From the Editors
It is better to live in a state of impermanence than in one of finality.—Gaston Bachelard
Issue 21 is in motion. From middle America to the ocean in Benjamin Carson’s unsparing portrait of escape, “Iowa, 1955.” From Munich to Spokane to California in Rebekah Bloyd’s mapped artifacts of a life, “Now Are You.” And from one end of the ballet studio to the other, and along the barre, year after year, in “When We Come to Class,” a love letter to dance by Carol Gremli. Finality, stasis; yes, we know it’s inevitable. But right now the air is brisk and we’re still moving.
—Claire, Suzanne, Cheryl
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