Journal Cover: Winter by Carl Moreland.

2025–2026

Kaleidoscope

Spoon River College

Cover art: "Winter" by Carl Moreland

Kaleidoscope

A Journal of Literature and Visual Art

Editor
Barbara Ashwood
Editor
Laura Bandy
Assistant Editors
Samantha Sensor  ·  Calvin Hormann  ·  Addi Howell

Sisters

Don't wash socks with your pants, the socks get lost more easily; Always make sure to wipe out the lint trap in the dryer, we don't want to start fires; Never buy bleached eggs, they are nasty; Open a window before you start frying quesadillas, you don't want to start fires; I only burnt it to the pan one time; Do not go where you are not wanted; forcing your presence starts fires; let go of friends before they let go of you; accept their absence politely in public, you don't want to start fires; ignore the boys until you are 25; romance starts fires; focus on your grades, dumb people start fires; keep a clean house, clutter can cause fires; be smart, but not too much, incredibly smart women start fires; find solid hobbies but be careful making candles, hot wax starts fires quick; I've never started a fire making candles; be ambitious in your career choices; just don't start fires; be kind to strangers but never give them rides; strangers often start fires; become strong, but not too strong, men don't like women too strong; men start fires; do not forget your family; forgetfulness starts fires; do not forget your place, ego starts fires; break the glass ceiling; don't pass up good men; passing them up may start fires; don't walk alone; don't walk alone at night; more fires are started at night; go to church every Sunday; do not get involved with church politics, that starts many fires; go outside and enjoy the sunshine; have a jacket for every kind of weather; do not have too many jackets; make yourself look "pretty"; but not too pretty because too pretty girls start fires; do not look at other girls bodies; because girls against each other start fires;

But in the end, we all start fires somewhere.


Photograph: Snapper Family by ChiChi Wang. A nighttime outdoor gathering around a bonfire. A group of silhouetted people stand around the flames beneath a star-filled dark blue sky. Bare winter trees frame the scene, their bark lit warm orange by the firelight.

Snapper Family


Fruitless Labor

The hospital room is unremarkable, with white tiled floors, beige walls, and a large window that could be described as a "picture window" if situated anywhere but there. The view from the window isn't picture-worthy either, just the other side of the hospital, gray and forgettable. A lovely view won't make a difference to me anyway, as my back is to the window while I rest my head on the side of the hard hospital bed. With my torso draped over the bed and my knees pressed into the cool tile, I tilt my head back to stare at the clock.

In the space between preparing dinner for my family at home and finding myself in an austere hospital room, I had lost a considerable amount of time. I remember having grown weary of the achiness in my back from the weight of my swollen belly and confinement in my bed. The emptiness in my stomach had beckoned me to the kitchen, and I eagerly ignored my doctor's orders for strict bedrest. Elated to stretch my back and once more feel like a part of my own household, I got to work dicing potatoes and cubing chicken. I happily hummed as I put the dish in the oven and cautiously waddled over to a chair to wait patiently.

When the meal was ready, I lifted the heavy stoneware casserole dish out of the oven, its weight anchoring me to the ground as I began to feel dizzy. I slammed the dish on the stovetop, slowly lowering myself onto the kitchen floor. As I sank, a dark red pool collected on top of the wooden planks. I caressed my stomach in hopes of feeling the gentle fluttering of a little foot, a sign that my impulsiveness hadn't caused grave damage. There would be no reassuring twitch or jab, only the terror of complete stillness. Yet, delirious with shock, I worried about the possible damage to the floor instead. After all, I had spent good money on it, and worrying about my son would only cause me to panic.

"Help," I mumbled, closing my eyes as I began violently shaking.

"Mama? MOM!!" my daughter shrieked.

Time blurred along with my thoughts. All I have are little pockets of memories — my husband picking me up and carrying me to the car, the painful bright lights from the doctor's surgical headlamp, a nurse's cool hand on my forehead, the sterile ceiling of an ambulance, and a trail of maroon splashes soiling the pristine white floor. But most of all, the doctor's somber "I'm so sorry, he's gone." Her voice, then hushed and hoarse, is now the loudest sound I have heard.

