoured in turn. A curiously placed orange now stood alone on the Seder plate. “What does the orange mean?” my mother asked, a twinkle in her voice. The buzz of the room settled. I straightened, ready to repeat the story I had heard her tell every year before. “Once upon a time, a rabbi said there’s as much room for a woman at the bimah as there is for an orange on the Seder plate. So now, we do both.” Makeshift we were, my Seder and I––woven together with thread stretched thin in a few spots. Uncle Carl, likely watching football from his couch 1,000 miles away, had unknowingly instilled in me the voice of authority—a voice that once compelled me to recite a Christian grace, a voice I could nonetheless channel before my Jewish people. As we cleared the table of our now empty plates, my father squeezed my arm in passing, as if to say “You kept your head on straight. You carried the torch.” My mother flitted around the room as she always did, gathering coats and goodbyes as guests gathered by the door. She chatted freely with my friends, particularly attentive to Jackson, who stood at the doorway in his politely ironed crewneck, not quite ready to leave. I wondered if she was telling him the story of her first Seder, when she too had belonged to a different God. *** I cried on Christmas Eve. I should have prepared myself, should have known that the organ’s echoes and my mother’s damp eyes would make my own misty. Earlier that evening, we had done what we always did––shared a lazy, laughing meal of Chinese food in classic Jewish Christmas Eve fashion. Then, coats tucked and hair smoothed, we followed my grandmother to church, to pray beside her in the same pews where she once sat with my mother in her lap every Sunday. I wondered if anyone else had come straight from lo mein and egg rolls. I chuckled quietly at the thought and reached for my mother’s hand. Fingers intertwined, our flushed cheeks dried in unison as the final notes of “O Holy Night” rang out. A song, written by an atheist and composed by his Jewish friend. In that pew was my entire world: a convert, her ever questioning daughter, and a strange Christmas carol that, against all odds, belonged to us all.

