Three years ago, as the summer of 2013 began heating up, a little niggle of an idea took root in my bookish heart. I was reading some wonderful new writing in lots of different literary magzines. The online ones, particularly, seemed to be welcoming writing that didn’t have a home in traditional publishing. Genre-hopping, -blending, -bending stories and poetry were finding publishing outlets and readers, readers who wanted more than literary novels or bestsellers, readers who wanted to be challenged. But I wondered. I wondered whether the digital form was being pushed far enough. Couldn’t we do more?
Poetry and storytelling surround us every day. In the lyrics of the songs we sing in the shower, or in the time our feet pound out on a run. In the Netflix binge over the weekend or the night we spend at the pub telling friends how insane our boss is. Still, online literary magazines have tended to mimic print. We act as though it is the low-cost version of the ‘proper’ publication, instead of using the medium for its unique opportunities.
The fact is the internet gives us the opportunity to look at storytelling in a larger sense and to connect the various forms of art in ways that were much more difficult before. Why shouldn’t filmmakers and poets collaborate? Why shouldn’t we give spoken word artists a place to perform next to the written word or photography or painting? Why do a photo and a poem need to be separate objects? And why is publication the end of the discussion about a piece?
I started talking about the idea of a digital magazine that would provide a space where we could test the boundaries of storytelling and art, a space that would incorporate videos and sound recordings, the written word and visual art, a space that would encourage artists to engage with the work of their contemporaries and to build on it. The response was overwhelmingly positive. Artists were looking for new, exciting places to publish and places where they could be a part of a community. Readers were looking for more than traditional publishers could offer them.
Fortune was with all the sins because Lisa was more than willing to bring her 20+ years editorial and journalistic experience to the team and so, in the spring of 2016, we started to make the dream real. We have worked to make this site as good as we can with our limited tech skills but the idea is that it will grow and develop as all the sins does, becoming an interconnected web of art that grows outward with every edition.
We hope that all the sins will be a place where we can build a community of artists. We hope that you will be an active audience and respond to the work of your colleagues. We hope that you will discuss, push further, contradict, and reimagine the work you find here.
We hope you enjoy!