Meet Editor Jonathan Gillis

Get to know our wonderful staff working on The Bridge vol. 19. We asked Jonathan a couple of questions, keep reading to find out more!

Jonathan is a sophomore here at BSU, studying English and Education. He has a passion for literature and prose poetry. In his free time he loves to write short stories, read comics, and train in martial arts.

What is your area of focus?

               I am an English and Secondary Education major looking forward to teaching High School English in the near future.

What is a class you have taken in your field that you really liked?

               My first semester freshman year I took a First-Year Seminar called Into the Absurd. At the time, I was a Criminal Justice major looking into a forensic science path, but learning about a niche aspect of literature made me realize that English was really my passion. So that one English class completely changed my college career. So in short, it has been my favorite class so far.

What’s your dream job?

               My dream job would be to own and operate a small bookstore and spend my days enjoying what I do and to have the free time to branch out and explore different experiences like journalism or collegiate teaching.

What’s the best book you’ve read in the past year or two?

               The best book I have read in the last two years was We Are Lost and Found by Helene Dunbar. It takes place during the 80s AIDs epidemic and explores the rollercoaster of self exploration and being true to who you are even in the face of adversity; all with a hypnotic, lyrical prose.

Poetry Reviews

Stephanie Pizzella

Simply put, I adore poetry. Don’t get me wrong, I absolutely love to get lost in the world of my favorite books and authors. But something about poetry just ignites my soul. It makes me feel things I am unable to conjure up myself. It makes me feel vulnerable. I love looking back at past editions of the Bridge Journal and seeing all the imagination and creativity that went into that edition. That is why I picked out my top 5 poetry pieces from previous Bridge Journal editions that I believe everyone should read.

“I’m Trying” by Picabo Miskiv – (Volume 15)

Wow, this poem brought a tear or two to my eye. There are always love poems about someone else, and how that person rocked your world. But, a lot of times, there aren’t love poems about ourselves. And there should be, because at the heart of it all, we truly should love ourselves first. I believe that is what Miskiv is trying to convey in this poem. However, that is the hardest part. Loving someone is easy. But, loving yourself takes courage and time. I was shaken by the line, “And I’m trying/ every goddamn day/ to ignite the fire/ and let my love burn” (5-8). Normally, we would read that and think Miskiv is talking about falling in love with someone. However, the speaker uses that powerful feeling we have inside our souls and tries to use it on themself. Miskiv wrote the emotions that encompass this truth in such a heartbreaking, evocative way. Miskiv ended the poem with “I am trying” (17). This emphasizes the trials and tribulations that loving yourself takes. I love this spin on the idea of a love poem.

“Vindicta” by Kayla Roy – (Volume 16)

I fell in love with this poem more and more as I read on. I was encapsulated by the way it began with a child and their relationship with their grandmother. The speaker describes their grandmother in such a beautifully loving way that it gave me goosebumps and reminded me of my own grandmother. I was entranced by the way Roy compared their grandmother’s love to that of a flower. I think that is so pure because nothing is more naturally beautiful than a flower. I was immediately intrigued by the metaphor in the line, “For it was like pulling the hair from/ Mother Earth, stealing her favorite children/ away” (23-25). This line reminded me of when I was a kid picking flowers in my backyard. I love the symbolism in the gentleness of the natural world. The atmosphere starkly changed however when “Mother Earth took her revenge” (36). I love the contrast between good and bad here. Revenge is such an abrupt, harsh word while Mother Earth is perceived as serene and gentle. The last stanza really made my heart break. After all her beautiful flowers died, the speaker seeks revenge on the serenity of life. I was heartbroken by the line, “Mother Earth took her most beautiful/ bloom from me” (40-41). I believe this line could potentially be a metaphor for the speaker’s grandmother passing away, which makes this poem even more heartbreaking. The last line really sums up the bitterness you feel when you lose something or someone you love. I think the speaker wrote that pain in such a realistic, heartbreaking way because most of the time, we are angry. Of course, we are sad, but anger encompasses the heartbreak in the beginning and can even make us act out. This poem and its complexity blew me away.