Lost

AnnaLise Sandrich
June 5, 2026

Sometimes it’s easiest to screw up the things that look simple. Sunday afternoon, in Brown University’s orange-hued Riley Hall, mid-rehearsal of an arrangement of the Lord of the Rings soundtrack, I find myself lost in a series of slurred whole notes. Not a progression that is in any way technically difficult, but as I pull the bow across the C string, joining the rest of the cello section in a prolonged, contemplative low F, I realize I have no idea which measure we are playing. Too much of the same thing, the same note tied too many times over. I’ve completely lost track. Counting is critical in music. This is something we learn early: We position our stands high enough so that we can watch the conductor in the periphery while we follow the math on the page. We count the downbeats in our heads, sound out the rhythms, bring a pencil to rehearsal so that we can circle a reminder to look up when the tempo changes. We count the rests carefully so that we don’t come in too early. There is no such thing as right notes at the wrong moments. Even with years of practice, counting doesn’t come as easily as it should. One moment of lost focus, a single wayward thought, can knock you off track: the distraction of— I should have really gotten that assignment done before I came here and I haven’t been applying to enough internships and opportunities are closing cascading to How can I start applying when I have no idea what I even want to do? harmonizing with I should have practiced more and Is the cello out of tune or is it just me? then I wish I was more like my brother—so on top of things while I’m so lost professionally— And then—Shit. I realize I’ve been playing without paying enough attention. The whole notes weren’t sufficiently demanding. And while this section of the piece we are playing has been liberal with its reliance on the long low F, the measures of continuous droning will eventually run out. And when they do, I will have no idea where we are in the music, like a ballerina who has fallen a step behind in the choreography, a singer in the spotlight whose words have come out of sync with the band, an actor in a play who doesn’t know when to walk onto the stage. *** I rented a cello the fall of my sophomore year. Took an Uber to the shop fifteen minutes away, picked it up, Ubered back, placed it down in the center of my spacious Minden double where it sat untouched for the rest of the semester. Didn’t even open the case. Avoidance is a cruel offense to inflict upon an instrument. Guilt gnawed dully as the cello slowly became another piece of decor, akin to the rug I’d bought at HomeGoods, or the poster of Van Gogh watching from the wall. Instruments aren’t meant to sit unused. They fall into disrepair. The wood expands and contracts with the changing humidity, in turn altering the tension of the strings. Slack strings can translate to a whole host of other issues. A certain tautness is necessary to keep the bridge in the right place, to keep the sound post in the instrument’s hollow center from collapsing. The bow yearns to move, even if in the wrong direction, poking stand partners, to fake difficult passages, to be the lone voice coming in during a rest, to lay with the tip in the air and the screw on my knee, and, very occasionally, to play the right things. Very occasionally to create vibrations that dissolve into the triplets of the rest of the section, the section itself in harmonic vibration with the rest of the orchestra, to become Les preludes, or the second movement of Beethoven’s fifth, or New World Symphony. Or even to contemplate in the solitude of my room the haughty chord progression in Saint Saens’ cello concerto in A minor. But the only sounds that would reach the bow for months were muffled and unmusical. I began playing cello when I was ten or eleven years old, so bad at the piano that my teacher had gently suggested I might try something else. One lesson, instead of reiterating the same old motions of clumsy fingers on keys, I borrowed one of her cellos, just to see how it felt. Before I had so much as memorized the names of the four strings, let alone fingerings, thumb position, tenor clef—before the cello was even properly in tune—I sat there with its wooden body lying against my chest and knew it was something different. The tense metal strings dug into my fingertips as I pressed them onto the fingerboard, my left hand slow and graceless as it slid up and down, learning the first few notes in a D major scale. But the cello sang like a human—smooth, deep, melodic in an almost narrative way. Or like something above human-ness, a voice that squeaked and moaned for my first few weeks, but held the promise of an elevated ballad. Cellos, however, are difficult to transport. I didn’t touch the instrument once throughout my gap year—a matter of practicality, given my travels and the constrictive size of the instrument. In most cases, you have to buy a plane ticket to take your cello with you, and they don’t exactly fit in your average hostel locker. But then I came back home, cello waiting patiently for me in my childhood bedroom, and didn’t pick it up there, either. The time between us stretched larger than any physical distance ever had. As it turns out, Sevilla to San Francisco is less than August to April. When I did finally open the case up in the spring of my sophomore year, I was confronted with my carelessness. The cello was so out of tune that the strings were nearly slack, the tuning pegs unwilling to wind them back into place, coming unstuck every time I tried to fix the flats. I snapped an A string trying to get the right pitch to stay. The bow, at least, showed no obvious signs of neglect. It was, however, thinner, longer, ill-suited to the thick cello strings—a bow meant for violins. Dennis, my cello dealer, had mistakenly given me the wrong kind. It seemed far too late to call and tell him this now. *** There are a few things you can do to try to recover when you are lost. You can pray that the conductor will give you a cue—a nod, a slight flick of the baton in your section’s direction—to let you know it’s time to transition to what comes next. But cues are more often given following long periods of rest rather than a series of whole notes tied together. In any case, we won’t get one today. You can try to play more quietly