
Phoenix 72 (Frostbite) is here! Download your copy for free today!
A Journal from the English Department at the University of Tennessee

Phoenix 72 (Frostbite) is here! Download your copy for free today!

Phoenix 71 (Wistful) is here and beautiful! Download your copy for free today!

Literature:Carrie Cheng:
Violet’s Tale by Ren (2022)Brianna Eaton:
My Neighbor Totoro, Studio Ghibli (2018):Max Edmonds:
SOAP (1977):Baba Is You (2019):
★ Cute characters, engaging gameplay and style, amazing atmosphere.Inscryption (2021):
★ I would consider this one of the best games of all time (if Portal 2 didn’t
LITERATURE
Crying in H Mart by Michelle Zauner (2021)POETRY
frank: sonnets by Diane Seuss (2021)MUSIC
The Land Is Inhospitable and So Are We by Mitski (2023)
Mitski strikes again! This album illustrates the bittersweet feelings of love, yearning, and lossExpert in a Dying Field by The Beths (2022) – Max
Unreal Unearth by Hozier (2023)FILM
Past Lives (2023) dir. Celine SongFair Play (2023) dir. Chloe Demont
A really solid directorial debut, Demont is one to watch! – Lidia
King Coal (2023) dir. Elaine McMillion SheldonTELEVISION
Carol & the End of the World (2023) – Max
The Bear (2022-2023)
LITERATURE
On Earth We’re Briefly Gorgeous by Ocean Vuong (2019)POETRY
Ada Limón and Natalie Diaz, “Envelopes of Air” (2018)MUSIC
Ants from Up There by Black Country, New Road (2022)FILM
White Noise (2022) dir. Noah BaumbachTELEVISION
I Think You Should Leave (2019)
The societal push for justice in recent years has demanded that institutions be transparent in their negative involvement of marginalized peoples.
The University of Tennessee’s McClung Museum has recently opened the exhibition of the Repatriation of Archaeology & the Native Peoples of Tennessee in August. This long-term exhibit will be open until August 2023. The McClung Museum has framed this exhibit around the question of who is being given the authority of telling this story of indigenous groups. For such a long time, institutions have run unchecked in their procedure of showcasing human remains and associated funerary objects without questioning if they have the right to do so. This exhibit admits the museum’s own wrongdoings and begins to respect the dignity and consent of Native American tribes and Native Hawaiian Organizations.
The exhibit includes a large sign that defines repatriation as “the act or process of returning someone or something to their country of origin, cultural group, or descendent community.” The federal law of the Native American Graves Protection and Repatriation Act (NAGPRA) was passed in 1990. This act includes that institutions must make an inventory of Native Ancestral remains and cultural materials, as well as consult with tribes to determine cultural affiliation. The goal is to evaluate repatriation claims and honor those requests.
A reparation claim must show their cultural affiliation through evidence and indigenous knowledge. After NAGPRA was passed, institutions were given five years to determine what was culturally affiliated versus culturally unidentifiable. Something culturally identifiable means that based on the opinion of the institution there is substantial evidence, varying from biological, historical, archaeological, folklore, oral tradition, or others, that make a connection to a present-day tribe or organization. Unfortunately, many items were labeled as culturally unidentifiable due to a lack of funding and personnel. There are instances where repatriation claims are made for culturally unidentifiable items. This involves the continual collaboration between numerous institutions to appropriately follow NAGPRA. The notion that something is culturally unidentifiable is not only extremely offensive to the parties involved but it lets institutions off the hook from considering the individuals and cultures whose materials they possess.
The university’s involvement goes back to 1933 when Franklin D. Roosevelt signed the Tennessee Valley Authority Act to address the valley’s environmental and energy issues. This meant the construction of dams and reservoirs for flood control in this area. Ultimately resulting in the excavations of numerous native cultural sites. This exhibit at McClung is sponsored by Tennessee Valley Association (TVA). In 2022, within a repatriation process in Alabama, Marianne Shuler, Senior Specialist, Archaeologist and Tribal Liaison at TVA, spoke about the relationship between TVA and native groups stating, “Over the past 10 years, TVA has made great strides in the return of ancestral remains and other sacred items to federally recognized Indian tribes who once lived in the Tennessee Valley… We have made a lot of progress, but we still have more work to do to ensure all ancestral remains are returned to Tribes.”
In 2021, the McClung museum met for a formal NAGPRA consultation. Repatriation claims were made by tribal members and this has caused the original Archaeology & Native Peoples of Tennessee exhibit to shift. McClung has removed some items from display. According to the University of Tennessee website, McClung Museum says that leaving spaces empty is “intentional” and they want to “facilitate a new conversation: one that explores the stories that museums tell and examines who is included in and excluded from creating these narratives.”
On the federal register website, there is notice of inventory completion made by the University of Tennessee earlier this month. At least seven individuals’ remains were removed and brought to the University of Tennessee by William Bass, a forensic anthropologist, in 1971. There were also associated funerary objects. These human remains and associated funerary objects may be returned starting next month. These are not the only remains and associated funerary objects given back from the university. According to the University of Tennessee website, the Office of the Provost states that the progress to date has involved numerous repatriation claims that have been asked of the university.
Walking through the exhibit is vastly different from the typical experience of visiting other museums. In place, behind the protective layer of glass are not artifacts, but instead various postings and signs that say the items that were there have been repatriated.
There is still a great number of artifacts within the exhibit; however, the now empty areas of the museum are weighty in significance. As visitors step further into the exhibit, the grave understanding of what it means to take something that is not your own only increases. The conversation of heritage and culture within art only becomes more nuanced, as the scope of institutions begins to include voices that have been suppressed.A quote in the exhibit from Johi Griffin Jr., Historical Sites Keeper, Tribal Historic Preservation Office, Eastern Band of Cherokee Indians says, “I believe that there is no greater honor than having the responsibility of returning our Ancestors back to where they belong, in Mother Earth and not on a shelf.”
This exhibit represents a sign of progress in UT’s recognition of colonial power and the mistreatment of native groups. After visiting the museum, it is difficult to not do the same.
Photograph from mcclungmuseum.utk.edu

