Issue 6

THE BEAUTY OF DESTRUCTION THE BEAUTY OF DESTRUCTION transcendence transcendence
SQUARE MAGAZINE

a special thank you to Morgan Brett, Lily Gisclair, Ellis
Nichols, Addie Harkleroad, Alison Gordon, Malee Davidson, Isabella Nolen, Gracie Vanek, Makayla Stripling, Joe Hogue, Sophie Pitts, Emma Schwieger, Farai Masoha, Kamdin Montagne, Shambri, Lea Saputo, David Yancy, Brent Hale, Ole Miss Dance Department, Joe Jackson, Chi Omega Tau, Prior Waste, The Powerhouse Oxford, Mina Oxford, Phi Mu Alpha Delta, The Velvet Ditch, Corinne Jackson, MacKenzie Ross, Dr. Debora Wenger, and every reader, follower, and supporter of Square. We cannot thank you enough. Square Magazine would be nothing without you and your loyalty. With love, 1

e··e« f« ·he edl·«¯ Transcendence, at its core, is the
act of rising beyond limitations and expectations. This year, that definition transformed from merely just a word and became the foundation for everything we created. As a team, we challenged ourselves to celebrate fashion through beauty found in destruction and place emphasis on what could be created from something worn down, broken, or destroyed. This destruction is actually not the means to an end but an opportunity for something even more beautiful and intentional to evolve beyond its limits. For the past two semesters, our team has devoted countless hours of dedication to making this organization stronger, despite many unexpected obstacles along the way. To say that I am proud of this team and all that we have accomplished this year would be an understatement. Being co-editor- in-chief has been the highlight of my time here at Ole Miss, and I am forever grateful for this team’s creativity and determination. It has been such an honor to lead this team with Gage. Thank you to our amazing team and every reader and supporter of Square. We are forever grateful for each one of you. It’s human nature to transform, transmute, and transcend. It’s also human nature to destroy, and in that destruction, we learn a lot about ourselves, others, and the world. We break things down to build back up again, hoping we'll reach our end goal, a better something. But to get to every goal, there’s always a darker journey. This year, Square Magazine focused on that journey through the beauty of loss and growth. It’s been such an honor to lead this year’s team of wonderful creatives as we highlighted the beautiful things in life, whether they make us comfortable or uncomfortable. It’s always been my goal alongside Ava to gather community in the best way I know how: to bring reality and persistence to the forefront of our creative outlets. Being co-editor-in- chief my senior year has truly been something I could’ve never imagined, and it has impacted my life in so many ways. I hope everyone enjoys this year's issue of Square Magazine. Thank you to everyone who supported us. We couldn’t have done it without you. 2

Square Magazine Suzie Brown Creative Director Addy Ezell Creative Planner
Abby Fulmar Copy Editor Gracie Hudson Digital Director Kamryn Reed Social Media Director HG Crain Casting Director Margaret French Business Director CREATIVE TEAM Lucy Allen Amelia Andrews Helena Cifarelli Samantha Ermold Ellie Eubanks Olivia Gehrke Eliza Hollingsworth Kathryn Hosp Annabelle Lawson Mailynn Nguyen Sierra Sharp DIGITAL TEAM Kirsten Arnsdorff Myers Foxworth Lauren James Madelynn Liberto Sophia Swanger Ava Rosetti and Gage Hillman Co-Editors-in-Chief 3

EDITORIAL TEAM Sophie Amen Campbell Bensley Olivia Blackwell Audrey Cooper
Kelly Hoang Brooklyn Hoffmann Madeleine New MacKenna Sherer Penelope Sandlin Emily Smith Morgan Toporek Emma Williams Gracie Brooke Amelia Sweeney BUSINESS TEAM SOCIAL TEAM Morgan Brett Wil-Lasha Jones-Garner Finley Claire McKern Annie Phelps Maggie Beth Pinnix Emma Schwieger Kamryn Steinroeder CASTING TEAM Lucy Allen Helena Cifarelli Eliza Hollingsworth Annabelle Lawson Mailynn Nguyen Sophia Swanger ARTISTS DESIGN TEAM Kirsten Arnsdorff Suzie Brown Myers Foxworth Abby Fulmar Gage Hillman Gracie Hudson Lauren James Madelynn Liberto Ava Rosetti Sophia Swanger 2025 - 26 4