while you gauge the position of your fellow cellists to pick up wherever they come in—assuming they aren’t just as lost as you are. My stand partner flips the page. More whole notes. Should I be right at the top, or did she turn a few bars in advance? I have no idea. Still lost. The last thing you can do is resign yourself, accept the inevitability of playing the wrong things, disrupting the collaborative magic that is the chamber orchestra. But this perhaps also means accepting a broader incompetency, maybe one fueled by a long period of absence. Or accepting an even more terrifying character flaw. Is it a question of figuring out where to pick up where you left off in the music, or a question of how to pick up the cello again at all? Is it a question of how to get back on track with the right quarter notes, or how to get back on track to avoid a full-blown quarter-life crisis? What to do when you are lost in music, what to do when you are directionless in life? *** The music camp I attended the summer between ninth and tenth grade was large enough to get lost in the first couple of times you walked through it. This was something of a marvel to me at the time, an entire 1,200 acre campus dedicated to the arts. Nestled in the woods by a lake in Michigan, we were frequently told to let our surroundings inspire whatever it was our classes instructed us to create. The ballet studio overlooked the water; the visual arts building sat across from the picturesque woodsy Writer’s House; the acoustics at the camp’s three indoor and outdoor theaters nearly acted as instruments themselves, the finishing auditory touch tying symphonies together. Lost on the walk to class, we could hear everyone practicing scales, excerpts, arpeggios in their outdoor practice huts. Past the art building and the artists, the writing building and the writers, the various indoor and outdoor theatres, the cabins where we slept in bunk beds, twelve to a room. The crunch of twigs beneath our feet and the chatter of excited students and the flute drifting through the trees. I was one of the weakest cellists there. My first three weeks that summer, I was seated second to last. I got the sense that I’d barely gotten into the program at all. I found my ego crushed by how difficult I found the music, how short the distance between first rehearsals and performances felt, my moments of bad intonation, my poor understanding of theory, my disharmonizing, my inability to conquer the measures the way my peers could—triumphantly, like the final chord progression of confident horns at the end of a 16-minute symphonic poem about life itself. About three or so weeks into the program, the director handed out parts for Igor Stravinsky’s Petrushka. I had long adored Stravinsky’s ballets for how cleverly dramatic they were and yet—the second I stared at the pages I would have to perform in one week, the black notes seemed to blur before my eyes, an overwhelming onslaught of rapid time signature changes, accidentals, technical chord progressions. Impossible for me to master before the concert. Just looking at it, I knew—I don’t belong here. Still, collaboration was encouraged—at the end of the summer, all of the music students would come together in a combined orchestra to perform Franz Liszt’s symphonic poem Les preludes at the Interlochen Bowl, one of the camp’s large outdoor amphitheaters. The musicians would play beneath the open gable ceiling facing the audience while all the dancers leaped and twirled with ribbons on the roof of the auditorium. To this day, it is my favorite piece of classical music. It starts out soft, quiet, almost tentative. Unified pizzicato in the strings—we rehearsed the opening countless times to get us all together, making sure dozens of us plucked at the exact same moment. And then, the introduction of the first theme, slow slurred arpeggios, rising and falling like a question. More pizzicato. Transitions into a sentimental longing section Liszt composed to embody love, and then faster, frantically, allegro tempestoso—storm. Chromatic triplets on repeat, such a strong evocation of desperation that when the brass section finally declares the triumphant finale, we feel as though we’ve battled something and won. I didn’t play it perfectly, but it enveloped me just the same. When we hit the right notes on the chromatic triplets we’d spent hours practicing, it wasn’t just the music ascending. We climbed with it. When us cellos got the romantic legato melody of the “Love” section, we dissolved into it with each long bow movement; the resonance felt like being in love. More than that, the skill and expertise with which the notes around me were played reminded me that the girl sitting four chairs up from me was determined to study music, and the boy a chair or two up from her would go on to play professionally, and the principal—well, he was just brilliant. My friends are prodigies—how cool is that? Weak link or not, I was right there with them, buried in Les preludes, breathing it. I was playing in their midst. *** The conductor—a student himself—taps his baton against the stand carrying the score and we stop playing. The inevitable has happened—we’ve come apart. Not just me mistepping through the measures; confusion has spread through the entire section. None of us are in the same place. I’ve moved on from the whole notes to the eighths, unsure of whether or not I did so too early or too late. In a concert, this would be a disaster. But today is only a rehearsal. It’s only a Sunday afternoon in the Lindeman. It’s a casual group, so I am surrounded by musicians of varying levels of experience. Some music concentrators. Some relative beginners. We are united for this hour in Riley Hall by only our love of music and dissolution: we are not a group of cellists, but a cello section. Not a cello section, but a chamber orchestra. Several weeks earlier, I bought peg drops to help the tuning pegs stay in place. I had my bridge adjusted, got a cheap new A string and twisted it gently into place, put rosin on my bow, tuned. I play imperfectly, but then, perfection is not why anyone in the orchestra plays. “I think we got a little lost there,” the conductor says. “Let’s try it again from measure 180.” He picks up his baton and we pick up our bows, and after two measures of preparation, we count more carefully and play again.

