He is a Year 11 student at Saint Paul Educational Institutions in Korea who enjoys capturing everyday moments through a cinematic lens. His work often focuses on ordinary landscapes and daily scenes, transforming them into visually atmospheric images. Beyond photography, he is interested in storytelling and visual narrative processes. He explores how images and moving visuals can convey mood and subtle narratives rather than direct explanations. He has a strong interest in photography, particularly landscape and everyday-life photography, as well as cinematic-style graphic video production. When creating visual work, he tends to gravitate toward abstract expressions rather than strictly representational forms, seeking to evoke emotions and interpretations rather than present literal subjects.
He is a Year 12 student at NLCS Jeju and an emerging young artist with a strong interest in architecture and design. His work reflects a curiosity about how spaces are used, experienced, and improved in everyday life. Often inspired by his school environment, he quietly observes overlooked or problematic areas and reimagines them through practical, creative proposals—such as redesigning the bicycle parking area for improved safety. Influenced by minimalist and functional design, he blends observation with thoughtful planning. He hopes to study architecture or design in the future to enhance urban spaces through innovative and efficient solutions.
The driver to my right is smiling, gazing at each of us in turn, waving us on. For her, I have no sympathy. But for the one directly across the intersection, a big-eared fellow at least eighty years old, if not closer to eighty-five, who came to a stop before either of us and first had his signal blinking to the right, but now has it blinking to the left, who has inched forward and pumped his brakes at least three times, I feel an overwhelming sense of pity, for within moments I will jam on the gas and swerve around him, honking if necessary, shouting obscenities out my open window, because I am in my forties and overwhelmed with mundane but nagging tasks that await me at work and at home—emails to return, spreadsheets to fill in, bills to pay, plumbers to schedule—boiling over with irritation whenever I’m in a car, having grown up in traffic-choked New Jersey, full of aggressive drivers who’ll cut you off the moment you give them an opening, and now living in mild-mannered Oregon, a place I love for its friendliness and slow pace of life, except when I’m on the road waiting for someone to recognize his obvious right of way. A fourth car approaches from the left, and before it can slow, I’m off.
Scott Nadelson
Scott Nadelson is the author of nine books, most recently the novel Trust Me. His work has appeared in Ploughshares, New England Review, Five Points, and The Best American Short Stories.
Michael Hower is a digital photographer and artist based in Central Pennsylvania. Originally trained in drawing and painting, he transitioned to photography over a decade ago and has since exhibited in more than 150 juried exhibitions nationwide, receiving over 50 awards and publications. His work explores systems of control, abandonment, entropy, and the persistence of human voice within constrained spaces. He is the creator of The Infinite Panopticon, an ongoing combinatorial photographic project inspired by literary and architectural systems.
He is a student who explores natural elements and temporal change through photography. He investigates how unpredictable outcomes emerge when responsive elements—such as light, structure, wind, time, and physical force—interact with the natural element of water. Focusing on water’s continuous flow and its resistance to being fixed in a single form, the work captures fleeting moments that would otherwise disappear. Through photography, these moments are preserved as fragments of memory. By observing subtle shifts in movement, reflection, and surface tension, the images reveal how invisible changes accumulate over time, gradually transforming space. In this way, the portfolio presents water not only as a physical substance but as a medium through which time, interaction, and transformation become visible.
Featuring:
Issue 119, published October 2026, features works of poetry, flash fiction, short nonfiction, and visual art by Linda K Allison, Gilbert Arzola, Sarah Barbo, Roger Camp, Barbara Daniels, Natalia Danjon, Virginia Doré, Chris Dungey, FruitAndNut, Tom Gdisis, Cleo Griffith, Lesley Hart Gunn, Mark Hendrickson, Zebulon Huset, Romana Iorga, Ryo Kajitani, Carella Keil, Merie Kirby, Grace Lynn, Daniel Moon, Sylvie Oleta, Josh Price, Stacy Rollins, Elizabeth Rosen, David J. Schast, Judith Shapiro, VA Smith, Stefan Sofiski, Lisa Christina St John, Valy Steverlynck, Kathryn Temple, John Walser, Megan Wildhood, Stephen Curtis Wilson, S.E. Wilson, Roberta Winters, Jean Wolff, Jason Youngclaus, Matt Zambito, and Esther Zhang.
64 Pages, 6 x 9 in / 152 x 229 mm, Premium Color, 80# White — Coated, Perfect Bound, Glossy Cover
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent may adversely affect certain features and functions (bookstore, announcements, submissions, etc).
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to send newsletters, calls for submissions, and for similar publishing purposes.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to send newsletters, calls for submissions, and for similar publishing purposes.
