Category Archives: Schumann Brothers Fund

2025 Schumann Brothers Grants: Now Accepting Applications!

Rice University and Rice Student Media Announce the 2025 Schumann Brothers Grants

Rice University and Rice Student Media are pleased to announce two student competitions for the 2025 Schumann Brothers Grants: one for Written Expression and one for Travel Journalism.

  • The Written Expression grant winner will receive $1,500.
  • The Travel Journalism Grant winner will receive up to $5,000, based on the strength and scope of their proposed budget.

Eligibility

Applicants must be current undergraduate students anticipated to graduate during or after the spring 2026 semester who have been published in the Rice Thresher, Rice Campanile or other publications directly affiliated with the Rice University Department of Student Media. Students from all disciplines are encouraged to apply.

Application Guidelines

Written Expression

  • Submit a writing sample, preferably related to your proposed project. Any style is acceptable; publication is not required.
  • Include a one-page proposal outlining your intended project.
  • Provide a projected completion date of no later than March 15, 2026. Grant recipients must adhere to this timeline or risk returning funds.
  • A final written piece must be submitted to the selection committee and may be published through Rice Student Media.
  • Grantees must provide a brief post-project report (1–2 pages) confirming how the funds were used and reflecting on the impact of the grant.

Submit your Written Expression proposal here.

Travel Journalism

  • Submit a nonfiction writing sample related to your proposed travel topic.
  • Include a one-page proposal describing the trip and its journalistic significance.
  • Provide a realistic travel budget. (It is understood that the trip may cost more than the grant covers.)
  • The trip must be taken within one calendar year of the award.
  • Include a projected completion date for the story or stories. Grant recipients must meet this timeline or return the funds.
  • A final journalistic piece or series must be submitted to the committee no later than March 15, 2026, and may be published through Rice Student Media.
  • Grantees must also submit a brief post-project summary detailing how the funds were spent and how the project aligned with the original proposal.

Submit your Travel Journalism proposal here.

Deadline

All submissions must be received by Wednesday, May 15, 2025, at 5 p.m.

Selection Process

A selection committee will review all applications. Finalists may be asked to participate in an interview. Grant recipients will be notified via email by June 15, 2025, with a formal announcement to follow.

Questions?

Please contact Tessa Ehrman in the Department of Student Media at te16@rice.edu for more information or clarification.

2024 Schumann Brothers Grants are Open!

Rice University and Rice Student Media announces two competitions for the 2024 Schumann Brothers Grants: one for Written Expression and one for Travel Journalism. The winner for the Written Expression award will receive a $2500 grant, and the winner for the Travel Journalism award will receive a $5000 grant to support their proposed endeavors.

For examples of previous grant winners’ works, go here.

Eligibility

Applicants must be undergraduate students who have been published in a Rice University student media outlet. Students from all disciplines are encouraged to apply.

Application

Written expression:

  • Submissions should include a writing sample, preferably one that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published.
  • Submissions should include a proposal no longer than one page explaining the desired project.
  • Submissions must include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for possible publication online or in print through the Office of  Student Media.
  • The committee will submit the resulting written piece and the grant request to the Dean’s office, so it can be communicated to the donors.

Travel Journalism:

  • Submissions should include a non-fiction writing sample that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published.
  • Submissions must also include a travel budget and a proposal no longer than one page explaining the desired trip and its journalistic value. It is understood that the budget may exceed the grant amount.
  • The trip should be taken within a calendar year from the award being given.
  • Submissions will include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for publication online or in print through Rice Student Media
  • The committee will submit the resulting written piece(s) and the grant request to the Dean’s office, so it can be communicated to the donors.

Deadline

All submissions must be received no later than April 28th, 2024 by 5 p.m. Submissions for Written Expression can be submitted here. Submissions for Travel Journalism can be submitted here.

Selection

A Selection Committee composed of student publication editors and sponsors will select finalists. If needed, finalists may be asked to appear for an interview. Grant winners will be notified by email by May 1st with a formal announcement to follow.

If you have any questions or need clarification, email conner@rice.edu

2023 Schumann Brothers Grants are Open!

Rice University and Rice Student Media announces two competitions for the 2023 Schumann Brothers Grants: one for Written Expression and one for Travel Journalism. The winners for each award will receive a $2500 grant to support their proposed endeavors.

For examples of previous grant winners’ works, go here.

Eligibility

Applicants must be undergraduate students who have been published in a Rice University student media outlet. Students from all disciplines are encouraged to apply.

Application

Written expression:

  • Submissions should include a writing sample, preferably one that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published.
  • Submissions should include a proposal no longer than one page explaining the desired project.
  • Submissions must include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for possible publication online or in print through the Office of  Student Media.
  • The committee will submit the resulting written piece and the grant request to the Dean’s office, so it can be communicated to the donors.

Travel Journalism:

  • Submissions should include a non-fiction writing sample that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published.
  • Submissions must also include a travel budget and a proposal no longer than one page explaining the desired trip and its journalistic value. It is understood that the budget may exceed the grant amount.
  • The trip should be taken within a calendar year from the award being given.
  • Submissions will include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for publication online or in print through Rice Student Media
  • The committee will submit the resulting written piece(s) and the grant request to the Dean’s office, so it can be communicated to the donors.

Deadline

All submissions must be received no later than April 23rd, 2023 by 5 p.m. Submissions for Written Expression can be submitted here. Submissions for Travel Journalism can be submitted here.

Selection

A Selection Committee composed of student publication editors and sponsors will select finalists. If needed, finalists may be asked to appear for an interview. Grant winners will be notified by email by May 1st with a formal announcement to follow.

If you have any questions or need clarification, email kls11@rice.edu

2022 Schumann Brothers Grant

Rice University and Rice Student Media announces two competitions for the Schumann Brothers Grants: one for Written Expression and one for Travel Journalism. The winners for each award will receive a $1000 grant to support their proposed endeavors.

For examples of previous grant winners’ works, go here.

Eligibility

Applicants must be undergraduate students who have been published in a Rice University student media outlet. Students from all disciplines are encouraged to apply.

Application

Written expression:

  • Submissions should include a writing sample, preferably one that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published.
  • Submissions should include a proposal no longer than one page explaining the desired project.
  • Submissions must include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for possible publication online or in print through the Office of  Student Media.
  • The committee will submit the resulting written piece and the grant request to the Dean’s office, so it can be communicated to the donors.