The Razor Blades and the Mirror

Luca Raffa
April 2, 2026

I do not remember the first time I shaved my face. I must have been thirteen or fourteen, the dawn of adolescence. I was accustomed to waxing before. The sticky strips that left my upper lip flat would come crashing the way rough waves smooth the seashore. The sprouts of hair that once clung dearly to my skin like barnacles were gone. I did not like this stinging feeling that lingered beneath my nose. When fuzz began to grow from my sideburns and climb my cheeks, I folded to the promises of a razor. This moment soon became a task I observed almost daily as if I was a priest saying my morning prayers. I found ample pleasure in this ritual, and I still do. The sharpness of the blade is refreshing, and the foam from the shaving cream tickles my skin. Prickly hairs disappear with each stroke, though two thick eyebrows remain and a few stray hairs in the creases of my nostril caves. I face myself in the mirror, and the man in front of me stares back and smiles. Giuseppe Principato appeared to be watching in front of me. I blink. It is me. I think we look alike. I have always seemed to be familiar with this stranger whom I have never met, though maybe in dreams or in photographs. There is a black and white portrait of my great-grandfather that I found once in my grandmother’s brown scrapbook. It had begun to rot and was taking on a yellow tone. The young soldier’s oval face, straight eyes, and gently combed hair proclaimed a soft confidence which I seem to have inherited. It was 1940 when this photograph was taken, only months before his deployment to Greece. My grandmother told me that her father would come back unrecognizable to his family, a foolish skeleton figure who had sustained himself on rotten potato skins. Around the same time, another great-grandfather— Santo Salvatore Carino— was somewhere lost in the Sahara. He was a cavalier in the Italian army, though no one ever told me his war story. The fascist dream was brief. The Allies quickly halted Mussolini’s invasion of Greece by the spring of 1941, and by the spring of 1943, the Allies defeated Italy’s imperial project in North Africa. My great-grandparents were liberated from their roles as soldiers, heroes who fought to restore a dormant empire long lost to the sleeping ages of time. Divorced from their muskets, they retreated to their patient wives and retired to simple work as day laborers. Meanwhile, the fighting in the North continued, as civil war ensued. Antonio Raffa, my grandfather, was barely a man when he became a partisan. His battalion immediately surrendered to the German army, and he was brought to a camp outside of Munich. He spoke little about his experiences as a prisoner of war. Still, there is one story that my father told me, and I remember feeling proud after I heard it. Me and my father chuckled, imagining the musty, confused, pot-bellied old man forgotten at the nursing home as sharp and silver as a knife. Unlike his fellow prisoners, my grandfather did not smoke. He would trade the cigarettes given to him for the few coins others carried and slowly created a quiet business in the camp. When the war was over, he had enough pocket change and was able to cross the Alps by train heading south. When he ran out of money, he followed the railroads home by foot. It was the first time he ever saw how beautiful his country was. Pepe Carino, my other grandfather, was only a boy during the war. He remembered tasting chocolate for the first time, a curious gift from a gentle foreigner. Operation Husky brought the forgotten Sicilian town my grandfather was from under British occupation, and British sailors often mingled with the townspeople. Soon after the war, my grandfather became a sailor in the Italian navy, and seemed to now resemble the aliens who had once arrived on his shores. Despite Italy’s disgrace to Europe and to the world, he still seemed to honor a proud nation that was beaten and bruised. He too was proud. In the memories of black and white photograph prints, he can still be seen wearing his white uniform and a round, white hat. He was a handsome man: he had tall legs, a juvenile smile, and a firm demeanor. My grandmother would tell me that he was the greatest man she had ever met. They fell in love when he cut her hair. After his two year service, my grandfather became a barber, bringing his trade overseas as he chased his fiancée on a ship for Nova Scotia. During nostalgic summer evenings in my grandmother’s kitchen or hour-long conversations over the phone with her, I remember feeling red inside and swelling with awe. Toronto was where Pepe Carino followed Maria Principato and where Antonio Raffa followed Maria Ciani. Toronto was the city of immigrants where the fates of the Principato-Carino family and the Ciani-Raffa family became forever intertwined at a grocery store. My father, who was fifteen at the time, would stock the produce, and my mother, at seventeen, would bring my grandmother to the store every Thursday. My parents always laugh when they recall how they would stare at each other in silence on the occasion. For weeks they glanced at each other without saying a word. Once, my grandmother let her daughter and a shy boy meet, pretending not to know what it was all about. They spoke. My mother invited him to visit her at the department store she worked at. He never went, and my mother found a new supermarket to take my grandmother to. My father’s first name is Constantino. This was the name of a nine year old brother my grandfather lost to a lightning fire in a barn. My father’s middle name is Michele, or Michael, and it honors both of his grandfathers. His last name is Raffa, a last name from a line of humble mountain people which I too carry down to my own children one day. He was born a younger brother to two sisters — one was close to him in age, but the other was eighteen years older, and would soon know her own family. His new clothes were often their torn hand-me-downs. The bike he used during his first job delivering newspapers door-to-door was pink. For years, he saved up enough money for a new bike, only to have it stolen the day he finally bought it. My father’s childhood toys were his mother’s pots and pans until he befriended a few troubled Irish boys at the Catholic school he attended. My father was only a decent student, and his father’s beatings expected better grades. At school, he would eat a Nutella sandwich on Wonder bread every day for lunch. At home he might find bits of a rooster’s comb in his pasta and often ate the dandelion greens his mother would pick from the side of the road over summers. Nothing went to waste. Yes, my father never visited my mom at her work. But this moment is not where their story ends. Two years later, they would see each other again when he was getting on a city bus. Again, he saw her and did nothing. When he got off at his stop, he looked through the window at the girl he did not yet know would be his wife, and began to curse at the sidewalk. Yet little did he know that he would see her again by happenstance over the next three consecutive days. Destiny seemed sure. On the third day my father approached her at the beach with a joke, and this spark of laughter set their young romance aflame. Every time my parents told me their story, I relished the golden honey my heart dissolved into, and I began to dream of finding romance like theirs one day. Their love evolved from casual dates at Dairy Queen to dinner dates at fancy restaurants with red lipstick and cologne, then to a sparkling engagement ring that would dazzle one day with my mother’s wedding dress, to a painful chapter of parenthood that begun with a newborn that was going to die, to years of hospital visits, to my older brother’s birth, then to mine, to the inevitable death of their firstborn, and finally to a new life in America. Though my father’s prospects in life were never extraordinary, when he became father to an ill daughter—my sister— work became his duty. Promotions came and with them more expensive suits and more frequent dinners out with business colleagues while my mother stayed at home to watch over the children. Still, my father would buy me lemon croissants from a local French boulangerie on weekends and would reveal from behind his back the stuffed animals he would bring home from business trips. He used to have whiskers of hair floating above his head, but now his baldness shines like gold. The first time I shaved, my father showed me how to do it. Maybe I like shaving so much because it reminds me of him, his aggressive scraping before work, the buzz of his electric razor waking me up in the mornings. It reminds me of the other men I recognize in the mirror too, their features and flaws shadowed in my own face. Searching for the man within me, I find traces of the man within my straight nose, calm eyes, and mysterious lips. A glimmer of sunlight flashes in the mirror. I splash the cold water from the sink to my face, washing the careless wounds on my neck, as streaks of blood emerge from my pores like lava. I pat my naked face with a rough hand towel, and I am reborn. Inside me, a patient volcano is waiting to erupt.

