From the Editor’s Desk
To live in this world
you must be able
to do three things:
to love what is mortal;
to hold it
against your bones knowing
your own life depends on it;
and, when the time comes to let it go,
to let it go
— Mary Oliver
from "In Blackwater Woods"
The Endicott Studio, as many of you know, was born over twenty years ago. Originally a bricks-and-mortar studio in Boston (a workspace, exhibition space, and gathering place for creative artists inspired by myth, folklore, and fairy tales), Endicott grew up to become a nonprofit mythic arts organization, supporting projects, events, and publications of a mythic nature in the US and UK.One of those projects was the Journal of Mythic Arts — which, from its earliest incarnation to its present form, has been on the web since 1997, making us one of the oldest online magazines in our field. I recently re-read the Mission Statement created back when the Endicott-JoMA website began. Our aim, it said, was to:
- celebrate and promote mythic arts
- explore the history and mythic roots of our field
- foster the creation of a trans–genre, trans–discipline, trans–atlantic mythic arts community
- provide resources and information for working mythic artists, students, and scholars
We hope you feel we stayed true to this mission during the Journal of Mythic Art‘s long run, and we thank all of you for supporting it.
So why are Midori and I ending JoMA with this issue? You can read our reasons in depth on the JoMA blog,but to put them a bit more succinctly here: All things have their seasons. Editing JoMA has been a great labor of love over the past eleven years — but we’d like to carve out time for new Endicott ventures, as well as more time for our own creative work.
As we say goodbye with this Farewell Issue, we want to be clear that it’s only JoMA (and its blog) that is closing — the Endicott Studio is still very much alive, and still dedicated to contemporary mythic arts. Look for our new Endicott Studio blog,where we’ll announce upcoming Endicott projects just as soon as they’re ready for public view. The Endicott blog will be smaller and less frequent than the grand old JoMA blog, for it will be limited to Endicott Studio news — but we hope you’ll drop by from time to time nonetheless, or add us to your syndication feeds.
The massive archives of the Journal of Mythic Arts will remain online and available to readers old and new. We’ll also keep the old JoMA blog online, a least for a year or so, as it’s still a useful source of mythic arts links, reviews,and information.
As I look back over the two decades since the Endicott Studio for Mythic Arts began, what I’m proudest of is the fact that "mythic arts" now exists as a recognized field . . . and thatJoMA played a small part in this. Every time I see people describe themselves as creators or devotees of mythic fiction or mythic arts, it gives my heart a little glow — for these terms did not exist twenty years ago. Myth–inspired arts have always existed, of course, but they were spread out over numerous fields,genres, and artistic disciplines. Our aim was to establish an umbrella term under which we could gather all these diverse, marvelous myth–and–folklore–inspired art forms together — for the purpose of study, enjoyment, promotion, and creative cross–pollination.
Now it’s time to pass JoMA‘s torch to a younger generation of myth–inspired editors, writers, artists, critics, and scholars. It’s you who will forge the field’s new paths. So here’s the torch. Let’s spread that light around, for it’s already split into multiple flames — carriedby Mythic Passages, Fairy Tale Review, Cabinet des Fées, Les Bonnes Fées,Goblin Fruit, Phantasmaphile, and so many others. I’m eager to see where those lights will lead. I’ve laced up my walking boots. Let’s go.
Devon, Summer 2008
Thank you . . .
. . .to the writers and artists who contributed to this final issue, and to all the writers, artists, performers, and scholars who have contributed to JoMA since 1997. (A full list is available here.)
Special recognition is due to Jamie Bluth, assistant editor at Endicott, as well as JoMA‘s copy–editor and proof–reader. And to JoMA‘s staff writers & reviewers: Heinz Insu Fenkl, Elizabeth Genco, Kathleen Howard, and Helen Pilinovsky.
Midori Snyder (a.k.a. Code Girl) has been JoMA‘s web designer since 2004, with Paul Hinze and Elizabeth Genco providing assistance. Earlier versions of JoMA have been coded and/or designed by: Peter Brough, Christopher Lathem, Richard & Mardelle Kunz, Anita Dobbs, Jim Otepka, Carlotta Love, and Munro Sickafoose — allof whom were unstintingly generous with their time. Thomas Harlan very kindly donated server space from 1997–2006, until we outgrew our original home.
A final thank you to our readers, for funding us with your donations, for sustaining us with your enthusiasm, and for sharing our passion for mythic arts.
— T.W. & M. S.