Travel Journalism:

  • Submissions should include a non-fiction writing sample that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published.
  • Submissions must also include a travel budget and a proposal no longer than one page explaining the desired trip and its journalistic value. It is understood that the budget may exceed the grant amount.
  • The trip should be taken within a calendar year from the award being given.
  • Submissions will include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for publication online or in print through Rice Student Media
  • The committee will submit the resulting written piece(s) and the grant request to the Dean’s office, so it can be communicated to the donors.

Deadline

All submissions must be received no later than April 24th, 2022 by 5 p.m. Submissions for Written Expression can be submitted here. Submissions for Travel Journalism can be submitted here.

Selection

A Selection Committee composed of student publication editors and sponsors will select finalists. If needed, finalists may be asked to appear for an interview. Grant winners will be notified by email by May 1st with a formal announcement to follow.

If you have any questions or need clarification, email ricestudentmedia@gmail.com

Sparrow

Excerpt of Sparrow, a written work by the 2020 Schumann Brothers Grant for Written Expression Winner, Kristen Hickey

Colm‌ ‌was‌ ‌waiting‌ ‌at‌ ‌the‌ ‌base‌ ‌of‌ ‌the‌ ‌tower‌ ‌when‌ ‌Sparrow‌ ‌finally‌ ‌made‌ ‌up‌ ‌her‌ ‌mind‌ ‌to‌ ‌start‌ ‌the‌ ‌night’s‌ ‌illumination.‌ ‌She‌ ‌had‌ ‌half‌ ‌a‌ ‌mind‌ ‌to‌ ‌turn‌ ‌around‌ ‌as‌ ‌soon‌ ‌as‌ ‌she‌ ‌saw‌ ‌him‌ ‌push‌ ‌off‌ ‌the‌ ‌wall,‌ ‌but‌ ‌he‌ ‌was‌ ‌already‌ ‌moving‌ ‌towards‌ ‌her‌ ‌and‌ ‌Sparrow‌ ‌had‌ ‌never‌ ‌learned‌ ‌to‌ ‌flee‌ ‌as‌ ‌well‌ ‌as‌ ‌Aoife.‌ ‌ ‌

“It’s‌ ‌late.”‌ ‌Colm’s‌ ‌voice‌ ‌cut‌ ‌through‌ ‌the‌ ‌soft‌ ‌rhythm‌ ‌of‌ ‌the‌ ‌rain‌ ‌falling‌ ‌into‌ ‌the‌ ‌cloister’s‌ ‌garden.‌ ‌ ‌

“I’ve‌ ‌all‌ ‌night,”‌ ‌Sparrow‌ ‌said,‌ ‌slowing‌ ‌as‌ ‌she‌ ‌passed‌ ‌him.‌ ‌His‌ ‌heavy‌ ‌feet‌ ‌followed‌ ‌hers‌ ‌up‌ ‌the‌ ‌stairs.‌ ‌ ‌

“I‌ ‌want‌ ‌to‌ ‌see‌ ‌what‌ ‌you‌ ‌have‌ ‌been‌ ‌working‌ ‌on.”‌ ‌ ‌

Sparrow‌ ‌just‌ ‌brushed‌ ‌her‌ ‌fingertips‌ ‌against‌ ‌the‌ ‌cool‌ ‌stone‌ ‌of‌ ‌the‌ ‌wall,‌ ‌and‌ ‌thought‌ ‌her‌ ‌usual‌ ‌prayer‌ ‌for‌ ‌Chen‌ ‌Jizi.‌ ‌ ‌

Sparrow‌ ‌held‌ ‌the‌ ‌door‌ ‌open‌ ‌for‌ ‌Colm,‌ ‌though‌ ‌she‌ ‌longed‌ ‌to‌ close‌ ‌it,‌ ‌lock‌ ‌it‌ ‌before‌ ‌he‌ ‌could‌ ‌enter‌ ‌the‌ ‌scriptorium.‌ ‌She‌ ‌couldn’t‌ ‌remember‌ ‌the‌ ‌last‌ ‌time‌ ‌anyone‌ ‌had‌ ‌been‌ ‌in‌ ‌the‌ ‌tower‌ ‌with‌ ‌her.‌ Colm,‌ ‌she‌ ‌thought,‌ ‌must‌ ‌have‌ ‌stopped‌ ‌by‌ ‌in‌ ‌the‌ ‌years‌ ‌since‌ ‌Chen‌ ‌Jizi’s‌ ‌death—maybe‌ ‌once,‌ ‌early‌ ‌on.‌ ‌But‌ ‌she’d‌ ‌been‌ ‌alone‌ ‌in‌ ‌the‌ ‌sky‌ ‌since‌ ‌then,‌ ‌no‌ ‌scribe‌ ‌or‌ ‌illustrator‌ ‌to‌ ‌join‌ ‌her.‌ ‌It‌ ‌set‌ ‌her‌ ‌on‌ ‌edge‌ ‌to‌ ‌have‌ ‌him‌ ‌there,‌ ‌just—looking.‌ ‌ ‌

As‌ ‌Sparrow‌ ‌circled‌ ‌the‌ ‌room,‌ ‌lighting‌ ‌her‌ ‌candles,‌ ‌she‌ ‌glanced‌ ‌about,‌ ‌too;‌ ‌she‌ ‌hardly‌ ‌had‌ ‌reason‌ ‌to‌ ‌look‌ ‌around‌ ‌anymore.‌ ‌The‌ ‌hours‌ ‌she‌ ‌spent‌ ‌here‌ ‌had‌ ‌piled‌ ‌atop‌ ‌each‌ ‌other,‌ ‌then‌ ‌the‌ ‌days,‌ ‌the‌ ‌months,‌ ‌the‌ ‌years.‌ ‌There‌ ‌was‌ ‌nobody‌ ‌there‌ ‌to‌ ‌move‌ ‌her‌ ‌stool,‌ nobody‌ ‌there‌ ‌to‌ ‌blend‌ ‌paints‌ ‌into‌ ‌unsettlingly‌ ‌new‌ ‌shades.‌ ‌Nothing‌ ‌changed‌ ‌when‌ ‌Sparrow‌ ‌was‌ ‌absent,‌ ‌and‌ ‌so‌ ‌she‌ ‌had‌ ‌stopped‌ ‌thinking‌ ‌about‌ ‌it,‌ ‌as‌ ‌if‌ ‌it‌ ‌had‌ ‌become‌ ‌an‌ ‌extension‌ ‌of‌ ‌her‌ ‌very‌ ‌body.‌ ‌

