Editor's Note

Abstract

particularly the senior editing positions, are transitory from year to year. Rarely does any senior staff member stay in their position as prose or poetry or managing editor for more than two consecutive years, if that. When your entire staff is comprised of college undergraduates who are constantly moving on to new platforms of life, this is inevitable; it’s just too bad that most managing editors only get to oversee one issue of the journal before having to entrust to someone else the welfare of what has essentially become his or her “baby.” Change, however, is ultimately a good thing. I believe the Red Cedar Review would not have had as long and diverse a life as it has without a continual flux of voices and opinions. We should strive not to replicate the past, but to simultaneously preserve and transcend it; it was in this spirit that the issue you hold in your hands was created. To my knowledge, this is the first issue in the history of the Red Cedar Review to exclusively publish college undergraduate contributors. This is a radical departure from the journal’s past, in which everyone from professional working authors to prison inmates have sent in their work for review; and, truly, this has contributed greatly to the journal’s rich history. It was thanks to this broad method that the Red Cedar Review has had the privilege of publishing works by famously talented writers such as Pablo Neruda, Jim Harrison, and Margaret Atwood, to name only a few. The decision this year to accept submissions exclusively from college undergrads across the country raised more than a few eyebrows, to say the least. This issue also marks the first edition of the journal to intentionally include the genre of visual art alongside literature. Photography and other select artwork has always had a scattered, here-and-there sort of presence in the Red Cedar Review, editor’s note