“Solar Recovery Alive” by Elizabeth Brady – (Volume 15)

I was captivated by the way this poem was written. In three stages, Brady describes the heartbreak and rediscovery of yourself. In “Solar”, I love the break in the verse when Brady writes, “But then I saw you” (5). I am fascinated with that feeling- looking at someone and the whole world just stops. I love the optimism in “Solar”. Brady does not even bring up heartbreak. Brady is flabbergasted and content with their new love. Then “Recovery” hits you like a ton of bricks. The speaker describes the rough, bitter heartbreak that renders them. I love the line “Roses/ tangled with/ poison ivy./ But you,/ You wanted everything there/ pretty” (10-15). I believe it describes the bitterness of heartbreak. I love the symbolism and contrast between the rose and poison ivy. This person was once a rose to the speaker, but now they have turned into poison ivy. “Alive” comes in and puts a twist on the story. Brady goes back in time and reminisces on the happy times with that person. However, their love was struggling. I love the line “I could almost/ see you in there./ I could almost/ reach inside/ and pull you out” (5-9). This line highlights the struggle the speaker was facing while trying to help their lover. I think the speaker’s lover needed to truly find themself first but was unable to do so. I think this ultimately led to their relationship’s demise. These 3 poems take us on a journey of love, heartbreak, and self-discovery in such an enchanting way.

“20 Love Letters” by Morgan Amaral – (Volume 14)

I was intrigued by the structure of this poem right off the bat. I truly admire its simplicity. It doesn’t contain extravagant or flowery language. However, it doesn’t feel like it’s missing it either. This poem is straightforward, yet heart-wrenching. The speaker becomes vulnerable by giving us a glimpse into their past loves and heartbreaks. I love the line, “Dear Sean, I can’t listen to the same songs I used to” (19). It is such an evocative line to me because it is a small, yet powerful act you share with someone you love: sharing music. I love the organization of this poem and how the lines were separated. Even though these relationships are over, Amaral is reminiscing. Whether it was heartbreak or a mutual breakup, this poem is essentially an ode to them. The last five lines caught me by surprise. Sean, to the author, was the one. We root for them. The repetition of “I still think of you” (20) really puts into perspective how much Sean meant to the speaker.

“Kaleidoscope Limbs” by Abbey Branco – (Volume 18)

This poem crushed me. I was so invested from start to finish in the direction of where the relationship was headed. The beginning started off in a more uplifting tone, comparing the speaker’s relationship to “periwinkle blue and crushed sea glass” (1-2). These two things are admired for their beauty and uniqueness. The speaker describes how they cherish their lover and how their relationship has consumed them. There is a switch in tone when Branco vulnerably divulges how their relationship is scaring them. The way Branco describes the feeling is heart-wrenching in the line, “I thought I could make you as happy as the sky,/ but I don’t really dwell on false hope anymore” (19-20). This line is so despairing because we all know that feeling. The feeling of falling so hard in love that it ends up being too much. That feeling of wanting to go back and reminisce, but the pain is too much to bear. They consume you, but not in a positive way. Branco expresses those feelings that are sometimes too somber to put into words. Branco did so in such an emotional way that this particular piece truly tugged at my heartstrings.

You can check out any of the past issues of The Bridge Journal here: ( And who knows?… Maybe you will discover your new favorite piece of art or literature!

Meet Editor Meghan Joyce

Get to know our wonderful staff working on The Bridge vol. 19. We asked Meghan a couple of questions, keep reading to find out more!

Meghan is an editor on The Bridge 19 this year. She is a senior with a double major in Communications (with a concentration in Film and Media Production) and English (with a concentration in Creative Writing). She is heavily involved in school life with her sorority and planning events for the University through different club activities. 

What is your favorite genre? 

Ever since I was little, I have always loved any type of Fantasy novel, especially Harry Potter and Percy Jackson. I still love any type of Fantasy today, but I have been leaning more toward Psychological/Thriller books and Nonfiction memoires as she explores what type of writing she likes to do.

What’s the best book you’ve read in the past year or two?