She‌ ‌imagined‌ ‌that‌ ‌to‌ ‌Colm,‌ ‌it‌ ‌looked‌ ‌a‌ ‌terrible‌ ‌mess.‌ ‌The‌ semicircular‌ ‌wooden‌ ‌table‌ ‌that‌ ‌fitted‌ ‌perfectly‌ ‌into‌ ‌the‌ ‌rounded‌ ‌wall‌ ‌of‌ ‌the‌ ‌tower‌ ‌had‌ ‌been‌ ‌built‌ ‌before‌ ‌even‌ ‌Chen‌ ‌Jizi‌ ‌took‌ ‌his‌ ‌vows,‌ ‌back‌ ‌when‌ ‌Solaskell’s‌ ‌scriptorium‌ ‌would‌ ‌have‌ ‌always‌ ‌held‌ four‌ ‌scribes‌ ‌and‌ ‌four‌ ‌illuminators.‌ ‌Many‌ ‌had‌ ‌etched‌ ‌their‌ ‌initials‌ ‌into‌ ‌their‌ ‌stations,‌ ‌leaving‌ ‌clouds‌ ‌of‌ ‌letters‌ ‌and‌ ‌tiny‌ ‌fish,‌ ‌bees,‌ ‌sheep‌ ‌scored‌ ‌across‌ ‌the‌ ‌wooden‌ ‌surface.‌ ‌Sparrow,‌ ‌for‌ ‌her‌ ‌part,‌ ‌had‌ ‌filled‌ ‌the‌ ‌empty‌ ‌space‌ ‌of‌ ‌her‌ ‌predecessors‌ ‌with‌ ‌the‌ ‌waxy‌ ‌last‌ ‌nubs‌ ‌of‌ ‌candles,‌ ‌scattered‌ ‌pens‌ ‌of‌ ‌quill‌ ‌and‌ ‌reed,‌ ‌the‌ ‌pots‌ ‌of‌ ‌black‌ ‌ink‌ ‌and‌ ‌those‌ ‌of‌ ‌powdery‌ ‌color‌ ‌that‌ ‌she’d‌ ‌arranged‌ ‌first‌ ‌by‌ ‌hue,‌ ‌then‌ ‌by‌ ‌scarcity.‌ ‌On‌ ‌the‌ ‌round‌ ‌of‌ ‌the‌ ‌table‌ ‌farthest‌ ‌from‌ ‌the‌ ‌door,‌ ‌the‌ ‌monastery’s‌ ‌200-year-old‌ ‌book‌ ‌of‌ ‌recipes‌ ‌sat‌ ‌amidst‌ ‌the‌ ‌remnants‌ ‌of‌ ‌her‌ ‌most‌ ‌recent‌ ‌experiments.‌ ‌And‌ ‌then,‌ ‌along‌ ‌the‌ ‌empty‌ ‌wall,‌ ‌the‌ ‌racks‌ ‌that‌ ‌stretched‌ ‌the‌ ‌sheepskins‌ ‌from‌ ‌the‌ ‌winter‌ ‌that‌ ‌had‌ ‌filled‌ ‌the‌ ‌room,‌ ‌for‌ ‌a‌ ‌time,‌ ‌with‌ ‌the‌ ‌smell‌ ‌of‌ ‌something‌ ‌almost‌ ‌breathing.‌ ‌Now,‌ ‌it‌ ‌was‌ ‌hidden‌ ‌under‌ ‌all‌ ‌the‌ ‌weighty‌ ‌scents‌ ‌of‌ ‌drying‌ ‌plants‌ ‌that‌ ‌Sparrow‌ ‌had‌ ‌cut‌ ‌from‌ ‌the‌ ‌garden‌ ‌the‌ ‌week‌ ‌prior.‌ ‌ ‌

When‌ ‌Sparrow‌ ‌finally‌ ‌turned‌ ‌again‌ ‌to‌ ‌look‌ ‌at‌ ‌Colm,‌ ‌he‌ ‌was‌ ‌peering‌ ‌into‌ ‌pots‌ ‌of‌ ‌pigment,‌ ‌wearing‌ ‌a‌ ‌deep‌ ‌frown‌ ‌that‌ ‌Sparrow‌ ‌couldn’t‌ ‌imagine‌ ‌was‌ ‌caused‌ ‌by‌ ‌the‌ ‌colors‌ ‌she‌ ‌had‌ ‌mixed.‌ ‌He‌ ‌stayed‌ ‌there,‌ ‌bent‌ ‌over‌ ‌the‌ ‌little‌ ‌crowd‌ ‌of‌ ‌pots,‌ ‌for‌ ‌far‌ ‌too‌ ‌long.‌ Most‌ ‌of‌ ‌the‌ ‌powders‌ ‌were‌ ‌hardly‌ ‌visible‌ ‌in‌ ‌this‌ ‌light,‌ ‌and‌ ‌even‌ ‌less‌ ‌notable‌ ‌before‌ ‌they‌ ‌were‌ ‌wetted‌ ‌and‌ ‌bound.‌ ‌Sparrow‌ ‌knew‌ ‌he‌ ‌was‌ ‌looking‌ ‌for‌ ‌something‌ ‌wrong‌ ‌without‌ ‌even‌ ‌knowing‌ ‌what‌ ‌he‌ ‌was‌ ‌looking‌ ‌at.‌ ‌She‌ ‌sighed.‌ ‌ ‌

“Long‌ ‌before‌ ‌you‌ ‌joined‌ ‌us,‌ ‌this‌ ‌scriptorium‌ ‌was‌ ‌lit‌ ‌by‌ ‌the‌ ‌sun‌ ‌and‌ ‌always‌ ‌full‌ ‌of‌ ‌movement,”‌ ‌Colm‌ ‌said,‌ ‌finally,‌ ‌his‌ ‌nose‌ ‌still‌ ‌in‌ ‌one‌ ‌of‌ ‌her‌ ‌pots.‌ ‌Every‌ ‌ounce‌ ‌of‌ ‌Sparrow‌ ‌hoped‌ ‌that‌ ‌he‌ ‌would‌ ‌not‌ ‌breathe‌ ‌heavily‌ ‌enough‌ ‌to‌ ‌scatter‌ ‌her‌ ‌powders‌ ‌into‌ ‌the‌ ‌air.‌ ‌“You‌ ‌were‌ ‌mentored‌ ‌well,‌ ‌to‌ ‌be‌ ‌able‌ ‌to‌ ‌carry‌ ‌on‌ ‌alone.”‌ ‌

