This is, by far, the most diverse literary magazine I’ve ever encountered. On the Labletter’s introductory pages are art images, followed by fiction, photography, a feature on an improvisational acting company, which includes a scene from their improv play based on Greek tragedy. Finally, under a heading as broad as Gallery, there are photos, art of both two-dimensional and three-dimensional sort, more fiction, and a few poems. That the magazine comes with an equally diverse CD is as astonishing as reading the print edition is.
I loved the artistry of the first few images, most notably that of Rachel Youens and Mishael Coggeshall-Burr. Both of these artists’ work is slightly reminiscent of Monet; all softly blurred lines, but with the edgier sense of the twenty-first century. They are beautifully rendered images. Also found amongst the Images heading are photos of three-dimensional, experimental art. I particularly enjoyed James Doubleday Jr.’s Copper Spirit Vessel. This piece reminded me of Christopher Columbus – somehow conjuring in my mind a flat earth, a ship, and a compass of sorts. It is a finely wrought piece of art. I liked, too, Bill Mondi’s photographic collection of 9/11 inspired pieces. The interview with the theater company, Ghost Road Project’s Katharine Noon was illuminating, as much as were the photos of the Aurora Borealis riveting.
The accompanying CD was filled with a most enjoyable collection of musical solos, and a beautiful song about a girl’s man and the moon, called “The Tide.” There’s also a rousing rendition of a song called “Moving In,” by Brian Weir, wherein he jokingly sings that “The neighbors are worried, they're all in a tiz, cause they’ve never seen license plates that read ‘his' and 'his.’” The CD’s final offering is a song called “Blackie wants a Cheese Fish,” where the lyrics force a smile with the words, “In America you can buy crackers shaped like fish that taste like cheese.” The whole Labletter experience is one to be treasured.