The best book that I have read in the last year is The Seven Husbands of Evelyn Hugo. It is probably one of the best books that I have read in the past few years, and one that I tell everyone to read. It has great representation of queer couples, a POC main character, and all the characters are perfectly flawed to where they are realistically human.

What’s your dream job?

Since I was a child, I have always wanted to write novels. I wrote my first book at five years old. I am currently going to college for a bachelors in creative writing in hopes that I will become a famous author, but until then, my other dream job is to publish books and get a job at a fantastic publishing house where I can predominately give a voice to LGBT authors that so often get overlooked.

A Look At Different Artists Creative Processes

Written by Grace Guindon

Throughout the years The Bridge has had the pleasure of receiving writing and artwork of al kinds from many passionate and inspiring artists. These people have created wonderful pieces of work that we proudly display in the journal, however while flipping through the pages and observing or reading the content, some must be curious of how the artists designed their piece. As a writer, and armature artists myself, it is fascinating and educating to see and hear about how other artist reach their finished product.

I have reached out to some of volume 17 & 18s artists, asked them some questions and had them walk me through their creative process. I interviewed people who published on different mediums: creative fictions and nonfiction, and drawing. Below I discuss and analyze the ways these different creators end up with a publishable piece of work. These processes could help anyone wanting to write or create their own work or provide a tip or two to include in your own process.

Some questions I asked the artists are “what is your creative processes from idea to being finished” as well as “how do you know the piece is done”, in addition to many others. Thank you to all the artist who participated.

Caitlin Faria   

Caitlin Faria published two stories in the volume 17 Bridge journal. One creative nonfiction name “All I ordered was Orange Juice” and the other fiction titled “God”. Faria is currently in her third year at BSU and will be graduating in the spring. She majors in English with a concentration in creative writing, as well as a major in Communications with a concentration in film, video, and media studies. She enjoys reading and writing stories and screenplays, watching and making movies, playing ice hockey, as well as hanging out with friends, family and her dog.

Volume 17

“God” starting on page 56:

“I never imagined that my fresh new start at my fresh new job in a fresh new state would turn out like this. To my right, the dead body of a woman hangs in the trees. Her body is lifted by rope and her arms are out so that she looks like a cross. To my left, her husband, God. Not the real God, but he’s what people consider to be as close as you can get. His real name is Officer Godesko, but everyone around here calls him God. I don’t know if it’s just to shorten his last name or if it’s for his morals. Maybe it’s for both. The way everyone refers to him is always so nonchalant and comfortable.” …

“All I ordered was Orange Juice” starting on page 85:

“There was a lot happening on the day of Papa’s funeral. At least there was for my family. We all had to meet up with each other, go to the funeral home, drive to the cemetery, and watch as the color drained out of our worlds. It’s weird thinking about that day—knowing that to the vast majority of people, it was a normal day. They woke up and ate some cereal. They watched some TV, maybe a movie. They went to work. They were probably bored most of the time. I don’t remember ever feeling as exhausted as I was that morning. There weren’t any thoughts— no “I can’t believe he’s gone” or “where do I go from here?” It was just all blank. That had never happened to me before. My thoughts were usually racing. That morning, they were completely silent. I got dressed and went upstairs. I didn’t eat cereal. I didn’t watch TV. There was no work to do. We just had to get in the car and go to Rockland. So that’s what we did.” …

Caitlin Faria’s Writing Process

               To Faria she gets her initial ideas from all sorts of places. She says that she usually has a personal experience connected to what she is working on because she believes it’s important to write about what you know. Faria likes to show authentication in her stories. When she gets her ideas for a story, she will often times write them down on her phone as a note. Faria then steps away from the idea, so it has time to silicify or grow.

Once she has let the story sit for a bit Faria will create a simple outline and then starts writing with those ideas in mind. However, for Faria this part of the writing process is very fluid and often changes. She lets the plot go wherever “feels best and most natural for the story movement.” 