Colm‌ ‌finally‌ ‌returned‌ ‌the‌ ‌lid‌ ‌to‌ ‌the‌ ‌last‌ ‌pot‌ ‌and‌ ‌straightened‌ ‌up.‌ ‌It‌ ‌was‌ ‌only‌ ‌then,‌ ‌when‌ ‌her‌ ‌paints‌ ‌were‌ ‌safe,‌ ‌that‌ ‌Sparrow’s‌ ‌distracted‌ ‌mind‌ ‌considered‌ ‌Colm’s‌ ‌words,‌ ‌which‌ ‌had‌ ‌almost—‌nearly‌—contained‌ ‌a‌ ‌compliment‌ ‌for‌ ‌her.‌ ‌ ‌

“Truly,‌ ‌this‌ ‌space‌ ‌is‌ ‌a‌ ‌testament‌ ‌to‌ ‌the‌ ‌lasting‌ ‌guidance‌ ‌of‌ ‌Brother‌ ‌Jizi,‌ ‌and‌ ‌the‌ ‌hands‌ ‌of‌ ‌Beo‌ ‌beyond.”‌ ‌ ‌

“And‌ ‌the‌ ‌work‌ ‌that‌ ‌I‌ ‌have‌ ‌done,”‌ ‌Sparrow‌ ‌said,‌ ‌unable‌ ‌to‌ ‌help‌ ‌herself.‌ ‌ ‌

Colm‌ ‌waved‌ ‌his‌ ‌hand‌ ‌as‌ ‌if‌ ‌to‌ ‌sweep‌ ‌Sparrow’s‌ ‌claim‌ ‌away.‌ ‌“I‌ ‌see‌ ‌the‌ ‌light‌ ‌of‌ ‌Beo‌ ‌in‌ ‌every‌ ‌stone‌ ‌of‌ ‌this‌ ‌room.‌ ‌You‌ ‌occupy‌ ‌it.”‌ ‌ ‌

Sparrow‌ ‌clenched‌ ‌her‌ ‌jaw.‌ ‌For‌ ‌all‌ ‌that‌ ‌she‌ ‌wanted‌ ‌to‌ ‌say,‌ ‌she‌ ‌knew‌ ‌that‌ ‌Colm‌ ‌would‌ ‌only‌ ‌choose‌ ‌to‌ ‌see‌ ‌Sparrow‌ ‌spitting‌ ‌on‌ ‌the‌ ‌god‌ ‌whose‌ ‌house‌ ‌had‌ ‌raised‌ ‌her.‌ ‌ ‌

“Where‌ ‌is‌ ‌the‌ ‌manuscript‌ ‌you‌ ‌are‌ ‌illuminating‌ ‌now?”‌ ‌ ‌

Sparrow‌ ‌wanted‌ ‌nothing‌ ‌less‌ ‌than‌ ‌his‌ ‌indelicate‌ ‌fingers‌ ‌on‌ ‌her‌ ‌work.‌ ‌She‌ ‌stepped‌ ‌quickly‌ ‌between‌ ‌Colm‌ ‌and‌ ‌the‌ ‌stack‌ ‌of‌ ‌vellum‌ ‌that‌ ‌she‌ ‌had‌ ‌accumulated,‌ ‌laying‌ ‌her‌ ‌hand‌ ‌on‌ ‌the‌ ‌corner‌ ‌of‌ ‌the‌ ‌page‌ ‌as‌ ‌if‌ ‌offering‌ ‌to‌ ‌flip‌ ‌through‌ ‌the‌ ‌unbound‌ ‌pages‌ ‌at‌ ‌his‌ ‌command.‌ ‌Colm‌ ‌leaned‌ ‌over‌ ‌her‌ ‌arm.‌ ‌ ‌

“The‌ ‌frontispiece?”‌ ‌ ‌

Sparrow‌ ‌shook‌ ‌her‌ ‌head.‌ ‌“I‌ ‌do‌ ‌that‌ ‌last.”‌ ‌ ‌

Colm‌ ‌grunted.‌ ‌

“Chen‌ ‌Jizi—”‌ ‌

“Brother.”‌ ‌

“—liked‌ ‌to‌ ‌make‌ ‌them‌ ‌composites‌ ‌of‌ ‌the‌ ‌rest‌ ‌of‌ ‌the‌ ‌manuscript.‌ ‌If‌ ‌you‌ ‌knew‌ ‌what‌ ‌you‌ ‌looked‌ ‌for,‌ ‌you‌ ‌might‌ ‌see‌ ‌the‌ ‌entire‌ ‌book‌ ‌within‌ ‌the‌ ‌first‌ ‌page.”‌ ‌ ‌

“What‌ ‌is‌ ‌this,‌ ‌then?” ‌ ‌

Sparrow‌ ‌looked‌ ‌at‌ ‌the‌ ‌page‌ ‌again.‌ ‌“The‌ ‌first‌ ‌pilgrims,”‌ ‌she‌ ‌said,‌ ‌hovering‌ ‌a‌ ‌finger‌ ‌over‌ ‌the‌ ‌rock‌ ‌upon‌ ‌which‌ ‌they‌ ‌crowded.‌ ‌The‌ ‌scriptures‌ ‌said‌ ‌their‌ ‌island‌ ‌sat‌ ‌not‌ ‌far‌ ‌from‌ ‌Solaskell’s‌ ‌coast,‌ ‌but‌ ‌none‌ ‌of‌ ‌the‌ ‌monastery’s‌ ‌boating‌ ‌expeditions‌ ‌had‌ ‌found‌ ‌land‌ suitable‌ ‌for‌ ‌the‌ ‌start‌ ‌of‌ ‌a‌ ‌religion. ‌ ‌

Colm‌ ‌grunted.‌ ‌“How‌ ‌many‌ ‌pages‌ ‌have‌ ‌you‌ ‌to‌ ‌finish?”‌ ‌he‌ ‌asked.‌ ‌

Sparrow‌ ‌shuffled‌ ‌through‌ ‌to‌ ‌the‌ ‌end,‌ ‌counting‌ ‌quickly.‌ ‌“Three‌ ‌spreads,‌ ‌it‌ ‌should‌ ‌be.”‌ ‌ ‌
Colm‌ ‌nodded‌ ‌absently,‌ ‌his‌ ‌gaze‌ ‌still‌ ‌on‌ ‌the‌ ‌first‌ ‌page‌ ‌of‌ ‌Sparrow’s‌ ‌manuscript,‌ ‌where‌ ‌dragons‌ ‌and‌ ‌serpents‌ ‌twisted‌ ‌about‌ ‌each‌ ‌other‌ ‌in‌ ‌the‌ ‌green‌ ‌of‌ ‌the‌ ‌sea.‌ ‌ ‌

