An etching is a story, a story is an etching.
…Ok, we admit that first sentence was a little pretentious, and we could probably have done better. Let’s try again.
How have you been? Issue 4 is excited to meet you, even though it’s a little self conscious. Don’t worry, it will be okay. There have been setbacks and cutbacks and cutthroats and one-two-steps since the last issue, with all of us figuring out more about ourselves, about the business, literature, art, meaning, but there is only this final product to show for all of that.
Etchings are not that way. If you want to, you can save every part, trace the steps from beginning to end, show your pain and hesitation, that one speck of blood from when you pricked your thumb, reminding you of rust on the metal. And when you finally print, what you create is the reverse of what you made. And that’s that, you suppose. That’s how it always will be.
From now, to then, and again, we’ll try to document the phase shifts. Each issue may be a complete whole, but our artists and their work contained herein are each their own etching. As permanent, as imperfect, and as beautiful as the ink that stains and stays.
Boar by Julie Shavin
Out of the Cave and Down the Slope by D.M. Kerr
A Difference in Kind by Devon Balwitt
Longanimity by Alex Feldman
Urchins of Deadcast by Richard King Perkins II
You Lost the Game by Shannon Hearn
Lost Girl by Michael Mau
Two Photographs by Kyle Hemmings
Dream House by Carl Scharwath
Untitled: Etching by Erica Hoffmann
Winter 2017 –