In an era when increasing desire for convenience has made the audiobook and the e-book more practical than ever, it’s easy to question whether the print book and the bookstore have any relevance at all. Why go to a bookstore when you can receive the entirety of a book’s text without ever having to leave your home? This is what The Analog Sea has been addressing since its inception. Their stance? Print books and independent bookstores matter, and they will continue to matter as long as humans have the desire to disconnect and meditate on what it means to be alive.
The Analog Sea is a self-described “offline journal.” The offline aspect relates to how readers engage with the work. Editions are distributed exclusively to independent bookstores and are only available as print copies. In his introduction from The Analog Sea Bulletin Spring 2022, editor Jonathan Simons explains that by “advocating for the human right to disconnect, [The Analog Sea] celebrate[s] offline culture and the work artists create in solitude, that vital stretch of time when distraction fades and deep wells of thought and feeling emerge.” By engaging with this work, The Analog Sea demands your undivided attention by quite being literally incompatible with the notifications that an e-book or audiobook would allow. It also respects your boundaries and will not attempt to grab your attention once you decide to shut it. In the words of Simons, “it fits in your pocket but won’t wake you up at night.”
The Analog Sea’s status as a journal comes into play in the actual content. The Analog Sea Review is published annually and is comprised of everything from interviews, essays, stories, excerpts, and poems and established intellectuals, to work sent in by readers of the journal. Albert Einstein, Leonard Cohen, Pope Francis, David Foster Wallace, James Baldwin, Fréderic Chopin, and Nina Simone are among the notable figures featured in The Analog Sea. Ironically, it feels more like a successful democratic portrayal of ideas than the internet persistently claims itself to be. Despite the lack of a single overarching theme for each edition, connective tissue is established from each piece to the next. In “The Analog Sea Number Two,” the range of material moves from the nature of dreaming to the northern lights to identity in the spectacle of the digital age to meditations on the creative process to the physicality of beauty. Across this progression through a wide range of topics, The Analog Sea is encouraging contemplation and examination of what we observe and the work we do as human beings.
At the heart of it all, it’s about intentionality at every step of the way. In the back of each edition, there is a communication card available to be cut out and mailed to Analog Sea with options to receive the free seasonal bulletin, to send the free seasonal bulletin to a friend, to receive more information about how to get involved and to ask them to consider stocking The Analog Sea in your favorite local bookstore. They also encourage readers to submit work or even just send a letter to get connected. Community is at the center of every choice made about distribution and publishing.
Again, The Analog Sea often seems to be strangely more sincere in its attempts to facilitate relationships and conversations than the internet’s mission statement of connectivity and globalization. It raises the question: what are the foundational elements of a relationship? What do we need in order to feel connected? On the surface, the perspective of The Analog Sea appears antithetical. How can solitude be the avenue to healthy and genuine relationships? It is about calming and orienting the self as the base for human interaction. In “Dream Poems,” an excerpt from an introduction written by Robert Bly for “Times Alone: Selected Poems of Antonio Machado” featured in “The Analog Sea Number Two,” Bly writes, “collective opinion terrorizes the soul; the demands of the world obsess the psyche.” The Analog Sea is advocating for stability and serenity of the self as the foundation for interpersonal relationships, especially when the internet seems to encourage the opposite.
As of the writing of this article, there are only two bookstores in Tennessee where The Analog Sea is available, and one of them is in Knoxville! At around a 15-minute walk from the University of Tennessee’s campus, Union Ave Books currently stocks copies of The Analog Sea. I was first introduced to the journal when I stepped into Union Ave one day just to browse and accidentally stumbled across it. It’s how I image they want others to discover their work as well, but even if you aren’t purchasing the journal itself, the encouragement to wander around an independent bookstore and buy literature in print is still a part of their vision. The mission is not to boost revenue, but to inspire human curiosity about the self and the world.
Artwork: “She Always Comes Back” by Tatiana Tikhonova

The Museum of Infinite Outcomes, an open-air museum in Knoxville’s very own Parkridge neighborhood, is home to more than meets the eye. With meandering gardens, rotating exhibits and a free seed library of native plants, this is a museum that stands for conservation and community. Hear from museum director Ashlee Mays and artist-in-collaboration Lauren Farkas, both alums of UTK’s School of Art, on the magic of the mission. Located at 2345 Dodson Ave., the museum is open anytime the sun is up.
Check out their website and Instagram!

Ghost Lion: A spectral lion expresses his torment, grief, and aggression, haunting a strange, otherworldly savannah.
Ghost Lion comes from a video series of early experiments, or “movements”, with underwater puppetry. Water makes materials move with a new gravity and a slowness that can easily and instantly transport a viewer into a different world. Character sculpting, material choices, lighting, sound, and cinematography build that world and completely immerses the viewer – including the puppeteer herself – into it.
Ira’s Dreams: Ira, a young runaway prince, is attacked by night terrors. He awakes suddenly and begins to weep because of his helpless circumstance. A far away shepherdess hears his cries and accepts the call to see him out.
Ira’s Dreams is an early sketch of a scene from Ira the Boy King, a tale that explores blame, doom, running from responsibility, and redemption. This video was created to get to now the character Ira better as his story continues to develop outside the water.
Art by Faith Belt