“You‌ ‌ought‌ ‌to‌ ‌work‌ ‌on‌ ‌these‌ ‌dragons,”‌ ‌he‌ ‌finally‌ ‌said.‌ ‌“This‌ ‌is‌ ‌not‌ ‌our‌ ‌way‌ ‌of‌ ‌painting‌ ‌them.”‌ ‌
Sparrow‌ ‌frowned.‌ ‌“These‌ ‌are‌ ‌the‌ ‌same‌ ‌as‌ ‌the‌ ‌others‌ ‌I’ve‌ ‌done,”‌ ‌she‌ ‌said. ‌ ‌

“Too‌ ‌stout.‌ ‌And‌ ‌are‌ ‌these‌ ‌ears‌ ‌or‌ ‌wings?”‌ ‌he‌ ‌harrumphed.‌ “Accuracy‌ ‌is‌ ‌important‌ ‌in‌ ‌these‌ ‌matters.”‌ ‌

Sparrow‌ ‌snorted.‌ ‌“Accuracy‌ ‌for‌ ‌dragons?”‌ ‌

“Accuracy‌ ‌to‌ ‌the‌ ‌‌tradition‌.‌ ‌I‌ ‌could‌ ‌scarcely‌ ‌care‌ ‌if‌ ‌the‌ ‌founders‌ ‌of‌ ‌Solaskell‌ ‌thought‌ ‌sheep‌ ‌walked‌ ‌on‌ ‌eight‌ ‌legs,‌ ‌or‌ ‌that‌ ‌a‌ ‌hive‌ ‌of‌ ‌bees‌ ‌could‌ ‌lift‌ ‌a‌ ‌man‌ ‌in‌ ‌flight.‌ ‌As‌ ‌they‌ ‌looked‌ ‌at‌ ‌the‌ ‌world,‌ ‌so‌ ‌must‌ ‌we.”‌ ‌

“Been‌ ‌accurate‌ ‌to‌ ‌my‌ ‌‌own‌ ‌‌tradition,‌ ‌at‌ ‌least,”‌ ‌Sparrow‌ ‌muttered.‌ ‌Even‌ ‌this,‌ ‌perhaps,‌ ‌was‌ ‌untrue,‌ ‌for‌ ‌as‌ ‌Sparrow‌ ‌had‌ ‌grown‌ ‌at‌ ‌the‌ ‌monastery,‌ ‌so‌ ‌had‌ ‌her‌ ‌artistry.‌ ‌She‌ ‌should‌ ‌hate‌ ‌to‌ ‌look‌ ‌back‌ ‌at‌ ‌her‌ ‌earlier‌ ‌manuscripts. ‌ ‌

Colm‌ ‌squinted‌ ‌at‌ ‌her.‌ ‌“Perhaps‌ ‌it‌ ‌is‌ ‌time‌ ‌you‌ ‌return‌ ‌to‌ ‌the‌ ‌libraries‌ ‌and‌ ‌your‌ ‌source‌ ‌material.”‌ ‌

Sparrow‌ ‌sighed. ‌ ‌

“Must‌ ‌I‌ ‌remind‌ ‌you‌ ‌that‌ ‌these‌ ‌duties‌ ‌are‌ ‌not‌ ‌your‌ ‌own?‌ ‌Someday‌ ‌long‌ ‌after‌ ‌we‌ ‌join‌ ‌Beo,‌ ‌these‌ ‌buildings‌ ‌will‌ ‌crumble‌ ‌and‌ ‌all‌ ‌that‌ ‌will‌ ‌be‌ ‌left–” ‌ ‌

“Is‌ ‌our‌ ‌legacy,‌ ‌and‌ ‌the‌ ‌books‌ ‌that‌ ‌share‌ ‌it,”‌ ‌Sparrow‌ ‌finished.‌ ‌It‌ ‌was‌ ‌as‌ ‌if‌ ‌Colm‌ ‌had‌ ‌long‌ ‌ago‌ ‌decided‌ ‌to‌ ‌devote‌ ‌only‌ ‌one‌ ‌good‌ ‌thought‌ ‌to‌ ‌anything,‌ ‌doomed‌ ‌to‌ ‌repeat‌ ‌the‌ ‌same‌ ‌vagueries‌ ‌
forever.‌ ‌This,‌ ‌in‌ ‌particular,‌ ‌was‌ ‌a‌ ‌weekly‌ ‌utterance. ‌ ‌

Colm‌ ‌nodded‌ ‌sharply.‌ ‌“And‌ ‌you‌ ‌should‌ ‌know‌ ‌of‌ ‌the‌ ‌abbess’‌ ‌plans‌ ‌to‌ ‌gift‌ ‌a‌ ‌manuscript‌ ‌to‌ ‌
the‌ ‌king.‌ ‌It‌ ‌must‌ ‌have‌ ‌been‌ ‌two‌ ‌generations‌ ‌ago‌ ‌that‌ ‌we‌ ‌presented‌ ‌to‌ ‌a‌ ‌ruler.” ‌ ‌

“Why‌ ‌‌now‌?”‌ ‌The‌ ‌land‌ ‌around‌ ‌Solaskell‌ ‌always‌ ‌seemed‌ ‌on‌ ‌the‌ ‌verge‌ ‌of‌ ‌shifting‌ ‌hands,‌ ‌and‌ ‌the‌ ‌monastery‌ ‌and‌ ‌its‌ ‌nominal‌ ‌ruler‌ ‌had‌ ‌long‌ ‌ago‌ ‌come‌ ‌to‌ ‌the‌ ‌sort‌ ‌of‌ ‌agreement‌ ‌that‌ ‌let‌ ‌each‌ ‌keep‌ ‌to‌ ‌its‌ ‌own.‌ ‌Sparrow‌ ‌thought‌ ‌the‌ ‌current‌ ‌king‌ ‌must‌ ‌have‌ ‌been‌ ‌only‌ ‌a‌ ‌few‌ ‌years‌ ‌in‌ ‌power,‌ ‌the‌ ‌quiet‌ ‌recipient‌ ‌of‌ ‌a‌ ‌kingship‌ ‌his‌ ‌father‌ ‌had‌ ‌done‌ ‌terrible‌ ‌things‌ ‌to‌ ‌take,‌ ‌terrible‌ ‌things‌ ‌to‌ ‌keep. ‌ ‌