I find myself on the ground again, the floor frigid and different from the warmth of my kitchen. With each searing pain that spreads from deep within me, I rock back and forth. As the pain becomes unbearable, my mind clears. There are no thoughts, no feelings, just the warm bliss of numbness. I am detached, floating in the air, as if in a dream. I look down and see a woman writhing in pain on the floor while a man kneels beside her, his big, strong hands combing through her hair, creating little rows of brown silk that slip between his fingers, over and over.

"Could you please help her?! She's in agony."

My husband's voice peels away the cocoon of my trance. No longer muffled, I can hear again — the rhythmic hum of the IV, the nurse's squeaky footsteps, and my ragged breathing. The soft melody of Brahms' "Lullaby" plays over the intercom, heralding the birth of some little soul, and I fully return to the room, no longer separated from reality. Aware of the sensations in my body again, I tense up and push my knees harder into the tile. As the pain rises to scorching, I grip the thin mattress, steeling myself for what is to come. Today is a day of foremost importance, an unforgettable day, and I must find some untapped well of strength to get through it. There will be no Brahms' "Lullaby" played at the end of my labor, today I am delivering death.


Photograph: Empty Space by Rebekkah Turner. A dimly lit living room interior. A white sofa is bathed in warm late-afternoon light streaming through gauzy curtains. The room is still and suffused with golden light and deep shadow.

Empty Space


Photograph: Whispers of the Wild by Jolie Jeffreys. A macro close-up of a spider at the center of its web among deep green leaves. The web's delicate threads catch light against the lush background.

Whispers of the Wild


Chardonnay

Noun char·don·nay (shär-də-ˈnā)

A full-bodied white wine that is known for its complexity, depth of flavor, and capacity to age, that is also one of the world's most popular wines. / The drink passed across the bar, typically with intentions to woo young, single women who look easy to take home. / Often associated with a weak tolerance to alcohol and a weaker tolerance to those who say no. / One of the best white wines to choose if you need to conceal tampering. / The go-to beverage of a young woman who will never feel confidence in her womanhood again.


Photograph: Sunset Trailer by Rebekkah Turner. A creative still-life or diorama photograph showing a miniature locomotive or trailer scene viewed through a large circular opening, with warm amber firelight glowing at the center against a backdrop of lush green tropical foliage and deep blue tones.

Sunset Trailer


Photograph: Where the Forest Burns by Eva Knollman. A close-up macro photograph of a cluster of large reddish-brown wild mushrooms growing together, their rounded caps filling the frame. Soft green light filters in from the background.

Where the Forest Burns


Soul

Painting: Soul by Carl Moreland. A blue-skinned woman holding a glowing red heart against a starry sky.

The Backseat

The car ride is silent besides the soft muttering of "why would you do this" coming from the driver's seat and the occasional sniffle I try to suppress. My head leans against the passenger side window, my eyes locked on the little side mirror in front of me. Green grass and blue sky blur together to my right and the sun beats down on the top of the SUV making the silver vehicle gleam and sparkle. My eyes stay on the mirror, though, watching my daughter in the backseat. Her eyes shine bright blue, lightened by her tears, as she gazes out her own window in silence. My husband grips the steering wheel so tight his knuckles whiten. I know he is speeding, but it feels like we are going too slow, and I want to yell at him and make him go faster. Occasionally the sun blocks my view in the mirror, and I swivel my head around so I can still watch my daughter as she sits in the back. I am angry that I did not climb into the backseat with her, that I am not holding her hand right now. My mind drifts back to just a few days ago as I wonder how we got here.



My daughter jumps off the swing and runs over to where I am pointing.

"Take a picture!" she yells, excitement evident on her small face.

I pull my phone out and snap a picture of the small frog in the grass.

"Let me see!" she says, grabbing my phone. She looks at the picture for a moment and then starts walking across the park taking pictures of anything she finds pretty. "Look," she tells me, showing me the picture she just took of the sunset through the trees. Her smile is radiant.

I turn the phone around and take a picture of her, smiling back at her.



"Try to drink some water," I tell her. I do not know why I think it will help, but it is the only thing I can think to do right now. She immediately takes a sip from the pink sparkly cup she holds in her hands and turns her pale face back towards the window.

We are greeted by a smiling nurse as we make our way into the empty emergency room. "What can I help you with?" she asks us cheerfully.

I stand silently beside my husband as my daughter lowers herself into a chair. I know if I try to answer her, the sobs that I am holding back will make it impossible, so I am grateful when my husband starts to speak.