On Foss Hill

Elsa Eastwood
March 8, 2026

I am a California native in the Northeast. It's my first week in the season that I've been told I won’t survive, and I am bundled in clothes—a scratchy scarf, two pairs of pants, a big blueberry parka and a knit hat—all newly purchased. The sun has just risen and crisp air burns my nose. A fresh coat of snow sits heavily on the limbs of trees. Having forgotten to account for the time it takes to layer, I’m running late to class. I glance anxiously at my watch and hurry through the blanketed streets. Out of breath, I arrive finally at the top of Foss Hill, the steep, icy slope that stands exactly between me and the classroom I’m supposed to be in two minutes from now. I lean over the edge to scout my path. After yesterday’s storm the day prior, Foss Hill has been sledded and skied down a great deal. Overuse has scraped any layer of powder clean off, leaving only a frictionless, glistened plane thinned by sunlight. Small outcrops of rock and grass puncture through its marble-like surface, and the whole sheet has been darkened to a murky black-grey. To my left, a paved, well-trodden path winds its way lazily down the incline, doubling back on itself in long, patient curves. But I hate being late, and straight down is the fastest way. Thinking of Robert Frost, I quickly convince myself that descending Foss will not only get me to Intermediate Spanish on time, but will prove me a true maverick—what was once a choice against all reason becomes one of authenticity, and perhaps even courage. I take one precarious step forward. It looks worse than it is, I tell myself. In an instant I find myself skimming rapidly downwards on my butt, my bald-treaded boots flying through the air, limbs flailing. Rows of pine trees and red-brick spires fly past in my periphery. At the bottom, I’m flushed and shaken. Chill seeps through the pockets of my jeans. I close my mouth, which must have fallen open at some point along the way, and wince as small bruises form constellations across my tailbone. I look again at my watch. My class has begun. But the urgency that led to my fall seems to have been lost somewhere in it, and in a moment of catharsis and humiliation I lie back against the hill, laughing awkwardly to myself, not knowing whether to bow or apologize or forget going to class at all. The world narrows suddenly to the question of whether I’d been seen. I swivel my head. The campus is nearly empty, aside from a stranger wearing a backpack and a hefty red coat. He stands, eyeing me, surrounded by snow like a dot of blood or cranberry juice on white carpet. “You good?” “Yes,” I reply. “Thanks.” He nods, burying his nose into his scarf and resuming the trudge forward. I lift myself up by my palms and follow him as whatever spectacle I thought I’d made dissolves into the cold.

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