“The‌ ‌abbess‌ ‌worries‌ ‌that‌ ‌we‌ ‌have‌ ‌made‌ ‌too‌ ‌much‌ ‌an‌ ‌island‌ ‌of‌ ‌our‌ ‌monastery,”‌ ‌Colm‌ ‌said.‌ ‌Sparrow‌ ‌didn’t‌ ‌miss‌ ‌the‌ ‌flash‌ ‌of‌ ‌a‌ ‌scowl‌ ‌that‌ ‌followed.‌ ‌She,‌ ‌wisely,‌ ‌said‌ ‌nothing,‌ ‌and‌ ‌in‌ ‌the‌ ‌silence‌ ‌that‌ ‌stretched‌ ‌between‌ ‌them,‌ ‌Colm‌ ‌seemed‌ ‌to‌ ‌remember‌ ‌himself. ‌ ‌

“Fix‌ ‌the‌ ‌dragons,”‌ ‌he‌ ‌said,‌ ‌tapping‌ ‌the‌ ‌stack‌ ‌of‌ ‌vellum.‌ ‌“Return‌ ‌to‌ ‌the‌ ‌oldest‌ ‌texts‌ ‌tomorrow‌ ‌and‌ ‌take‌ ‌your‌ ‌cues‌ ‌from‌ ‌the‌ ‌masters.”‌ Sparrow‌ ‌nodded,‌ ‌knowing‌ ‌even‌ ‌as‌ ‌she‌ ‌did‌ ‌so‌ ‌that‌ ‌the‌ ‌only‌ ‌way‌ ‌she‌ ‌would‌ ‌return‌ ‌to‌ ‌those‌ ‌pages‌ ‌was‌ ‌if‌ ‌Colm‌ ‌himself‌ ‌forced‌ ‌her‌ ‌hand.‌ ‌He‌ ‌would‌ ‌forget‌ ‌as‌ ‌soon‌ ‌as‌ ‌he‌ ‌found‌ ‌something‌ ‌else‌ ‌to‌ ‌scold‌ ‌her‌ ‌for,‌ ‌she‌ ‌hoped. ‌ ‌

Colm‌ ‌pushed‌ ‌the‌ ‌door‌ ‌open,‌ ‌then‌ ‌paused.‌ ‌“The‌ ‌next‌ ‌depiction‌ ‌of‌ ‌Beo…paint‌ ‌them‌ ‌in‌ ‌my‌ ‌image,”‌ ‌he‌ ‌said.‌ ‌He‌ ‌was‌ ‌gone,‌ ‌halfway‌ ‌down‌ ‌the‌ ‌stairs‌ ‌before‌ ‌Sparrow‌ ‌could‌ ‌give‌ ‌voice‌ ‌to‌ ‌her‌ ‌
confusion. ‌ ‌

Sparrow‌ ‌re-stacked‌ ‌the‌ ‌pages‌ ‌of‌ ‌her‌ ‌manuscript,‌ ‌pushed‌ ‌her‌ ‌pigment‌ ‌pots‌ ‌back‌ ‌into‌ ‌their‌ ‌messy‌ ‌array,‌ ‌and‌ ‌tried‌ ‌to‌ ‌imagine‌ ‌that‌ ‌her‌ ‌scriptorium‌ ‌did‌ ‌not‌ ‌now‌ ‌hold‌ ‌within‌ ‌it‌ ‌the‌ ‌air‌ ‌exhaled‌ ‌from‌ ‌Colm’s‌ ‌chest.‌ ‌Something‌ ‌that‌ ‌had‌ ‌been‌ ‌balanced‌ ‌carefully‌ ‌in‌ ‌the‌ ‌room‌ ‌was‌ ‌now‌ ‌askew,‌ ‌Sparrow‌ ‌felt. ‌ ‌

With‌ ‌the‌ ‌unpleasant‌ ‌feeling‌ ‌that‌ ‌Colm‌ ‌lingered‌ ‌still‌ ‌behind‌ ‌her,‌ ‌Sparrow‌ ‌pulled‌ ‌her‌ ‌hair‌ ‌back‌ ‌and‌ ‌dipped‌ ‌her‌ ‌quill‌ ‌in‌ ‌ink.‌ ‌

 

2021 Schumann Brothers Grants for Creative Expression: Applications Open

Rice University and Rice Student Media announces two competitions for the Schumann Brothers Grants: one for Written Expression and one for Travel Journalism. The winners for each award will receive a $1000 grant to support their proposed endeavors. 

For examples of previous grant winners’ works, go here

Eligibility

Applicants must be undergraduate students who have been published in a Rice University student media outlet. Students from all disciplines are encouraged to apply. 

Application

Written expression:

  • Submissions should include a writing sample, preferably one that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published. 
  • Submissions should include a proposal no longer than one page explaining the desired project.
  • Submissions must include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for possible publication online or in print through the Office of  Student Media.
  • The committee will submit the resulting written piece and the grant request to the Dean’s office, so it can be communicated to the donors.

Travel Journalism:

  • Submissions should include a non-fiction writing sample that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published. 
  • Submissions must also include a travel budget and a proposal no longer than one page explaining the desired trip and its journalistic value. It is understood that the budget may exceed the grant amount. 
  • The trip should be taken within a calendar year from the award being given. 
  • Submissions will include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee may be required to return the grant money.
  • The piece resulting from the project must be submitted to the committee for publication online or in print through Rice Student Media
  • The committee will submit the resulting written piece(s) and the grant request to the Dean’s office, so it can be communicated to the donors.

Deadline

All submissions must be received no later than April 16, 2021 by 5 p.m. Submissions for Written Expression can be submitted here. Submissions for Travel Journalism can be submitted here.

Selection

A Selection Committee composed of student publication editors and sponsors will select finalists. If needed, finalists may be asked to appear for an interview. Grant winners will be notified by email by Friday, April 16th with a formal announcement to follow.

If you have any questions or need clarification, email ricestudentmedia@gmail.com or klash@rice.edu.

Experiencing Hawaii

Andrew Grottkau, McMurtry 2019

As I stood in the Los Angeles airport terminal waiting to board my flight to Hawaii, I should have been excited. I was about to embark on what I expected to be the trip of a lifetime: a two-week journey split between Maui and the Big Island.