"My daughter took a bottle of pills," he tells her.

I watch with unexplainable pleasure as her face falls; cheerfulness has no place here. I pull the bottle of pills from my pocket, set it on the counter, and then turn and walk towards my daughter, the sound of my slippers shuffling across the floor and echoing through the building.

Kneeling onto the cool white tile, I lift my hand and brush a strand of soft brown hair from her face. "How are you feeling?" I ask.

"I'm sorry, momma." Her voice is soft, and a tear rolls down her cheek.

"They're going to help you," I reply as a small blonde nurse comes into the waiting room and waves us back.

I watch as my daughter is helped into a bed and given a gown to change into. Nurses swarm around her, checking her temperature, her blood pressure, her oxygen level. One points to an overstuffed brown recliner in the corner. "You can have a seat there," she says as she continues circling my daughter.

I perch myself on the edge of the chair and watch helplessly from my little corner. The chair is soft and I have to lean forward so I don't sink into the cushions. It feels out of place in this little room at this moment. The comfort of the chair contrasts so sharply with the pain of the moment that I eventually stand back up and pace through the room, trying to stay out of the way. The nurses have begun firing questions at my daughter in rapid succession. She answers all of them the same way: a small shrug and a half-hearted "I don't know."

"How many did you take?"

"I don't know."

"Why did you take them?"

"I don't know."

"How long ago?"

"I don't know."

I start trying to answer their questions from the little information I was able to gather from the text message I received from her friend. The nurses nod and write things down, still fretting over my daughter. A tall female with dark brown hair wheels a machine into the room, and the other nurses disperse until there are only two left. The dark-haired woman begins placing wires on my daughter's chest, ankles, and underarms while she explains what she is doing in a small, mellow voice. I make my way to her bed and hold her hand as another nurse draws blood. "Were there any problems with your pregnancy?" she asks, aiming her questions at me now.

I shake my head, still looking down at my daughter.

"What about the delivery?"



"Roll her over and see if the heart rate will go back up," the doctor tells the two nurses standing at my side.

All three of them gaze at the screen that displays my baby's heart rate — which has dropped dangerously low.

"We're going to have to do a c-section," he tells me, his small watery eyes gazing down at me as I lay on my side in the hospital bed.

I nod my head in response.

"The cord is wrapped around her neck," he explains, even though he has already told me. I grip the handle to my side as I am wheeled towards an operating room.



"She was an emergency c-section," I tell the nurse now, explaining the story to her. My daughter looks up at me from her bed with a small smile. This is a story she has enjoyed telling people for years, calling it her "failed attempt." The joke feels wrong now, and I let out a shaky sigh, smoothing the hair away from her forehead.

Eventually the nurses finish what they are doing and exit the room, leaving us alone. I pull a small plastic chair over to the bedside and sit down, holding my daughter's hand between my own. Her eyelids grow heavy as I watch her, so I start talking to her, afraid to let her fall asleep. Her dad stands beside me; he starts telling silly jokes to make her laugh, and I marvel at his strength. The nurses come back after a while and hook an IV up. They tell us my daughter is being admitted to the ICU, and we follow silently behind her bed as she is wheeled upstairs.

The ICU room consists of a small bed, a toilet and sink with no door, and a worn brown chair. We spend the night huddled in this small room, my daughter cuddled up against her giant, pink, stuffed dog and covered in her purple butterfly blanket. I sit awake and watch her, amazed at how small and helpless she looks laying there attached to machines and wires. Moving to the side of her bed, I lean down and listen to her soft snores.

"I won't survive this," I whisper to her as she sleeps. "I won't survive losing you."

The night feels endless as I wait for someone to tell me she is going to be okay. Nurses float in and out of the room like ghosts. I look up at an older blonde nurse as she stands in the doorway gazing at my daughter.

"How are you?" she asks after a while.

"I'm alright," I tell her, turning my eyes back to the bed. She pulls up a plastic chair and settles herself into it beside me.

"This is my daughter," she says, holding her phone up in front of me. I look down at a picture of a young red head grinning at the camera.

"She's beautiful."

I am not quite sure why the nurse is showing me this picture right now, but I do not mind the distraction. She flips to another picture, and then a third, all the same small young woman beaming up through the phone.