BEAUTY IS PAIN.................................................................PAGE 9 STRAIGHT TO THE POINTE............................................PAGE 21 DELIBERATELY
UNDONE................................................PAGE 39 STORIES ETCHED IN SKIN..............................................PAGE 47 RECLAIMING YOUR SUPERSTITIONS............................PAGE 55 HEARTBREAK IS THE MUSE...........................................PAGE 59 TRASH TALK......................................................................PAGE 73 what's inside? 5

HIDDEN BEAUTY...............................................................PAGE 29 METAMORPHOSIS............................................................PAGE 31 KINSTUGI...........................................................................PAGE 45 THE MUSES........................................................................PAGE 70
OSTREIDAE........................................................................PAGE 71 Square's Original Artwork 6

Beauty is PAIN By Olivia Blackwell 9

he ceÖl¯·ece f bea¼·× ad äl l¯ a g¯·adlg ä«adÖ.
If ×¼ a¯} a¯· a×e ab¼· ·he fl«¯· ·le ·he× Ñ«e hlgh hee¯, ×¼ a«e ¯¼«e · hea« a ¯lla« ¯·«× f ·he clg he Ñl·h bl¯·e«¯ f«lg, Ðle·× }lc}lg ff ·hel« ¯he¯ a¯ ¯ a¯ ·he× e·e«ed ·he d«. If · hee¯, ·he«e l¯ aÑa×¯ a e×eb«Ñ ÑaÖ ge Ñ«g, a ¨×·al-ld¼ced headache, « a acclde·a b¼«lg f a ea« Ñhle ¯·×lg hal«. “Bea¼·× l¯ äl” l¯ · z¼¯· a Ðe«¼¯ed clché; f« a×, l· l¯ a dal× «eal·×. HÑeÐe«, ·he¯e ¨«ac·lce¯ «eal a¯ ¨¨¼a« a¯ eÐe«. I¯ l· ¨¯¯lbe ·ha· Ðe« ·he ×ea«¯, a× haÐe «edefled äl, ¼¯lg l· · fee cflde·, eÖ¨«e¯¯lÐe, ad ¼lª¼e? I ·he 16·h ce·¼«×, ·he c«¯e· ade a× ¼abe · b«ea·he, «e¯¼·lg l a ¯¯ f Ö×ge · ·hel« b«al¯—a l ·he ae f blga·l. Tda×, ·he ¯·ada«d¯ haÐe ¯hlf·ed. Wha· ha¯ chaged l¯ · ·he äl lÐÐed l ·he ¨«ac·lce¯, b¼· ·he Ña× ·he× a«e a¨¨«ached. T 11

The× a«e · de l ·he ae f ·«adl·l «
a¨¨«Ða. I¯·ead, ·he× a«e delbe«a·e chlce¯ · achleÐe a ¯e¯e f c·« ad cfldece Ðe« e’¯ lage. The «edefllg f äl l¯ ¯hÑ ¯· acc¼«a·e× l ¯äce¯ Ñhe«e bea¼·× l¯ b·h ceeb«a·ed ad ¨¼· ¼de« a lc«¯cë, ¯¼ch a¯ ·he Ñ«d f ägea·«×. Bea¼·lf¼ ¯eª¼l gÑ¯ ·¼g heaÐl× c·e¯·a·¯’ ¯h¼de«¯, ¯lÖ-lch hee¯ Ñea« a· ¯}l, ad a¯he¯ a«e g¼ed ·lgh·×. The «e¯¼· l¯ a ¯e¯e f ¨Ñe«, cfldece, ad c·« ·ha· a× ez×, de¯¨l·e ·he dl¯cf«· l· ·} · achleÐe. F« a ¯ef-eÖ¨«e¯¯l e¯, ¨le«clg¯, hal«¯·×e¯, ad fa¯hl chlce¯ a aÑ ¼¯ · «ecal c·« Ðe« ¼« bdle¯. Se lgh· ¨· f« a bd ad Ðl¯lbe ¨le«clg, Ñhle ·he«¯ ch¯e hldde a«}¯ ea· z¼¯· f« ·he¯eÐe¯. The¯e chlce¯ lgh· ·e¨«a«l× h¼«·, b¼· ·he× a«e l·e·la. 12

When coupled with is pain obligation is no longer the
main intention priority. A· ·he ed f ·he da×, l· l¯ e¨Ñe«lg · defle bea¼·× l e’¯ Ñ ·e«¯. Bea¼·× ea¯ ¯e·hlg dlffe«e· f« eÐe«×e, b¼· feelg cflde·, Ñhe·he« ·ha· lÐÐe¯ ¨alf¼ hee¯, l·ch× gl··e«, « e f ·he abÐe, l¯ Ñha· a}e¯ e ¼delab× bea¼·lf¼.