As any writer knows, editing is a very critical step in the process. For Faria the first thing she focuses on is looking at the piece as a whole. Then, she will go through and fine tune anything that goes well with the plot or adjust what she does not like. A great tip that Faria provides is a process called “close the open doors” and explains it as taking the story and breaking down all the details so by the end all the doors are closed, and all the information is present. In addition, Faria likes to have others read her work and uses their feedback to further revise. In her first year at the University, Caitlin learned a trick for the best way to use critiques. She reads the feedback but gives herself a day to let it settle and process it and then she’ll use that information to go in a revise.

Completing a story can occasionally be difficult according to Faria. This is because as writers and fosterers of stories we want to make everything perfect. We will keep adding and adjusting concepts until it’s just right. Faria knows her story is finished if “the characters are developed and relatable, the plot is believable, and the setting is described enough to allow readers to immerse themselves.” Faria find the hardest part accepting “that [her story] is okay to let it go and send it out into the world if I choose to do so.”

This is a standard process for Faria; however, she says that this can vary depending on the story.

There are times that the idea we had for a story or artwork does not come out as we first hoped. But what do writers do with their undesired story? Faria tends to keep the story in her drive and her idea on a list. She believes that sometimes it just needs a different plot or characters to be successful. Even if the story does not come out as she would have liked, Faria doesn’t toss it away because to her it still has potential.

When Faria is finally done with a story, she will feel many different emotions. She says that she feels rewarded for completing a project, and when it is something, she is very proud of shell be excited and proud. However, sometimes if the story is exposing and vulnerable, she gets nervous and stressed. Even though she might feel that way Faria likes to remember that her stories are “out there to ultimately help people and that as much as [she] needs to hold some integrity in what I decide to share with the world [She] Also needs to remember that what [she’s] doing could really change some people or at least help them have a better day.”

Here is some additional information directly from Caitlin Faria herself:

“On a whim, I submitted two pieces to The Bridge for the seventeenth volume and they both got accepted. I had been going back and forth as to whether I should go for my bigger goals or do what I felt was safer and being published in this journal was the last straw that told me to go for it while I got it. After a beautiful conversation with my mom, I switched majors and it has been the best decision I have ever made. So, thank you all at The Bridge for getting me to where I am today without even knowing it.”

Amanda Merola

Amanda Merola published 2 artworks in volume 18s journal, one named “Portrait of Sam” with black and white charcoal and the second “Growth is Beautiful” also with charcoal. She is a senior here at BSU and is pursuing a degree in studio art with a concentration in graphic design while also minoring in management. Some of Merola’s interest include reading, visiting art museums, and spending time with family and friend. She loves working on logo designs and creating charcoal portraits. Merola says that two of her favorite artists are Andy Warhol and Vincent Van Gogh.

Volume 18

Page 106

Amanda Merola’s Writing Process

Merola says that she gets most of her ideas from her imagination. They start as concepts and then she deliberates how these ideas would look as a sketch. She mentions that she gets a lot of her inspiration from the world around her like current events, music, and media.

After her initial idea Merola writes out a plan of actions for how to go about creating this piece. Following the concept plans, Merola begins some rough sketches. While doing so Merola keeps notes, smaller sketches and anything that comes to mind while starting the idea.

Once there are some sketches down, Merola evaluates if the piece is conveying the concept and ideas in an effective way. If she decides it is not working, she goes back to sketching and comes up with some modifications. She again checks whether it is doing what she wants and if she satisfied, continues the editing process by having others critique it and provide feedback. She takes all this information and makes any additional changes she thinks are necessary.

Merola says this a standard process for most of her artwork. She does mention that she makes art digitally and on paper, so depending on the medium the editing process can vary.

Merola will check the “completed” box on an art piece based on how she feels about the artwork. She does not have a set of requirements that she needs to achieve but rather thinks that “you will not be satisfied with the final outcome even if you have seemingly done everything right on paper.” Merola does not often have a final piece that she does not like because she will try and make changes before getting to that point. However, if she does, she goes back to the sketches and tries to make changes until she connects with something.

