Ink & Letters Issue 6
Theme: "transition"


My guess is that you, at this very moment, are in some form of transition—between jobs, between schools, moving out of a relationship and into a new one. Maybe it’s a new city, a new home, or a new state of mind. We all live our lives in almost constant flux. Even if we're not in the midst of a personal transition, one need not look far for evidence of an ever-changing world, both ecologically and culturally.

Though we may feel that the world is changing or transitioning at breakneck speed, you could say we’ve become almost acclimated to it. All of this change was perhaps more jarring in the early twentieth century as artists and poets sought ways of dealing with the speed, noise, and sheer chaos of a world that seemed to spin faster than ever before.

Futurist poet Filippo Marinetti, attempting to reinvent poetry, explained that a man who has witnessed an explosion does not stop to connect his sentences grammatically but hurls shrieks and words at his listeners. In a 1919 painting by Fernand Léger simply titled The City, one can almost feel the tension and hear the bustle of an increasingly congested and restless city. By synthesizing existing forms of expression with the new realities of the modern world, these artists were telling new stories about what it means to be human. 


Words and Freedom

1914, Filippo Marinetti


The City

1919, Fernand Léger

There is a distinctly human pursuit to make spiritual sense out of the change around us, to understand why it’s happening and what it means. Additionally, there seems to be a new interest in that which is old—those things that weather the storms of transition, those points of stability that give us comfort and signs of hope in the midst of a seemingly uncertain future.

Visually speaking, we find ourselves now, in space and time, in the midst of a wonderful and complicated gradation. I’m excited to see how you interpret and give form, life, and meaning to the theme of “transition."

—Corey Fuller, Ink Editor

Please submit all entries by Friday, August 25.

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Guidelines for artists:

Ink & Letters publishes works in a variety of media—photography, drawing, painting, printmaking, mixed media, photographs of sculpture and installations, as well as graphic design pieces. Please submit hi-res graphics files (300 ppi) in the form of JPG or PDF. For full-bleed pages, please submit for a printable area of 8.5w x 11h for a single page and 11h x 17h for a two-page spread (don't forget to include an 1/8th inch bleed). Please include (where applicable) title, medium and dimensions. Though it's not a requirement, artists are encouraged to submit a rationale statement along with the work. Please include a biographical note of 75 words or less in the body of your e-mail.

Guidelines for writers:

Ink & Letters publishes works of poetry, fiction, and nonfiction. We encourage unsolicited submissions and give each submission careful consideration. Submissions of writing should be sent as e-mail attachments in .docx or .rtf format to Poets may submit up to five poems in a single document, not to exceed ten pages. Prose writers may submit only one piece at a time, not to exceed 3000 words. We are highly interested in shorter prose forms—flash fiction, micro memoir, lyric essays, hybrid forms, etc.—and up to three of these may be submitted in a single document. We welcome simultaneous submissions but ask that you e-mail us to withdraw a piece if it is accepted elsewhere. Our typical response time is within four weeks but sometimes longer, especially for work that advances to the final stages of our decision-making process; please do not query before three months have passed. Please include a biographical note of 75 words or less in the body of your e-mail.

As a curated journal of art, creativity and Christian faith, each issue of Ink & Letters is informed by the intersection of these concerns. Not all of our contributors identify as Christian, however, and we welcome submissions from writers across the spectrum of Christian traditions and beyond.