S tra i gh t S tra i gh t
P oi P oi 21

to the to the nt e nt e By MacKenna
Sherer and Kelly Hoang 22

be a· ·he l·e«¯ec·l f a a·he·e ad a
a«·l¯· l¯ · eÖl¯· be×d «dla«× ll·¯: ed¼«lg ·he ¨h×¯lca ¯·«al e’¯ bd× · ë«fec· a a«·. F« a bae«la, ·he× ¼¯· dl¯ä× ·he «efled bea¼·× f bae· b× ¨¼¯hlg ·he bd×’¯ ll·¯ ad ·he ld’¯ caäbll·le¯. T Be×d h¼«¯ f «lg«¼¯ ·«allg ad e·a ¨«eä«a·l le¯ ·he ¨l¯e a bae«la a··al¯ ·h«¼gh dl¯cl¨le, ·eachlg he« · äce ä¯¯l abÐe a e¯e Ñhle ¨¼«¯¼lg ë«fec·l l ·he face f chaege. “Bae· l¯ ea¯× · ea«, b¼· Ðe«× ha«d · a¯·e«,” ¯ald «e·l«ed ¨«e-¨«fe¯¯la bae«la Lea Sa¨¼·. “I ·hl} a×bd× ca ¨¼· a äl« f bae· ¯he¯ ad ea« ·he gee«a ba¯lc¯ f bae·: e«lße ·he ·e«¯ ad ·he a×¼· f Ñha· ×¼ d l ·he ca¯¯«, b¼· beclg a a¯·e« a· l· l¯ ·he ha«de¯·. Y¼’«e eÐe« «ea× de ea«lg.” S af·e« Sa¨¼· bega he« bae· z¼«e×, ¯he «ecglßed ·ha· l· Ñ¼d · be Ñl·h¼· ¯ac«lflce. I· l¯ a cl·e· ·ha· dead¯ eÐe«×·hlg. She «eebe«¯ ·he «e¯e·e· ·ha· accäled g ¨«ac·lce h¼«¯ ad ·l«ed ¼¯ce¯, ×e· Sa¨¼· adl·¯ ¯he f¼d ¼a·ched z× ·h«¼gh bae·. A z× Ñ«·h cha¯lg. Square Magazine Ña·ed · ¼cÐe« ·he ·«¼·h behld a bae«la’¯ cëÖ «ea·l¯hl¨ Ñl·h ·he a«· f bae·, ·he }ld ·ha· }¯ eega· f« afa«, b¼· ¨h×¯lca× l¯ a×·hlg b¼·. Bae· gaÐe Sa¨¼· ¨¼«e bl¯¯: a feelg ¯ «eÑa«dlg ·ha· l· a¯}ed ·he ª¼le· de¯·«¼c·l ¯he ed¼«ed. Whe·he« ¯he Ña¯ cë·lg a· a a·la eÐe « ë«f«lg l f«· f Ðed e¯, he« deÐ·l · bae· ¼·Ñelghed eÐe«× dead l· äced ¼¨ he«. The «eÑa«d Ña¯ eÐe« «elef, b¼· «a·he« f¼fle·. 23