Completing a work of art gives Merola a wholehearted accomplished and proud feeling. The process takes a lot of time and effort, and she finds it fulfilling to create a successful and meaningful piece of work. Looking at a finished product allows the artists to see the payoff of all their hard work. Merola recalls the late nights and attention to details and thinks about how “nothing compares to the feeling [she] gets seeing the final product.” Not only does she feel these emotions, but she also hopes that other feel something when looking at her work. Merola points out that even if people don’t feel anything positive that’s okay because “meaningful artwork should make people feel moved and make people feel something that resonates deep within them, something that they take with them and keep in their memory.”

Here is some additional information directly from Amanda Merola herself.

“I would like people to understand that being an artist and creating artwork is not as simple and easy as one might think. There are societal stereotypes that artists are lazy, do not have any real goals, and are just “taking the easy way out.” These misconceptions are harmful to artists and belittle the work that we do. I have had people, both people that I know and complete strangers, ask me if I was going to school for art because “it was the easy thing to do.” I have had people ask me how I could possibly make a living as an artist. I have had people tell me that I am going to regret going to school for art and “going down that path” because in ten years I will be broke with “no real-life skills.” All of this is harmful to artists and to anyone considering making a career as an artist, especially young kids and teens just beginning to discover their passion for art. Aside from being harmful, these statements are simply untrue. Being an artist takes hard work and patience, and anyone in the art field can be successful and support themselves financially. There is a certain stigma about artists that needs to be dismantled or else this world will slowly lose the creativity that keeps people truly alive.”


As a great Professor has told me, reading stories such as the ones Faria has written and the millions of stories that exists, we read and create/view art to widen and enrich our human existence. As writer and artists who put their work out into the world, they want people to read their stories, to understand its meaning, and gain something in return for consuming their work. An artist gains two things from producing work, something for themselves and from others.

While art and writing are very different types of expression, they both are very similar in the way they can convey emotion. Both artists that I interviewed responded with related answers for what they want others to gain from reading or viewing their work. They want people to feel something ad to take the work they have done and use it for themselves. It in a way is almost self, both for the creator and the audience.

 Art is not something definitive. While there is the purpose of the author, everyone viewing it has their own unique experiences and perspective influences how they regard the work. Where one might see sadness and ending, one might see a new start and inspiration. To each is their own, especially when interpretation meaningful imagery or stories. Not only is this the experience for readers but we can see that in an artist’s creative process, like the ones above. The creative process is different and unique for each person. However, there is a basic structure that goes as fallows, inspiration forming an idea, drafting, or sketching, editing, and finalizing. Along the way, however, we see how different approaches and aspects are valued more or less. As was said in on of the interviews, the process of writing or making art is very fluid and is a back-and-forth flow.

Many see art and writing as an escape and way to gain a wider field of sight. Personally, that is what I think makes art and writing so special. It really is a beautiful thing to see how your work can influence others and have an impact on them. The writers and artists who submit to The Bridge are all unique and wonderful for showing us the world of their imagination.

Meet Editor Bao Huynh

Get to know our wonderful staff working on The Bridge vol. 19. We asked Bao a couple of questions, keep reading to find out more!

Bao is a senior and will be graduating this semester in December. Bao is a studio art major with dual concentrations in Graphic design, and Fine Art. He like the beauty of nature because of how it evokes emotion. Therefore, Bao believes that emotion is a form of Art. As a designer, and painter, Bao like to study and play with colors scheme. Also, he aims to be a master of portrait painting. 

What is your area of focus?

I am focusing on Graphic Design and Fine Art, painting. I want to combine both skills to create unique art works. They both support each other.

What do you look for when picking out a good piece?

As a painter, I would love to see the emotional beauty in the artwork. Emotion is a form of art. Beside that I also focus on the content of the artwork.

What is class you have taken in your field that you really liked?

I really like my painting class, where my emotions and creativity create art.

What makes you smile?

A good piece of painting or graphic poster makes me smile. Especially portrait painting.

What’s your dream job?

I want to be a successful graphic designer as well as a famous painter.

Interview with Hanna August

The Bridge 18 was brought forth after a year of social distancing and living through a pandemic of which had not been seen for generations. Because of this, the previous edition sought to create a journal that reflected the themes of how people were feeling and what people craved most: connection. As the previous editors wrote, “Volume 18 celebrates the ebb and flow of connection using thread as a visual metaphor to stitch these works together, with moments of pause for self-reflection.

