A Spell for Banishment – a personal essay Harper N. Shaw

A Spell for Banishment

To banish a demon, one must name it.

Last weekend, I attended my 20th college reunion. But it was more than a reunion—it was an exorcism, a reclamation of a sacred space that had been defiled.

In college, I was sexually harassed for two years straight by a (wrongfully) trusted mentor. Like most predators, this professor would probably deny that he did any such thing. He never tried to kiss me or grope me, he would protest. He never demanded sexual favors in return for grades. Never mind that he strongly implied that I should have given him somethingin return for writing my letters of recommendation for graduate school. And never mind that he gave me a Valentine’s day card professing his love for me. And that, when he bought me an expensive dictionary as a gift, and I awkwardly stammered my gratitude for his friendship, he said, “Oh, Harper, we’re more than friends.” Never mind all that.

I didn’t know what to say when he gave me that dictionary, but I had also long since learned that saying something wasn’t enough. This professor had pressured me go to lunch with him at the faculty club almost every week, to the point where some of my acquaintances began asking me if I was dating him. I had tried to say no to these lunches—hadin fact said no very explicitly—but he had just laughed and waved his hand and said, “Oh, now, don’t be silly. Come on, let’s go.”  

At the time—as a 20-year-old perfectionist raised in the conservative South—I didn’t realize that I could have kept on saying no. Or that, when he refused to respect my decision, I could have walked out the door. I could have dropped his classes. I could have changed my major. But I didn’t know any those things were possible. I had told my friends what was happening, and they were horrified on my behalf, but they didn’t know what I should do, either. And I had told my parents, but they just told me to keep my head down and push through the discomfort for one last year. He wasn’t doing anything that bad, after all.

I have long since forgiven my parents for this failure—the failure to raise a raging storm on my behalf—because they are also deeply loving and supportive human beings. But for twenty years, I found it impossible to forgive this professor. Forgiveness felt like an excuse, an exoneration. And even more viscerally, I could not forgive him because I was still afraid. Afraid of him, yes, but even more afraid of myself: my anxiety, my tendency to freeze, my sense of utter powerlessness.  

So, I avoided my college campus because I dreaded running into him there. What would he say if he saw me? Would he wave me down and smile and make oblivious, meaningless small talk? Would he scowl at me, fully aware of his transgressions, defying me to label them? Would he think of me as a former student? An ex-girlfriend? A ticking time bomb? And I certainly didn’t know what I would say or do in return. Maybe selective mutism would overwhelm me, as it sometimes does when I am deeply upset. Or maybe I would scream: “You are a twisted, evil, disgusting troll!” and he would call the campus police on me. Or maybe I would vomit on him, which would serve him right.

In any case, I moved to a faraway city and pretended my college didn’t exist. I avoided all thought or mention of this professor, as best I could, but it didn’t help that I also became a professor in the same general field. It meant that I sometimes saw his name in a book or article, and it would punch me right in the gut. One time, I never submitted a book review I had agreed to write—never even read past the front matter—because the author thanked my abuser in the acknowledgements. Another time, a colleague mentioned his name at a conference dinner, and I began shaking violently. “Please don’t mention that name in my presence because he is a fucking creep,” I said. The dinner conversation sort of dried up after that.

I hated him, and I could not forgive him, and his memory stuck in me like a black locust thorn. For decades, I meditated, prayed, sang, chanted mantras, lit candles, took nature walks—all with this black locust thorn in my heart. I always struggled on the Day of Atonement, not because I had sins that needed forgiving (which I did and do, of course), but because I myself could not forgive. What is a Day of Atonement without forgiveness? I finally gained some relief when I assigned that enormous task to God, whoever or whatever that is. Let God forgive him, if God wills—to forgive is divine, after all, and I am only human.

Perhaps paradoxically, I eventually discovered that anger was the key to dislodging this black thorn. Anger and a fierce, fuck-you kind of defiance that has been difficult for me to access in my life. Don’t get me wrong, Prozac helps, too. But in addition to prescribing pills, my psychiatrist helped me connect the dots from my repressive Southern upbringing, a molesting babysitter, a sexual assault freshman year of college, these two straight years of sexual harassment, and, later, an emotionally abusive partner. She taught me to identify the deep pain that leaked out in nightmares and unexpected phobias—fear of flying, heights, bridges, highways, sunburn, dish soap. If I was going to get out of this psychic vortex, I had to learn to access my voice. I had to learn to access my anger. Fawning and freezing and fleeing had not helped me. I would have to fight.