But as I looked out over the mob of people lined up to board the plane, I felt only worry. My goal when I planned this trip with my girlfriend, Jenn, was to experience Hawaii in an atypical way. We wanted to avoid the resorts, the upscale sea bars, the tourist traps and, perhaps most importantly, the tourists themselves.

In that airport crowd, I saw exactly what I was hoping not to see: the honeymooners wearing shirts that read ‘Just Maui-ed’ on the back, the older couple carrying designer luggage and already in line for first class, and the family wearing matching neon t-shirts with ‘Miller Family Vacation 2019’ emblazoned on the back. What if I was heading for two weeks surrounded by these people?

The mob of people waiting to board the flight from LAX to Maui

Tourists are unavoidable in Hawaii. About 217,000 jobs in the state depended on tourism as of early 2019, according to an article from Travel Pulse. Tourists spent $17.82 billion in Hawaii in 2018, which set an all-time record.

My fear, then, was justifiable. Jenn and I were, of course, tourists ourselves. But we had planned the trip carefully, making sure we would only camp and stay in Airbnbs instead of getting stuck in hotels in the towns designed for tourists. There would be no avoiding the mobs of visitors who flocked to the islands to relax in luxury. At least, that’s what I believed for the duration of the six-hour flight to Maui’s Kahului International Airport. But over the next two weeks, I would discover that it is not only possible, but easy to enjoy and preserve Hawaii’s natural beauty despite the large tourism industry.

Continue reading Experiencing Hawaii

Schumann Brothers

Schumann Brothers Fund for Creative Expression seeking submissions

Introduction

Rice University announces competition for the Schumann Brothers Grants for Creative Expression. The winners for each award will receive a $1000 grant to be used to support their proposed endeavors. The purpose of the grant is to encourage written, creative expression amongst Rice University students.

Eligibility

Applicants must be undergraduate students. Students from all disciplines are encouraged to apply.

Application

Written expression:

  • Applicants must be undergraduate students.
  • Submissions should include a writing sample, preferably one that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published. 
  • Submissions should include a proposal no longer than one page explaining the desired project.
  • Submissions must include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee will be required to return the grant monies.
  • The piece resulting from the project must be submitted to the committee for possible publication online or in print through the Office of  Student Media.
  • The committee will submit the resulting written piece and the grant request to the Dean’s office, so it can be communicated to the donors.

Travel Journalism:

  • Applicants must be undergraduate students.
  • Submissions should include a non-fiction writing sample that is related to the project you are proposing. Any style of writing is acceptable, and the sample does not need to have been published. 
  • Submissions must also include a travel budget and a proposal no longer than one page explaining the desired trip and its journalistic value. It is understood that the budget may exceed the grant amount. 
  • The trip should be taken between Aug. 1, 2020 and July 31, 2021. 
  • Submissions will include a projected completion date for the piece(s). The committee will approve and enforce a completion date, or the grantee will be required to return the grant monies.
  • The piece resulting from the project must be submitted to the committee for publication online or in print through Rice Student Media
  • The committee will submit the resulting written piece(s) and the grant request to the Dean’s office, so it can be communicated to the donors.

Deadline

All submissions must be received no later than April 24, 2020 by 5 p.m. Submissions for Written Expression can be submitted here. Submissions for Travel Journalism can be submitted here.

Submissions can also be sent to Kelley Lash at klash@rice.edu.

Selection

A Selection Committee comprised of student publication editors and sponsors will select finalists. If needed, finalists may be asked to appear for an interview. Grant winners will be notified by email by Monday, May 4 with a formal announcement to follow.

 

Ramblings of a confused fan in Russia

Schumann Brothers Grant for Written Expression

Juan Saldaña, Will Rice ‘18

The day after Colombia lost a heartbreaking penalty shootout to England in the knockout stage of the World Cup, I mentioned to a friend that I had teared up during the defeat the night before.

“But how does that even affect your life,” she texted back.

Frustrated at her lack of understanding and dejected from my country’s loss, I didn’t answer. “What do you mean HOW does it affect my life,” I indignantly thought in my half-made hostel bed – still wearing a wrinkled yellow jersey.

I didn’t watch the tournament for a few days. I found myself unable to look at the TV without the gut punch reminder of that final penalty miss. I almost longed for the days of my childhood where the Colombian team consistently failed to qualify.

Soon enough, however, I found myself sneaking glances at the TV. Glances turned into full games and the beauty of the World Cup captivated me again. Maybe my friend was right? Regardless, I’m still angry at that text.

I met a Peruvian in a line in to enter the Kremlin in Moscow. It was his last day in Russia, and by that point Peru had been eliminated from the tournament. However, he was the most upbeat person I’d met throughout my Russia trip. He had a constant grin that not even the eternal queue and stern looks from passing soldiers could take away.

He had been to Peru’s first two games. The first was in the remote town of Saransk and the second in eastern city of Yekaterinburg. Both had been losses, a devastating one to Denmark, and the second an expected defeat at the hands of eventual-champions France.

This was Peru’s first appearance in a World Cup in 36 years. The country qualified through a stroke of luck and was still riding the high – even past elimination.

The Peruvian man entertained us and himself in the line as he recounted adventures and memories. He talked about growing up when Peru last made a World Cup and waiting decades for the chance to see la blanquirroja in person at the biggest stage. He talked about the energy in the stadium that made Peru the home crowd in a tiny Russian city. Then, he casually mentioned the emergency landing that his plane had to make after a turbine had caught on fire.

The charter plane full of Peruvians managed to land in time and safely to watch the game. For him, the journey was irrelevant – he glossed over it only to mention the relief of a hundred Peruvians as they managed to see their team play.

It reminded me of another phrase I heard more than one fan utter throughout my time in Russia: “I can die happy now.”

I might have been the only person in that stadium to not Snapchat the Colombian national anthem as it echoed in the stands of the Mordovia Arena under a blinding sun.

I’m not claiming to be above showcasing my life on social media – but for once the urge was just not there. This trip to Russia, that game, and that moment was not for sharing – it was not for posting on a Snapchat story or a finely crafted Instagram post. It was not for subtly showing off how cool my summer experience was – it was for me, in that moment, realizing how lucky I was to have a dream come true.

The first notes rang across the stadium and the chorus of Colombians started screaming the lyrics.

Oh, gloria inmarcesible!

¡Oh, júbilo inmortal! En surcos de dolores, el bien germina ya.