Hanna August, a junior Art and Education major at Bridgewater State University, was published three times in the previous journal. I sat down with her to ask a few questions about her process of creating art and why she chose those specific three pieces to publish in our journal. You can find there pieces below! Additionally, more of Hanna August’s artwork can be found on Instagram where Hanna posts her progress of art pieces that she works on in her various art classes and out of class!

Out of all your art pieces, why did you select Vitality, Serenity, and Unobtainable?

I chose these three pieces because of the various messages they held that I wanted to share with others who can relate to what is being said. Vitality touches upon the importance of bees and the delicate balance that must be maintained in order for our world to continue to bloom. Serenity is a dedication to my mom and a personal memory we share on the beach featured in this print, and she chose the name for that print. Unobtainable represents the endless limitations and obstacles immigrants are forced to face on their search for a better life. Balance, family, and immigration are all personal concepts to me, but they also resonate with others, and I wanted to make these prints accessible to those who want to see what I have to say about these subjects, and to those who also have a personal connection to these messages.

Which art mediums do you favor?

My favorite art mediums are printmaking, specifically intaglio and wood engraving, and acrylic painting.

Which art trends inspire your current work?

 I am continuing to create pieces that focus on current events that I am passionate about and portraying messages that are personal to me. Currently I am working on a Japanese woodcut that emphasizes how quickly time is slipping away to save our planet, and my next piece will be an intaglio print based on anxiety from personal experiences.

Can you say a little about each piece that you submitted?

Vitality is a wood engraving print that focuses on the necessity of bees and the important work they do to maintain life on Earth. This piece was carved from a small block of wood with wood engraving tools, and it took about four weeks to complete. Serenity is a relief woodcut print that is a recreation of a photograph I took in Mexico that connects back to my mom and the memory we share on this beach that is made to emit a calm feeling. This piece was carved from a larger block of plywood with a different set of tools from Vitality, and it took around 4 weeks to complete. Unobtainable focuses on immigration and the impossible limitations and obstacles immigrants must face to achieve the supposed American Dream that makes freedom and that dream seem unachievable. It is also a woodcut relief print made from four blocks of wood and one piece of linoleum, each printed with their own color, and this piece took about four weeks to complete as well.

What was the process of making the pieces that you submitted?

The three prints that are featured in the Bridge are all prints from various blocks of wood. Both Serenity and Unobtainable are woodcut relief prints, and Vitality is a wood engraving print. For Serenity I had one plank of plywood that I carved into with a set of tools, and the pieces that were carved away would appear white when printed. When I wanted to print my wooden block to create the finished print you see, I took a brayer, loaded it with ink by rolling it in various directions across glass, and then rolled it across my wooden block. Once the block was covered with an even layer of ink, a piece of paper was laid on top, then the block and paper are put into the press, and the paper is peeled off once pressed to reveal the image carved into the wood. Unobtainable is created in the same way, but each color had its own block of wood, so this print was made from four blocks of wood and one piece of linoleum for the black outlines. Each block would be printed on the same piece of paper to layer together for the final image. Vitality is a different type of wood cut altogether that is much smaller type of wood that is harder to obtain from trees and requires an entirely different set of delicate tools. I only used two tools for this piece, one carved away lines about the size of a pencil mark and the other small dots. Unlike woodcut relief where you carve into the plank of wood, with wood engraving you move the block and hold the tool in one place to carve, but the printing process is still the same.

What is your process of creating art? What happens when a piece is not going in the direction you would like it to/something that you may deem a failure?

