Good evening readers, writers, and relatives,

 

I’m extremely grateful to have been able to work on this issue alongside a team of such enthusiastic, hard-working individuals. As Common House continues to grow, we are slowly but surely moving into a steady rhythm that will continue to beat for many issues to come. The tight-knit sense of community we were able to cultivate this term is truly what fuels small publications like ours, particularly within the context of an academic setting. Similarly, thank you (yes you!) for your support and readership—I think I can speak for both our editors and contributors when I say it truly means the world. 

 

But back to the Issue at hand. 

 

We’re delighted to present you with a motley assortment of pieces this fine Fall. What seemed to be the theme of interest in this issue was the concept of “family dynamics;” we saw it again and again, explored through a kaleidoscope of lives and voices. But as we began the issue’s construction, we were pleased to discover a secondary theme of “painting and perception,” which contained literary, artistic, and thoughtful meditations on art and the artist. 

 

The pieces are arranged in a winding order that co-mingles the duality of inside/outside perspectives of the family with the artificiality of the fourth wall as some pieces stand at the very edge of their canvases and gaze outwards. This hybrid collection manifests as the “family portrait,” whether those relationships be real or imagined, blood or bond. 

 

Finally, I am proud to say that over half (6 out of 11) of our contributors for Issue 4 are homegrown talent from uOttawa. Common House will always be a space for rich, high-caliber work, from anyone and anywhere—but it’s an extremely special feeling to be able to spotlight our peers’ pieces alongside the rest of our fantastic submissions from far and wide. 

 

So, without further ado, onto your scheduled programming…

 

Lights out,

Heidi Elder (Editor-in-Chief)