Issue 2 foreword:


At last, Issue 2 of Guesthouse has arrived, and friends, it's far out. Selecting submissions for this issue reminded me of one of the great powers of art: its capacity to telescope from the atmospheric to the individual in an instant, as if sending transmissions back to Earth from a higher place. Each piece in Issue 2 takes on the role of satellite in one way or another, witnessing the human world as if from afar, from beyond, and reporting on it's findings. Like the first color photographs of Earth from space, among them "The Blue Marble," taken by the crew of Apollo 17 in December, a photograph that launched a thousand ships, these pieces offer a glimpse of ourselves reflected back to us.

As such, each piece is dedicated to notions of perspective. Some toy with the productive tension fostered by juxtaposing process and product, like Neva Nobles-Alder's photography series, "Allusive Landscapes," images of micro-life captured on a macro-lens, the "small-scale landscapes [alluing] to much larger structures, phenomena, and plant life," and Kelsi Vanada's "3 Photos, 2014," which comprises images of her "grandparents’ former cattle ranch in South Dakota" she captured on a pinhole camera she built "out of an Altoids mint tin [she] could carry in [her] pocket."

Others, like Mag Gabbert's poems, "Toilet" and "Birthday Cake," telescope between the quotidian and the mythic, leaving her readers bobbing between the real and surreal like a buoy at the water line: "In to the white eye / Its gleam a hurricane / Spun out / Gaze blank and pitiless / The sea / Thousands of tiny swimmers / Straining / The fathom circling / The drain / And thy floods and thy waves." Never before has puking into the toilet been more strangely beautiful, more religious, as if that experience alone is what makes us human and what connects us. Similarly, Amorak Huey's poem, "Primer," he questions liminality and narrative. "The end of a story," he writes, "is the shape of a hole in the fence / the story runs through / on its way to the end." The poem examines the structure that builds our lives--beginning, middle, and end--m











 Jane Huffman, editor-in-chief

Jane Huffman, editor-in-chief