"She was," she says, tears brimming in her eyes. She tells me the story of her daughter taking her own life. She tells me her favorite poem and how hard it has been. We sit together in that small room, both of us watching my tiny 11-year-old girl sleep cuddled with her stuffed animal, and cry together.

Social workers and doctors file through the room in the morning, firing off more questions as they go. "Is there a history of mental illness in the family? Heart disease? Depression? Has anyone in the family committed suicide? Has anyone attempted to?"



"Sarah, we're going to be late!"

My mom's voice wakes me, and I am surprised when I open my eyes to soft light filtering through the closed window blinds. I realize I still hold the empty orange pill bottle in my hand and drop the evidence onto the shaggy carpet. My heart races, and I am overcome by a wave of dizziness. I stumble to the bathroom and drop to the ground, relishing the feel of the cold tile beneath my hands. I throw up until my throat is raw and my eyes are bloodshot. I lay on the white tile floor and curl into myself as tears stream from my eyes.



My daughter's blue eyes gaze at me from where she lays, confused by my hesitation to answer the last question.

"No," I tell the social worker, though I am not sure if it is the right thing to do. I just do not want my daughter to find out here, in this room, surrounded by these strangers. They tell us that she is medically okay and that she is being admitted for in-patient services. They talk about timeframes, medication, and visiting days. They tell us that the facility is one of the best as I crawl into the bed with my daughter and curl myself around her small frame.

Going home without my daughter feels wrong and horrible. She is sent to an in-patient facility, and, even though I desperately want her to feel better, I also want her to be snuggled beside me on the couch laughing about some stupid Instagram reel and telling me she wants ice cream. The two weeks she spends away, I mope around feeling angry. I am angry at my mom for sending me a text message saying "The Lord will turn things around. He is so good to us" and thinking it is helpful. I am angry at myself for not believing her. I am angry at my dad for saying he will come up if we need him, but not on Tuesday or Thursday because he works. I am angry that I still have to go to work and take math tests and write papers. I am angry at God for allowing an 11-year-old to have a brain that betrays her so severely. Mostly though, I am angry at myself. I am angry I was not able to stop her, that I did not see how bad she was feeling. I am angry that I did not get in the backseat and hold her hand while we drove to the hospital.


Drawing: Guilt by Sara Stufflebeam. A charcoal or ink portrait of a young man with shaggy blond hair partially falling over his eyes. His expression is guarded and pensive. The style is loose and gestural, with expressive marks suggesting shadow around the face and shoulders.

Guilt


Photograph: Busy in Bloom by Jolie Jeffreys. A lush close-up of deep pink roses in full bloom. A small bee is visible on one blossom. The flowers are rich and densely layered, with deep green foliage behind them.

Busy in Bloom


Photograph: Celestial Dance by Annalies Dowell. A nighttime photograph of a rural landscape under a sky glowing with the Northern Lights. Vivid bands of green and red aurora stretch across the dark sky above a row of electrical transmission towers silhouetted on the horizon. Stars are visible in the darker areas of sky.

Celestial Dance


Photograph (digitally stylized): Winter by Carl Moreland. A wide landscape image of a lake at sunset or sunrise in winter. Bare trees and a farmhouse are silhouetted on the far bank. The sky is filled with dramatic, sweeping streaks of pink, coral, and pale gold — rendered in a painterly, textured style that makes the clouds appear like bold brushstrokes. The scene is perfectly mirrored in the still water below.

Winter


The Old Cathedral

Deep in the streets of the quiet cul de sac stands the cathedral, tall.

Alone and proud of it, too.

The only thing she has to call her own are her open doors—

The ivy hangs loose between the windows, meeting in a crooked, roundabout pattern,

curling downwards in a determined sort of way.

Two glowing sills, the old lamplight against the pale woodwork of her face, hidden by the shadows of a once well-maintained lattice—

Facing eastward, the sun rises right into her nave with the same warm glow, unburdened by years of wear and tear.

May mistreatment never reach the sun that illuminates her birch complexion—

With the gilded vows wrapped tight round her pillar, and the ideal of safety in her arms, may the sun continue to offer us the embrace her woodgrain could never replicate—

And just like how the damned seek sanctuary in her hallowed halls, I wander in with a goal.

One day, I will meet the woman who built this church,

who crafted each groove with such tender care. And I'll ask her

what made her abandon her handiwork—

What makes her sawdusted face smile? Who brings light to her oil-lit eyes? Will she look the same, when the vines have been torn away? When the decades of disuse fade away,

will her face remain sunken and ashy?