So, I made plans. I suggested to my best college friends that we attend our 20th reunion. (Actually, it was my 21st reunion—look at me breaking the rules). In my heart, I held this vision of the reunion like a candle: me, in a sparkling party dress and ferocious Doc Martens, stomping up and down the hallway of the humanities building, burning purifying sage and clutching a black crow feather to symbolize death and rebirth and freedom. I would stomp through the halls with my friends and my talismans and my terrible, terrible anger—and I would set myself free. Maybe professors would pop out of their offices and scowl at the ruckus I was causing. Maybe the burning sage would set off the fire alarm. I didn’t care. Let them scowl and wail. Fuck the expectations of quiescence and compliance that had left me vulnerable for so many years.

When the day actually came, it wasn’t quite so dramatic as all that. But it was good. I set foot on a campus that I had avoided for more than 20 years. I met with old friends in the college quad, where we drank cheap beer and visited our old dorm rooms and reminisced about bygone times. We toured the campus, where we discovered that the student pub still smells satisfyingly of pizza grease and spilled Natty Light, even though it tragically no longer sells beer by the pitcher. We marveled at how young the students look, as middle-aged people are wont to do. We entered the nondenominational chapel, with its breathtaking gold mosaics glittering in the lamplight, just as the sun was setting, the perfect time to say a silent prayer.

And then, in the falling darkness, I went to the humanities quad with one of my best friends. I hugged the old tree growing there, a twisted live oak I used to sit with while I meditated upon Martin Buber’s I and Thou. I was so glad it was still there, my old companion. And then we went inside—into the heart of darkness. But our minds do funny things to protect us, don’t they? I had daydreamed about this moment for years, and I had nightdreamed about it for months. But my brain had completely blocked out which doorway actually led into the humanities building. I first led my friend through an adjoining doorway into the languages building (where to be fair, I had also taken many classes), and I stomped through those halls, fists balled, ready to fight a metaphorical fight. I went in several more doors, all leading off the same quad, until there was only one door left. “Um, I’m pretty sure that one is the humanities building,” my friend said.

She was right. She opened the door, and my adrenal system shouted, “Don’t go in there!” as though I were a cheerleader in some horror movie. When we entered the building, my heart rate spiked; when we went up to the second floor, I began to gasp for breath. We walked down the empty hallway, and I saw the familiar names of other professors—so many of them were still working there, 20 years later, wrapped tight in that ivory embrace. I squeezed my friend’s hand harder and harder, like I used to squeeze my mom’s hand during an airplane takeoff.  And then we found the door with the dreaded name. I cried. That had certainly not been part of the plan. But it turns out, tears are as cleansing as smoldering sage and as freeing as a black crow feather.

When we left the building, my friend handed me a pen and paper. “In case you wanted to write something down. And then we can burn it, or rip it up, or bury it, or whatever.” This is what I wrote: “[Name Redacted], you should not have sexually harassed me. It was wrong. I forgive you.” I named him, and I named what he did to me. I named the demon, and I banished it. I ripped the paper into tiny pieces and sprinkled them at the base of my Martin Buber tree.

I am not afraid anymore, not of him, and not of myself. That’s what this trip was really about. It was not just a reunion with my classmates. It was a ritual conjuring of my frightened, silent 20-year-old self, so that I could whisper in her ear, “Don’t worry. This place does not belong to him. It belongs to you.”

Harper N. Shawe (she/they) is an author of fiction and creative nonfiction who centers the stories of women, LGBTQ+ folks, and other marginalized groups. Their writing is inspired by a multi-denominational spirituality and a love of nature. They live near Philadelphia, PA with their family and their tabby cat.

To the Cobweb Connecting Two Hands at the Eighth Station – a poem by Christina Ellison

To the Cobweb Connecting Two Hands at the Eighth Station

The spider that made you
had no idea of the implication
of connecting the carved, outstretched
hand of Jesus, mid-Passion,
to the wooden weeping women.

The figures were created to be apart,
an uncloseable gap between God
and man, and yet, there you hang,
fingertip to fingertip, the occasional quiver
from an air conditioning vent,
defying what was thought to be predestined,
achieving what even Michelangelo
didn’t dare achieve. 

Christina Ellison is a writer from Texas. Born and raised north of Houston, she is currently working among the cornfields of Nebraska. She is a fiction editor for Iron Horse Literary Review and New American Press, and her work appears in journals such as fifth wheel press and Hyacinth Review.