A¯ a bae«la, ×¼ ea« · Ðe«ce ·he bd×, ·«allg
×¼«¯ef · ¨¼¯h ä¯· fa·lg¼e ad lz¼«×. The ¨«ac·lce f«¯ Ña·ch a bae«la fa ·le ad ·le agal bef«e a¯·e«lg a eÑ ¯}l, f·e eaÐlg a«}¯ ad b«¼l¯ed lb¯. The bd× · × bea«¯ ·he Ñelgh· f ·he dace« b¼· a¯ ·he ¨«e¯¯¼«e f ·he ë«f«ace. “Y¼’«e c¯·a·× ¨¼¯hlg ×¼«¯ef · be be··e«, eÐe Ñhe ×¼« bd× l¯ eÖha¼¯·ed,” Sa¨¼· ¯ald. “The«e’¯ aÑa×¯ ¯e·hlg · flÖ, ¯e·hlg · l¨«Ðe · be ·he be¯· f ·he be¯·.” EÐe«×·hlg l bae· ha¯ a c¯·. Wl·h eÐe«× g«acef¼ le ad Ðee·, ·he de¯·«¼c·l f a ¨l·e ¯he «efec·¯ ·he de¨·h f a bae«la’¯ ä¯¯l. Pl·e ¯he¯ ¼¯· b«ea} f« a bae«la · c«ea·e. The ¯ha} f a eÑ ¯he l¯ l·e·la× be· ad b«}e, Ñhle ¯a·l «lbb¯ a«e c¼· · fl· ·he Ñld·h f ·he a}e, ¯eÑ Ñl·h ea¯·lc bad¯ · hd ·he ¯l¨ë« l äce. Ie« äddlg c¼¯hl¯ ·he ·e¯ a¯ ·he dace« ë«che¯ ¼¨ ·he ¯he’¯ ä·f«, ceÖl¯·lg Ñl·h ·he äl ·ha· ce¯ Ñl·h belg e ¨l·e. The b¼¯h a·e«la f ·he ¯he Ñea«¯ aÑa× Ñl·h each ë«f«ace, eÖ¨¯lg ·he Ñde ¯}ee· beea·h l·¯ delca·e eÖ·e«l«. Sa¨¼· fd× «eca¯ ·he da× ¯he «ecelÐed he« fl«¯· äl« f ¯l¨ë«¯, a le¯·e ·ha· «eÑa«ded he« ×ea«¯ f dedlca·l · ¨«e-¨l·e ·«allg. “I· Ña¯ ¯¼ch a d«ea× feelg. Y¼ ge· ×¼« fl«¯· äl« f ¨l·e ¯he¯, ad ×¼’«e ¯ eÖcl·ed, l}e l·’¯ ×¼« bl«·hda×.” He« ll·la eÖcl·ee· Ña¯ ª¼lc}× daëed b× ·he ¨h×¯lca ·«¼·h f Ñha· belg ‘e ¨l·e’ «ea× dead¯. “Y¼ ¨¼· ·he ad ¯·a«· · dace l ·he ad «ealße ‘h Ñal·, ·he¯e d’· fee a¯ ¨«e··× a¯ ·he× }.’ Tha· Ña¯ fle Ñl·h e: I Ña¯ Ðe« ·he eÖcl·ed.” 24

The body no t only bear s the wei gh
t o f the dancer, bu t also the pre ssure o f the per formance. The body no t only bear s the wei gh t o f the dancer, bu t also the pre ssure o f the per formance. 26

Th«¼gh¼· eg·h× ¯·¼dl «ehea«¯a¯, l«««¯ ¯·a«e bac}, «efec·lg a dace«
Ñh¯e «e¯llece ha¯ achleÐed a¯·e«× f« «¼l. Slc}ed-bac} b¼¯ ad ·lgh· bbb× ¨l¯ ¯e ·h«¼gh ·«la ad e«««, ad bab× ¨l} ·lgh·¯ ad fl··ed e·a«d¯ ¯·«e·ch f« c¯·a· Ðee·. The ¼lf« eÐÐe¯ ag¯lde ·he bae«la. “M× faÐ«l·e ä«· f ë«f«lg bae·?” Sa¨¼· c·eä·ed. “He¯·×, ·he c¯·¼e¯, ·he a}e¼¨, ad ·he hal«. Y¼ «ea× fee l}e ¯¼ch a ¨«lce¯¯ ad eb«ace ·he f¼ bea¼·× f [bae·].” Ië«fec·l¯ l a bae«la’¯ ¼lf« ¯hÑca¯e ·hel« ha«d Ñ«} ad dedlca·l. Thel« ë«¯a de¯·«¼c·l, ¼·la·e× a¯}ed l ¯l} ad ¯ä«}e¯, dl¯ä×¯ ·he ·«¼e eÐe f dl¯cl¨le ·ha· ce¯ Ñl·h ·he bae«la «e. De¯·«¼c·l ad bea¼·× a«e a¯ l·e«·Ñled l ·he ¯·«le¯ ·he dace«¯ ·e. The a¼dlece Ña·che¯ a¯ bae«la¯ ea¨ ad ·¼«, cÐe×lg ¯·«le¯ c¨¯ed f Ðe ad de¯·«¼c·l. De¯¨l·e ·he ga¼« f ¯·age a}e¼¨ ad ebel¯hed ·¼·¼¯, bae«la¯ bea¼·lf¼× eÖhlbl· ·he¯e da«} ¯·«×le¯. “The a¼· f ha«d Ñ«} ad dedlca·l ·ha· ge¯ l· [bae·] l¯ «ea× hldde behld a ·he bea¼·× f l·, «lgh·?” eÖäled Sa¨¼·. “Whe ×¼’«e Ña·chlg a bae·, ×¼ ·hl} f ·he eff«·e¯¯e¯¯ f ·he dace«, · ·hel« eÖha¼¯·l. Tha· ·a}e¯ a ¯ëcla ë«¯ · ë«f«.” Th«¼gh eÐe«× bl¯·e«ed f·, Ñ«-dÑ ¨l·e ¯he, ad eÖha¼¯·ed ¼¯ce, ·he ä·h · ·«a¯cedece l¯ äÐed b× ä¯¯l ad ë«fec·l. F«ged ·h«¼gh ·he de¯·«¼c·l f ·he bd×, ·he ¯he, ad ·he ld, a bae«la ee«ge¯ a¯ a c«ea·«, a ¯·«×·ee«, ad a a·he·e. The× dl¯ä× ·he ë«fec· baace f dl¯cl¨le, bea¼·×, ad ·«l¼¨h, a ¨h×¯lca l·e«¨«e·a·l f ·he ¨Ñe« Ñl·hl ·hel« bd× ad ¯¼. 27