Would her wood be replaced, and the lamps replaced with LED? Will she be the same Cathedral I came to see? Or,

will she be the new tourist attraction, beckoning hundreds the same way she attracted me so easily? Perhaps that's what she wants in the end…

A box with a stick, obvious bait. Because, in a perfect world, every cathedral holds her arms open so easily. But, in this world—

You get trapped in her clutches. The ivy obscures the door; the sun stops shining. And you find yourself the pillar holding her up. A building with no other supports, the sky straining to touch the ground. Her love—

A condition to her survival.


Painting: The Matron by Faith Isme. A monochromatic painted portrait of a woman in profile, looking to the right with eyes downcast. She wears a dark turtleneck or high-collared garment. Her hair is swept back. The style is loose and painterly, using black and grey washes on a pale canvas, with deliberate areas left unfinished or abstracted.

The Matron


Photograph: Wildflower Waltz by Eva Knollman. A black swallowtail butterfly with iridescent blue markings perches on a large, spiky magenta thistle flower. A calm green pond or stream is softly blurred in the background.

Wildflower Waltz


It's My Opinion

That Logan moves like water

That he is calm and steady and fills every room he occupies.

It's my opinion that Logan's voice echoes

Like a cave

His words almost always haunting me.

It's my opinion that Logan's grown-out blondeness is like hay

Only in a sense that I, a wild animal and he, only in a sense, is what sustains me.

It's my opinion that Logan, through no fault of his own,

Is a plant stuck, maybe glued, to the ground.

Though there's nowhere to go but up,

He is scorched by the Sun

By which he is also loved.

Backspace.

It's my opinion that Logan is a planet

Compelled against his will to revolve around that very Sun

Which will one day explode

Ruining him.

It's my opinion that Logan is crusted eyes as the window lets in the bright.

That Logan is coffee cups on the morning table.

That Logan is crying when frustrated

And clutching PlayStation controllers and

Close calls

And calling and calling and calling all day long.

And that also,

For whatever it's worth,

Logan is my clemency.

Logan is the embodiment of forgiveness each and every day.


White Picket Fence

Just down the road lies

A white picket fence

Surrounded by the blue sky

It just makes sense

The steps are lined

Brick by brick

Nothing to find

How am I homesick?

I've never left

The white picket fence house

Need a hand to heft

I'm no stronger than a mouse

Open the door to smash a vase

Pictures on the wall

A memory hung in place

I can't even recall

The last night I was calm

This house is sinking

Silence before a bomb

To leave is wishful thinking

Am I stuck?

Closed in?

Just my luck

I've always been

Sun shines on the warm grass

The sky is blue and filled with light

An old house, easy to pass

The fence around my house is white


Photograph: Untitled by April Baker. A moody landscape photograph taken from a low angle among dried wildflowers or Queen Anne's lace. The skeletal seed heads stand tall in the foreground against a blurred background of still water and autumn-toned brush. Gossamer spider webs catch between the stems. The light is soft and overcast.

Untitled


Defined

Rage:

violent and uncontrolled anger, archaic: insanity. Source: Merriam-Webster. See also mood disorder: any of several psychological disorders characterized by abnormalities of emotional state. See also: I'm just trying to drink my fucking coffee. Words are of such little use to me when I can't form a sound except cries. See also: caged animal. See also: rabid. I am on Google: why does my head hurt all the time? Google responds: have you considered ibuprofen? No? Tylenol? Or perhaps enough antipsychotics to put an elephant to sleep? Google is making it worse. I was hoping it was an aneurysm. See also nicotine: a poisonous alkaloid that is the chief active principle of tobacco and is used as an insecticide. I am hoping to be the insect. I was not like this when my mother was alive, but my god, I am just like my father. Father: angry always; torturous. See also: rage.


Printmaking: Beetle by Hailey Ford. A detailed black-and-white linocut or woodblock print of a stylized beetle. The beetle's body is rendered as an elaborate decorative composition: a coffin shape on the thorax contains a bare tree and a skull, flanked by crescent moons and stars. The large curved forelegs and mandibles are adorned with intricate scrollwork. The overall effect is ornate and gothic.