I Know You’re There – a poem by Mary L. Serantoni

I Know You’re There

Palms, oleander,
bougainvillea
sway and rustle.
High intensity winds
are finally commanded
to embrace the calm --
leaving trees,
branches, blossoms
strewn across
streets, roofs, lawns.
Walking through abstract
performance piece of found objects
curated by a higher power,
gives pause.

Monsoon made its way here …

Mesmerized by sky,
I stand at the shore
admiring
billowing puffs
of opalescence
gently pushing
against
thick dark cloak
swollen with storm.
There’s an opening
in the clouds,
shimmering
with streaming light.
I squint hard --
to see
if you
are there.



Mary L. Serantoni is a poet based in Arizona, originally from Chicago, Illinois. Her work appeared in Poets for Science, Farraday Newsome: Memento Vitae, My Body Is Your Nest, and Museum of Northern Arizona’s ‘Poetry Maps’ exhibitions (2024, 2025). She holds a BA from Chicago’s DePaul University, and is a member of BMI and a Poetry Workshop through a local nonprofit.

Invitation – a poem by Carol Krause


Invitation

Take my hand.
I know you are frightened.
Can't you see we are all losing together?
We might as well love one another down to the root.

Carol Krause is a poet who writes love letters that can only be deciphered in the dark. Her poetry explores madness, mystical mishaps, and unexpected mendings. Carol’s writing has appeared in Arc PoetryRoom, and Soul Forte, among other publications. Her debut poetry collection, A Bouquet of Glass, is published by Guernica Editions. You can find her in a cave at carolkrause.ca

Gently – a poem by David Capps


Gently



As a hawk loosed from a headwind,
thunderheads comb the sky’s oyster reefs,
dissipating along the shores.

As you might have rested with my shadow
in the shadow of the hazelnut tree,
teeming intimacies.

As your own hands grafted roots
that drew water like sound under earth,
thoughtfulness lingering

past words and public vigil. Yesterday is now
and many years hence. Children’s faces
float as leaves, butterflies.

Whoever we are, cleaving souls
along the leading edge of the growing block
that is time, accumulating pasts

like beads of an abacus, sliding
one by one across the wooden wire frame,
by whose hand you dimly know,

as fingers pressing silver pieces
villages placed in an infant’s salted bath,
each in recognition of His gift.


David Capps is a philosophy professor and writer based in CT. His latest work appears in Panorama and Necessary Fiction.

Vesper – a poem by Marlene M. Tartaglione

Marlene M. Tartaglione is an artist whose creativity manifests poetry, children’s literature, visual arts. Her work has appeared in presses nationally & abroad. Ms. Tartaglione has won 4 poetry prizes, her work presented at venues such as the Brooklyn Museum, M.O.M.A, New York Book Fair. Her poem, S C A R E B, has recently been nominated for a 2024 Pushcart Prize. Ms. Tartaglione’s M.B.A. studies were conducted at NYU; Ms. Tartaglione also holds a B.F. A. from the Cooper Union, where she studied with poet/ educator/ scholar, Dr. Brian Swann.

Winged Mage – a poem by Jessica D. Thompson

Winged Mage

We are the bees of the invisible.
– Rainer Rilke


When sunlight touches your shoulder
like a lover or a monarch

on a zinnia, you pay attention.
When light sweeps across a field

of clover, all you can do is exhale.
Your mind empties of winter

creeper, handwritten letters the color
of burnt umber. Remember

the last time she spoke your name?
With each syllable sprang

a sacred spring.


Jessica D. Thompson‘s poems have appeared in journals such as Verse Daily, the Appalachian Review, Atlanta Review, Gyroscope Review, ONE ART: a journal of poetry, TIFERET, and The Southern Review, as well as in many anthologies, including Next Indiana Campfires: a Trail Companion (Indiana Humanities). Her full-length poetry collection, Daybreak and Deep, was short-listed for the 2024 Indiana Authors Award for Poetry. Her latest poetry collection, The Mood Ring Diaries, was released last year and was named a finalist in the American Book Fest Best Book Awards for Narrative Poetry.

What the Red Fox Says – a poem by Rita Quillen

What the Red Fox Says

Supposedly we bark, but rarely do.
Why would one need to ever speak so harshly
when you have whiskers that radar, help you navigate
a true line straight through the woods
even on blackest night?
Foxes do not wander, but walk with purpose.
We do not seek attention, acclaim, or affirmation,
but quite the opposite:
we are ghosts of daytime light,
hearing so keen we track voles burrowing beneath.
You probably imagined us saying something simple:
“Dig deep into what rumbles beneath you.
Find your other and mate in February
so you have Christmas babies.”