Art by Annabelle Lawson 29

A c·e· al¯ · e·e«·al ·he Square a¼dlece Ñl·hl ·he
«ea¯ f fa¯hl, bea¼·×, ad lfe¯·×e. Whle «eallg eÖë«le·a ad f«Ña«d- ·hl}lg, Ñe a· Square hë · delÐe« hlgh-ª¼al·× c·e·, ¯hÑca¯lg ·he be¯· ·he Ñ«d f fa¯hl ha¯ · ffe«. A¯ a ·ea ad a ¨¼blca·l, Ñe Ða¼e c«ea·lÐl·×, eÖceece, ad lÐa·l. O¼« ga l¯ · · llc ·he c·e· f ·he« ¨¼blca·l¯, b¼· «a·he« · ·a}e ·e f Ñha· ·h¯e bef«e ¼¯ haÐe de · c«ea·e «e¯ëc·abe «lgla Ñ«} ·ha· de¨lc·¯ ·he «age f abll·le¯ ¼« ·ea hd¯. We d · Ña· · e«e× be a ä«· f ·he he«d. We a«e ¯eec·lÐe l Ñha· Ñe c«ea·e ad fea·¼«e · ¨«·ec· ¼« l¯¯l, «ecglßlg ·ha· ·he ¯· clc}abe ¯·«× « lage l¯ · aÑa×¯ ·he ¯· l¨«·a·. We d · Ña· · fÑ ·he a¯¯e¯ ·h«¼gh «e¨lca·l. The ¯· b¼ßßÑ«·h× ae¯ ad ¯·×e¯ a«e · ece¯¯a«l× ·he ¯· fa¯hlabe « l·«lg¼lg. A· Square, ¼« ga l¯ · ·lÐa·e ·he«¯ · c«ea·e Ñl·h c·e· ·ha· l¯ a¯ a¯¨l«a·la a¯ l· l¯ l¯¨l«a·la. Square M agazine 85

Square’s Sixth Print Edition sponsored by transcendence

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Issue 6

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Transcript

THE BEAUTY OF DESTRUCTION THE BEAUTY OF DESTRUCTION transcendence transcendence

a special thank you to Morgan Brett, Lily Gisclair, Ellis

e··e« f« ·he edl·«¯ Transcendence, at its core, is the

Square Magazine Suzie Brown Creative Director Addy Ezell Creative Planner

EDITORIAL TEAM Sophie Amen Campbell Bensley Olivia Blackwell Audrey Cooper

BEAUTY IS PAIN.................................................................PAGE 9 STRAIGHT TO THE POINTE............................................PAGE 21 DELIBERATELY

7

8

Beauty is PAIN By Olivia Blackwell 9

he ceÖl¯·ece f bea¼·× ad ¨al l¯ a g¯·adlg ¨a«adÖ.

The× a«e · de l ·he ae f ·«adl·l «

When coupled with is pain obligation is no longer the

15

16

17

18

19

20

S tra i gh t S tra i gh t

to the to the nt e nt e By MacKenna

be a· ·he l·e«¯ec·l f a a·he·e ad a

A¯ a bae«la, ×¼ ea« · Ðe«ce ·he bd×, ·«allg

25

The body no t only bear s the wei gh

Th«¼gh¼· eg·h× ¯·¼dl «ehea«¯a¯, l«««¯ ¯·a«e bac}, «efec·lg a dace«

28

Art by Annabelle Lawson 29

30

A c·e· al¯ · e·e«·al ·he Square a¼dlece Ñl·hl ·he

Square’s Sixth Print Edition sponsored by transcendence

S Q U A R E M A G A