Beetle


Uncertainty

Rereading the uncertainty of our chapter

Before everything tore down into disaster

Sometimes I miss how it used to be

I miss the way you would look at me

But we can't go back in time

It would be an endless crime

Was it worth my time to be with you?

Were you ever really true?

Or was it your plan the whole time to use me…

Do you agree or disagree.


Photograph: Untitled by April Baker. A black-and-white photograph of a large, solitary tree standing in an open field on an overcast day. The tree's canopy is full but its leaves are sparse, revealing the structure of the branches. Smaller bare brush lines the background. The mood is quiet and isolated.

Untitled


Photograph: Idle by Eliana Davis. A color photograph of a person in a wide-brimmed hat sitting in a dark red Adirondack chair in a green field. Several chickens — including a rooster and hens of various colors — roam around the chair and sit on the person's lap. A forested hillside rises behind the scene.

Idle


Wood burning (pyrography): The King and the Jumper by Sara Stufflebeam. Two horse heads rendered in detailed pyrography on a light bamboo or wood panel. One horse faces upward with an ornate bridle and flowing mane adorned with decorative scrollwork and curling flourishes. A second horse faces downward below it, similarly bridle-adorned. The warm brown tones of the wood burning create a rich, dimensional effect.

The King and the Jumper


Contributors

April Baker

April Baker has taken many art classes during her time at Spoon River College, which have helped her to grow and find a new love for photography.

TK Bennett

TK Bennett is the sixth of ten kids. She writes that "my family is far and above the most interesting thing about me. I'm interested in anything medical and will be joining the nursing program soon. I love writing poetry that hurts me as much as the reader."

Grace Cookson

Grace Cookson is majoring in early childhood education and plans to continue this degree path and become a licensed public educator teaching preschool or kindergarten. When she's not teaching, she enjoys being outside with her dog, kayaking, hiking, or gardening. On rainy days she enjoys baking bread, reading books, and crocheting.

Eliana Davis

Eliana Davis has always been drawn to art, but she has now taken up photography as a new hobby.

Sarah Davis

Sarah Davis is an English major and mom to four wonderful children. She loves literature and spending her time writing.

Annalies Dowell

Annalies Dowell is a sophomore at Spoon River College and involved with the theater productions. She writes, "I love Jesus, my best friend, my chosen family, and my cats."

Hailey Ford

Hailey Ford says that, "this year I have felt that my art has really grown and that I have been more experimental with it as well. College has been a blast to explore different forms of art and mediums that I would have never thought to try before."

Faith Isme

Faith Isme is, as she says, "just a girl who loves the arts."

Jolie Jeffreys

Jolie Jeffreys is, as she writes, "very creative when it comes to making a better visual that can be pleasing and shows a side to nature that people may not see. Some photos show us why our world is beautiful and exactly why we should continue to grow."

Eva Knollman

Eva Knollman is a psychology major from Canton graduating from Spoon River College this spring. She plans to continue her education by majoring in psychology and minoring in art, with the goal of pursuing a career in art therapy. She is passionate about helping others express themselves through art, just as it has helped her in her own life.

Makyla Marvel

Makyla Marvel is an artist and writer. She can often be found drawing fan art for her favorite shows or sometimes her own original characters. Her favorite things to write are fanfiction and love poems to her boyfriend.

Kymber McGill

Kymber McGill describes herself as "a quiet girl who just likes to devastate you. For funsies!"

Carl Moreland

Carl Moreland is a part-time student at Spoon River College. When he's not studying, he enjoys photography.

Sara Stufflebeam

Sara Stufflebeam is primarily a traditional artist who specializes in portraiture and equine subjects. She has always had a passion for the arts since she was young and now operates her own small business selling prints and originals of her work at various events.

Samantha Sensor

Samantha Sensor is a student at the Spoon River Macomb campus working towards her Associate of Arts. She plans to transfer to Western Illinois University in the Fall of 2026. In her spare time, she enjoys reading, writing, crafting, baking, and hiking.

Rebekkah Turner

Rebekkah Turner is a freshman entering into a profession of art. She enjoys drawing, taking photos, and reading.

ChiChi Wang

ChiChi Wang writes that "art is my favorite form of expression. I love photography, poetry, and painting/drawing."

Kaleidoscope is a Spoon River College publication featuring prose, poetry, and visual art.

For submission guidelines, visit kaleidoscope.submittable.com/submit