But one fall day in our woods
you walked over a rise
just a few feet from where
I dug for mice in a sawdust pile.
We both levitated
Up and back a foot or more,
--you in Joy, at the miracle
of my magical auburn fur
--me in embarrassment
at the failure that shamed my gifts.

In that split second our eyes locked,
I saw “red” flash in your thoughts.
Did you mean
red from shame
or red with rage?
Were you simply focusing my attention
to the color of berries, blooms and birds?
No, it must be blood and my glorious fur,
of course, the colors of Life and Death.
Creation breathes out
only a word at a time to me.

So I spoke a psalm to you
letting you carry it away
like the stone from the creekbank:



We are here to haunt,
quantum Beauty and Joy
that only exists when observed,
our red particles assembling
from dust, light, frantic atoms,
apparitions without the Dark,
without the dread or grief,
you before you were born,
you as merely a theory,
you without Words
in the vast bliss of silence
before the red,
before the craving, striving,
before longing.
We are the Quiet.





Rita Quillen’s most recent poetry book, Some Notes You Hold (Madville 2020) has received a Bronze Medal from the Feathered Quill Book Awards, a finalist listing for poetry in the American Writing Awards, and is a Bonus Book for the 2023 International Pulpwood Queens and Timber Guys Book Club. Her novel, Wayland, published by Iris Press in 2019, is the March 2022 Bonus Book of the Month for the International Pulpwood Queens and Timber Kings Book Club. It is a sequel to her first novel, Hiding Ezra (Little Creek Books, 2014).

Keeping Watch – a poem by Emmarae Stein

Keeping Watch

God is waiting for me behind hazy eyes
at the pulpit.

In the blue and gold statue of Mary

He rests, a baby sleeping stone still in
her arms.

He is waiting for me in the space
between my top and bottom eyelid

When I lower my forehead into my hands
and let my gaze drop towards the ground.

In the cracks of the wooden floorboards, He is
waiting for me.

Sometimes approaching in my imagination,
the mind’s eye brings something close to forgetting.

“Not yet,” you whispered. “Not now.”



Emmarae Stein is a writer from Upstate New York. She is a Ph.D. student in the History Department at the University of Rochester where she researches early modern religious and intellectual history.

Earthbound – a poem by Allison Rueb

Earthbound

Maybe I’ve already died//and been sent back
Time//after time//after time//again

Like the person who uses their second wish//to forget the first
Only to use their third//to reinstate the now-unknown original:
without the gift of learning from the past//we have no way of knowing the alternatives
So it’s better to trust that this//right now//is better than the alternative
Even if I don’t remember//what exactly the alternative was

I don’t know what it was like in the interim
But what I do know
Is that at the moment
I get to take advantage of everything
That’s now available here for me

Everything I probably missed
If I could remember missing it

Can you miss your hometown
If the memory is scrubbed
Squeaky Clean
With steel wool?

The heart knows there’s something to miss
And even if you don’t mourn the place
You can still mourn the memory
And feel where it used to be
Like a tongue probing where a tooth was

I don’t know what used to occupy this space
But I do know that plenty of other things
Appear to fit nicely
In the gaps that may have been left behind

Swimming in the ocean
On the night of a full moon
Watching the tree line get thicker
And the mountains getting larger
And larger
To the point that they get small again

Overwhelming emotions
That slosh throughout the chemicals
Clearing out the sinuses
And the soul
With ruthless efficiency
But a feeling of catharsis after the storm

The blissful mundanity
And overwhelmingly modern convenience
Of picking items up
Off of a grocery store shelf
Time after time after time again

Loving
And being loved

I like how these things fit
In the [redacted] space

It can be good here

Maybe it’s for the best
I can’t remember what it’s like
To really and truly lose all of it

To remember what it feels like
For it to suddenly be gone
Out of my grasp
And then finally
(Cruelly)
(Blissfully)
Returned to a more
Appreciative
Open hand

Even when it doesn’t remember why it’s open

Even if all it knows
Is that inevitably it’s been posed
Frozen
Cemented in place
With the intention
Of finally
Grasping
Something

Allison Rueb (she/they) is a newly emerging poet whose work attempts to explore the quiet moments and overlooked details of everyday life. Drawing inspiration from personal reflection, nature, and the shifting textures of memory, her writing seeks to illuminate the emotional undercurrents beneath ordinary experiences. New to the literary landscape, Allison is currently developing their first collection while sharing individual poems through workshops, local readings, and online publications. They are passionate about experimenting with form, voice, and imagery as they continue to discover their place in the world of contemporary poetry.