The Final 22: Volume 4
The final Volume of The 22
First, thanks for being you.
Thanks for all your ideas, work, events, and gracious praise you’ve sent over the past years. It is with no small amount of bittersweet sadness that I’m officially announcing that Volume 4 will be the last issue of The 22 Magazine for the time being. After much discussion over the holidays between myself and others, we’ve come to the conclusion that as much as we love this project and the people who take part in it, our current opportunities and obligations elsewhere are making it impossible for us to take the time and patience needed to make this project A+. That being said, I don’t worry. There are so many publications out there doing great things, I’m certain this drop in a bucket won’t be missed, nor forgotten.
If anything changes we will certainly be here to get publishing back on track.
We are still in the process of discussing a possible book publishing project in the next few years (similar to what we do now, on a more lax schedule.) On that note. The final volume will be released in just a few weeks and we will announce it available for print and online. We will follow with the closing up of shop.Have we told you how much fun you were to work with? Have we reminded you how excited we are to see you future work?
Well we are. What an amazing collection of creatives we’ve encountered.
Please do not give up the good work.
Don’t hesitate to give us a shout if you have questions, concerns or just want to say goodbye.
We cannot thank everyone enough who participated and contributed to this project.
Editor and Publisher,
THE WEEK: MARCH 12-16.
Fiction Magazine 40th Anniversary Celebration
Celebrate the new issue and Fiction’s 40th anniversary with contributors Sheila Kohler, Jerome Charyn, Brendan Kiely, and Kesi Foster.
OPERA ON TAP.
OPERA ON TAP. Opera is fun. Most people don’t seem to realize how much fun it really is. In order to prove it, Opera on Tap has taken its act to barrooms where they found out that beer on tap enhances the operatic experience. The company is made up of young singers and instrumentalists who relish the direct contact with audiences not inhibited in their reactions by the looming menace of giant chandeliers.
With its cautionary title, Triumph skewers the hubris and folly of human ambition. This cavalcade of epic works references mythology, the occult, and organized religion, and uses age-old techniques of visual storytelling to voice personal angst. Depicting grand themes with extravagant embellishments, Kuksi’s assemblages of small, mass-produced materials are intrinsically narrative. Like gilt Baroque altarpieces, their stunning excess of detail is the ideal vehicle for the artist’s critique of power and piety. And like those early works of public art, they appeal to the viewer to transcend the strife and striving associated with greed.