Before I begin a piece, I choose a message that I want to explain, or I pick an event that is occurring in current news that I want to portray my point of view or beliefs on. When I was creating Serenity, I was very nervous because it was my first printmaking piece, so I wanted to make something that was comforting and familiar, hence why I chose a beach scene that holds a personal memory for me, and I wanted to portray that calm feeling to an audience. Unobtainable and Vitality are messages about issues currently in our world that I feel passionately about, and I wanted to highlight my thoughts on these subjects so its accessible for others who feel the same way as I or as a source of inquiry for those who want to know more. When a piece is not going in the direction I want it to, I take a step back and a small break. I try not to get discouraged, but I’m human and I often get disappointed when something I’m working on isn’t coming out like I expected, so by taking a minute to breathe and step away from the piece I can come back with a more positive attitude, and I notice things that were obscured because I was too intensely focused on my work. There will always be small sections of art that look a little wonky up close, but when you take a step back and look at the piece as a whole you recognize that what was once believed to be a failure that ruined your piece is a miniscule detail that adds to the entire artwork.

What would you say to other artists that would like to submit to The Bridge but are feeling anxious?

To those who feel anxious about submitting to The Bridge I would tell them, submitting to The Bridge is an amazing opportunity to get your artwork available to thousands of people, and you have the ability to resonate and influence others with your artwork and the message within it. You never know who you can inspire with your artwork!

Are there any professors at BSU that have helped you on your artistic journey?

One professor that has helped me at BSU is Professor Leigh Craven. She introduced me to printmaking, which has become a fast favorite for me. She has encouraged and inspired me in the past year and she has always offered me a helping hand in any medium. I would not be where I am today in my artistic journey without her, and I hope I can continue to grow in her classroom.

We would like to thank Hanna August for sitting down for an interview. Follow Hanna on all her social media and look out for new artwork!

Meet Editor Stephanie Pizzella

Get to know our wonderful staff working on The Bridge vol. 19. We asked Stephanie a couple of questions, keep reading to find out more!

Stephanie Pizzella is currently a senior at BSU. She is a communications major with a concentration in film, video, and media studies. Stephanie is passionate about writing and music. Her biggest dream in life is to travel the world.

What is your area of focus?

My area of focus is poetry and fiction writing.

What is your favorite genre?

My favorite genre is contemporary romance.

What is your writing background?

I love to write my own songs, poems, and short stories.

What makes you smile?

Singing along to music in the car with my friends and going to the movies with my family always brings a smile to my face.

Meet Editor Dakota Lopes

Get to know our wonderful staff working on The Bridge vol. 19. We asked Dakota a couple of questions, keep reading to find out more!

Dakota Lopes is a senior and is working for The Bridge as an editor. He is a fan of small things like mugs of tea and a good font. He spends his days acting, writing poetry, and breathing. 

What do you look for when picking out a good piece? 

An original idea. Something that introduces me to something I have never even thought of before. A piece that is simultaneously original while also being relatable. I think art has the power to do that better than anything and it’s the seed from which all the best works come from. 

What’s one piece of advice you could give to someone wanting to submit in the journal? 

You should submit something that you personally connect with and not something that you think that we’ll like. One of the purposes of The Bridge is to showcase the artistic diversity that this campus has to offer, and the best way that can be accomplished is for the artists of this campus to be true to themselves and to their work. Don’t be afraid to show us who you really are through your art. 

What’s your dream job? 

To be a full-time actor. If I got that I don’t think I could ask for anything else. 

The Bridge vol. 17 Has Arrived!

Dear Bridge contributors, BSU students, faculty, staff, and community,

Thank you for your patience while we navigated through our current circumstances. With BSU’s shift online, we sadly could not hold our annual party to reveal the latest issue of The Bridge and celebrate with our contributors, readers, and supporters. It was important to us, however, that you see and share this work as soon as time allowed. We may be social distancing, but that doesn’t mean you can’t get your (freshly-washed) hands on the latest issue of The Bridge! Your digital version is attached.

The editors of volume 17 are pleased to present an issue focused on global community, sustainability, and hope—all of which we need now more than ever. We hope the art and literature in these pages remind you of the limitless possibility of individuals and the incredible power of the public.

Though we missed celebrating our annual launch event with you and our BSU community, please reach out to us about the latest issue on social media, and stay tuned this fall for an announcement about our pickup party event. We will do everything we can to get physical copies into your hands and onto your bookshelf.

Thank you for your collaboration. We hope you are as proud of this journal as we are.

Wishing you all the best,

The Bridge editors