In which Sam and Nell say goodbye and hello.
As a collegiate publication, Wilder Voice operates within a set of nonnegotiable time constraints: the 15-week semester, the two-semester academic year, the four-year bachelor’s degree. These limits are helpful, providing a ready-made arc to our work and dictating the steady tempo at which it advances. They’re also, well, limiting. There’s only so much that can be done in a single semester, and with a collective memory that rarely extends beyond half a decade, inconsistency over time is practically baked in. But limits breed creativity; inconsistency is just a synonym for experimentation. (And besides, there’s no motivator quite like a hard deadline.)
Like last semester, the magazine you’re holding in your hands (or, more likely, reading online) took form against a backdrop of specific, coronavirus-imposed restrictions: the abbreviated academic term, the class of 2023’s conspicuous absence from campus, and a student body burnt out by over a year of Zoom-based learning. The rules might be new and different (and worse), but they’re differences of degree rather than of kind. This issue, like any other, is where the ideal rubs against the real. It’s a collective attempt to wring meaning out of, and instill meaning within, transience. A good story is a good anchor: it’s something to hold onto.
In the spirit of finding opportunity (and continuity) within limits, we used this semester to expand our website by digitizing previous editions of WV. You can now view any piece published from fall 2017 onward here at wildervoicemag.com. Plumbing Wilder Voice’s recent past has been an instructive experience. We saw names move up the editorial masthead from semester to semester as a generation of Obies shared important reported stories and wrote through perennial and perennially urgent concerns—gender and identity, personal history, family narratives and their multivalent meanings, political activism and performance—with clarity and precision. The pieces differ in focus, from the history of Mercy Hospital to the founding of the ’Sco, from exploring death as exemplified by a beloved family cat to a series of meditations on the body. What ties them together is a willingness to engage and reengage with big questions and established narratives, to examine what’s been received and endeavor to understand it in a new light—or perhaps rethink it wholesale.
To further this commitment to complexity, we’ve encouraged our contributors in this issue to write longer and deeper, giving their voices more breathing room on the page in order to grapple with events and ideas in all of their intricacies. Lila Templin describes their disillusionment with Oberlin’s culture of wealth and the ways that students conceal their class privilege (“Unequal Footing”). Lilyanna D’Amato returns to her favorite children’s books and relearns to see the world in a new way (“The World from Below”). And Jemma Johnson-Shoucair explores hubris in the second Star Wars prequel and the groundbreaking technology behind it (“The Lucas Effect”). As always, their work is presented alongside striking student artwork, including Vincent Zhu’s photo series Cracked and a series of collages from Katie Frevert.
“The Lucas Effect” is one of two essays appearing in this issue under the heading “Diagnoses.” In this new department, writers articulate and interrogate problems of their choosing, exploring the “why” beyond the “what.” It’s not a space for crankiness so much as a space for synthesis through criticism; the intention is not simply to dunk on vexing phenomena, but to understand them.
As the spring semester comes to a close and we enter a summer of optimism and uncertainty, negotiating limits will remain a pressing task. After an unconventional but rewarding year serving as Wilder Voice’s EICs, we are excited to hand off the first-ever summer installment of Wilder Voice to our incoming Senior Staff: Alexander Saint Franqui, Dorothy Levine, Clara Rosarius, and Fiona Warnick. Their talents have already helped shape the magazine, and we are confident that they will continue to make Wilder Voice a home for Oberlin’s talented body of writers and artists.
—Nell Beck and Sam Schuman
Editors-in-Chief, Wilder Voice