BELLES LETTRES

“All I know is to be confined

For it was the life I was assigned.”

These lines come from the first stanza of Ava Cohen’s poem “Caged,” perfectly describing that common notion of fitting into societal expectations and the bitterness of that feeling. However by the end of the poem the speaker finds joy in life beyond the cage. In this year’s Belles Lettres, every artist and writer challenged this idea of fitting in, exploring the bounds of what art and literature can be to convey lessons of kindness to and connection with each other, ourselves, animals, and even places. In the 2024-2025 Belles Lettres, we have erasure poetry, poetry, non-fiction, fiction, wood engravings, photography, pencil drawings, acrylic paintings, and mixed media art. This magazine also features poems mimicking the style of renowned poets, with Holden Taylor’s and Claudia Ribiero’s companion pieces inspired by William Blake. Ribiero extended her exploration of poetry through her acrostic poem “The Freedom to Fly,” urging the reader to “[e]njoy the time you have on this Earth” like a squirrel. This year’s artists also traversed the depths of creativity. “Natural” by Esme Larschan, “Doodler” by Maddie Hill, “Electric Feel” by Cat Carney, “Inner Space” by Eva Hogan, and “Press On” by Khloe Joshua all detail different angles and actions of hands—an unexpected focal point of emotion—to convey love, physical and emotional bonds, and the act of creating though wood engraving.

Because our writers and artists were empowered to break free from their cages of what writing and art should be, they were able to weave life lessons on kindness and connection into vibrant and complex writing and art. Caroline Chandler in “Come Together” emphasizes the connection between nature and humans through the fluidity of water while washing one’s hands. Many artists also delved into their connection with places around St. Mary’s campus. Senior Helen Dunlap’s “9:45" exposes a glimpse into the students’ daily walk to the Church of the Holy Communion that will no longer be routine for many of us next year while Mathilde Wesson’s “Glimpse” provides a look into St. Mary’s choir room through vibrant colors in oil pastel. In “Hard and Soft,” Sadie Dattel pushes the reader to “[a]llow kindness to freely leap from your tongue.” Emily Larkins in her piece “Playa Days” recounts her joyful experience with a Playa Bowl—“a tiny little present” that graces her presence on or after a busy school day. Larkins, as a senior, provides insight into the small things in life through her writing, making us appreciate the seemingly insignificant connections we will leave behind in the next chapter of our lives.

Serving as Editor-in-Chief on Belles Lettres this year and creating this magazine alongside the amazing editors and staff has been an unreal experience, and I have had the absolute pleasure of providing a creative outlet for the talent that blooms at St. Mary’s. Belles Lettres has been a huge part of my childhood, and as I go into college and adulthood soon, I will carry all the memories and lessons that I have had the privilege of collecting all these years. In “Call me No One,” Yusra Siddiq writes, “This is not meant to sound dull / Or unfeeling / This is a fact of growing up / My childhood is over.” So, thank you for everything. I know that Belles Lettres will be in great hands next year, and I can’t wait to see how the entire upper school grows and blooms in creativity in the years to come.

Sincerely,

Maya Iyengar ‘25

Editor-in-Chief