Cesó la horrible noche. La libertad sublime

derrama las auroras de su invencible luz. La humanidad entera,

que entre cadenas gime, comprende las palabras del que murió en La Cruz 

I screamed those words unlike I ever had before. It took two days for my voice to come back. I can’t blame it all on the anthem though; after all, there was a full 90 minutes of yelling obscenities at the referee that may be slightly culpable.

A large Russian man snored next to me on the ride to Saransk. Pull out a map and you’ll realize that this town would define the phrase “in the middle of nowhere.” When I arrived at 6:00 a.m., after a 12-hour train ride, I wondered if I was the first Colombian to ever step foot in this place. Then I entered the train station and ran into thousands of yellow shirts and merengue on a speaker. I guess a few might have beat me to that honor.

I can opine for hours about how a small city with no hotels or infrastructure should not be hosting a match at the highest level of soccer play. The train rides were brutal, and the town was not prepared. Yet, the hospitality and smiles of the citizens of Saransk as 40,000 Colombians in yellow descended upon their town of 300,000, makes me unable to complain too much.

The ride back though – for 12 more hours, leaving at 3 a.m. – don’t even get me started.

I came really close to figuring out the Russian alphabet. Now, I’m not saying I understand even the vaguest semblance of the Russian language, but I spent a lot of time simply staring at the words.

My mother is a linguist, and from there I get the gift and curse of being overly conscious of language around me. In Russia, it started when I saw the most recognizable word in the world: Макдоналдс. Right, you know, the golden arches of Макдоналдс?

Now I knew Russia would be a different experience, but this struck a slightly different chord in me. McDonald’s is the most emblematic food icon in the world and my brain could simply not register it in another alphabet. So I just stared at it – for a long time. К is the clacking c noise, д is a d, н is an n, л is an l, and a c is an s. Yup – makes perfect sense: McDonald’s.

We started doing this everywhere – coming to our biggest breakthrough when we realized stop signs also literally said “stop” – not a translated version of the word, but “стоп;” literally the English word, written in Cyrillic letters.

If this doesn’t exemplify how much I’m my mother’s son, nothing does.

When I visit Colombia, people immediately know I’m from Bogota – my accent gives me away. This isn’t just me showing off my Spanish skills – it is actually relevant to this story. Thing is, Colombia is an incredibly regionally divided country. The U.S. may have states and Texas might swear they’re God’s greatest gift to the earth, but none of this compares to the strong regional ties of Colombia.

Paisas live in the mountains near Medellin – even I can’t understand half the words they say and people from Bogota, Cachacos, definitely look down on them a bit. But Medellin is a thriving city with a functional metro and a below average amount of corruption while Bogota is a traffic- ridden urban disaster of 12 million people – so maybe we should calm down the elitism.

Costeños live on the coast and are known for their vibrant culture – best expressed through music and dancing. Life moves a little slower on the coast.

For generations, regionalism was the main division in the country. It expressed itself politically and socially but even though the country was victim to violence and tragedy, politics was still a friendly conversation at the dinner table.

Over the past few years, amidst rising inequality and corruption, Colombia has fallen into the same trap as the rest of the world – increasing polarization and political animosity. The country had the chance to vote on ending a 50 yearlong war with the armed guerilla group, the FARC and against all odds voted against it. The presidential election runoff pitted a far-left populist who refused to call Venezuela’s government a dictatorship and a far-right critic of the peace process most closely aligned with an ex-president on trial for bribery and corruption.

All this to say, Colombia is divided like never before. Regionalism and classism seeps into the conversation. It’s not just right vs. left, but rich vs. poor and rural against urban.

But, amidst politics at their worst, Colombia finds itself with their best soccer team in a generation. When la selección takes the field, there’s not more conflict for a fleeting moment and we are all proud beyond comprehension at the meaning of being Colombian.

I’ve always said that no one lives soccer like we do in Latin America. Most of the world may be obsessed with the sport, but it simply does not compare to the way Latinos feel about it.

However, there is one close second place on the fandom list – the English.

England’s history with soccer is truly difficult. The country is obsessed with the beautiful game, yet rarely find themselves on the winning end of a tournament. World cup after world cup, teams of immense talent disappoint a nation that lives and dies by their successes and failures.

Here they found themselves, playing a grueling 120-minute match against Colombia for the chance to advance in the tournament. I’ve always said that I couldn’t imagine anything more stressful than watching my country in a World Cup penalty match, but I cannot even imagine how it is for the English. There is not an Englishman who is not still traumatized by the three penalty shootout losses in their history.

I left that day cursing England and everything associated with them. I felt robbed, but truth be told, that country couldn’t handle another soccer heartbreak.

Andres Escobar was shot and killed after scoring an own goal during the 1994 World Cup. It’s rare that a soccer story transcends the barriers of the sports section and became the news story of the year. This tragedy, orchestrated by an angry gambler and drug cartel leader, haunts Colombians to this day. It was the best team Colombia had fielded. It was a young player about to sign his first big contract. And in the most Colombian fashion possible, it had all been brought down by criminality, corruption, and drugs.

I’m not going to tell you the whole story, it’s too sad and too long – but it is necessary context to understand the perpetual stormy cloud that hangs over Colombian fandom.

I don’t think I’d ever seen so many adults cry in such a concentrated location. It felt like an awkward funeral in which everyone was wearing yellow. While around 2,000 Japanese fans cheered in the remote city of Saransk, 40,000 Colombians stared at the pitch in disbelief.

We’d made this entire trip to a place that probably no Colombian had before, believing we would have an easy path to victory. Then, with a 5th minute red card and penalty goal, the enthusiasm of the first touch ended and we lost a game we never imagined would not go our way.

A creepy silence overtook the stadium as the final whistle blew as we all stared at each other, frightened for what this loss would mean for the team and for the country.

I was in the Red Square the day Brazilians took it over. It’s a truly uncanny feeling to be surrounded in the most stereotypically Russian place in the world. Lenin’s mausoleum on one side, the Kremlin’s maroon brick walls on the other, and 40 Brazilians screaming their anthem and waving their highlighter flags.

I have to admit I failed. I sought to explain fandom and am leaving with more questions about it. I sought to understand my own relationship to my home country and I’ve grown even more confused.

I thought I knew what fandom was, I thought I exemplified it – I was traveling across the world to see my team. Then I met a Colombian man who sold his car to be able to lose his voice in Russia. Then I heard of a Peruvian family who mortgaged their house to book their plane tickets to Moscow.

I was naïve in thinking I could fit fandom into some logical theory of human behavior. Oh well – another excuse to be back in 2022.