NewPages Blog :: Magazine Reviews

The writing in Split Lip pulls the reader in, immediately. All the pieces seem to have that attention-grabbing first line(s). Take these for example: “Jude discharges liquid through her mouth all morning. She suffers from the opposite of motion sickness—she can’t handle the stillness” (Genevieve Hudson’s “Even Wild Horses”). “It happens in a Hong Kong hooker hotel, / off Nathan Road.  A round bed under mirrors, / girlie pinups gazing from candy-pink walls” (Lauren Tivey’s “The Breakdown Atlas). And: “You wake up on the toilet staring at your dick” (Sean Davis’s “Sudsy Penguins”). But, of course, first lines are the only part of the story. After each of these lines come excellent fiction, nonfiction, and poetry. Continue reading “Split Lip – May/June 2013”

In the foreword to the first issue of Lost in Thought, published in July 2011, Editor-in-Chief Kyle Schruder explains that his modus operandi was to contact writers and visual artists, solicit either previously completed or new work, and pair images with fiction of 1500 words or less. If a writer submitted a finished story, Schruder approached an interested artist with the option to make a new work based on that story; if an artist submitted a completed photograph or drawing, Schruder approached an interested writer with the option to write a story based on that image. The pairings should “create something entirely new,” according to the current website. They should inspire the imagination. They should lead you, or permit you, to lose yourself in thought. Continue reading “Lost in Thought – March 2013”

Muse-Pie Press’s new magazine (they also publish Shot Glass Poetry and the fib review) puts out video and sound files of spoken word poetry. While this often includes slam poetry, it isn’t exclusively so: “Bent Ear Review is about giving a voice to poets, enabling them to express their work with their own emotions and passion in the form of the spoken word.” Continue reading “Bent Ear Review – 2013”

A literary, though not a little, magazine, Mandorla is published by the Department of English at Illinois State University in Normal, in collaboration with Southern Methodist University, where its founding editor, Roberto Tejada, is a distinguished professor of art history. Tejada’s interest in interdisciplinary research and synergies infuse the magazine with a focus on the creative process and the synthesis of multiple art forms. This 542-page tome is the 15th issue of the magazine, which started in Mexico in 1991 and has been published yearly under the current aegis since 2004. Continue reading “Mandorla – 2012”

The first step into the third issue of Apeiron Review is Jenny Taylor Moodie’s poem “I Am,” which speaks to not being the “perfect” looking woman, the one “dipped / in smooth cold plaster / filling all [her] cracks and hiding every insolent flaw.” Instead: Continue reading “Apeiron Review – May 2013”

Is it backhanded to say that most of Moon City Review 2013 is promising? The truth is, the issue is eclectic and accessible. The prose narratives tell their stories in a straightforward manner that hold my attention, and the poems leave little doubt as to the image or sentiment they’re driving for. But as I read, I often find myself wishing that many of these pieces had received one more editorial pass: so little separates them from promising to satisfying. Continue reading “Moon City Review – 2013”

Possibly every reviewer has made a reference to the Pleiades constellation when reviewing Pleiades: A Journal of New Writing (& Reviews). The connections are hard to miss. Just as the constellation has many stars, some of which shine brighter than others, the journal is a collection of many polished works that resonate even if one has to examine them closely, as if with a telescope. The stars are also known as the Seven Sisters, and here the connection ends, at least for the Winter 2013 issue in which none of the pieces seem to be siblings but perhaps distant cousins of one another, at times a few steps removed. Continue reading “Pleiades – 2013”

This issue delivers a lot of interest in relatively few pages by coming at writers from more than one angle. This is particularly effective in the treatment of Carolyn Elkins, a fine poet now living in North Carolina but with roots in the Mississippi Delta, where Poetry South is based. We’re given a generous serving of Elkins’s poetry, seven poems, as well as an interview with her by the magazine’s editor, John Zheng. As a bonus, Zheng discusses three additional poems with the author in some detail and prints the texts in full. Here, all in one place, is an introduction to a poet whose skill and imagination run deep. Continue reading “Poetry South – 2012”

My first job out of high school was at a small theater that played artistic, foreign, and independent films, but right next door to this theater was a rowdy biker bar. I was always fascinated by the juxtaposition of the theater’s well-to-do patrons of the arts and the leather-clad highway warriors who would sometimes swing by to purchase large tubs of popcorn drenched in butter. Radio Silence, a unique literary journal that blends literature and rock & roll, reminds me of that wonderful cultural clash. In this journal are stories and poems from some of the strongest writers of the previous century and essays that analyze music from influential rock bands and musicians. Continue reading “Radio Silence – April 2013”

Co-publishers Celia Blue Johnson and Maria Gagliano of Slice magazine want to take a moment of your time to share with you their rabid obsession with literature: “This issue of Slice was designed to interfere with your day. We want you to miss your subway stop because you were too busy turning the pages.” This is no joke, dear reader. Obsession is the theme of this issue and every story, poem, and essay is dangerously addictive to read. Subjects range from the mundane to the insane and every piece of writing is sure to keep your attention as your train passes you by. Continue reading “Slice – Spring/Summer 2013”

Alaska Quarterly Review (AQR) is “a journal devoted to contemporary literary art.” This double issue is indeed artful, and reading through the selections is like wandering through a museum one has loved since childhood, from school trips through failed first dates and on into the future of adult wanderings, each stage of life a visitation filled with misgivings, missteps, and misunderstanding. Continue reading “Alaska Quarterly Review – Spring/Summer 2013”

Published out of Farmington Hills, Michigan, Absinthe identifies its contributors with the help of more than 40 editorial advisors, including Aleksandar Hemon, Adam J. Sorkin, and Sonja Lehner. These advisors, themselves writers and translators, along with Absinthe’s editors, have selected for this issue a preponderance of Eastern European works, including contributions from Romania, Moldova, the Czech Republic, and Croatia, as well as Spain, France, and Scandinavia. Continue reading “Absinthe – 2012”

The seventieth issue of Arc, an annual journal published in Ottawa, Canada, features an email interview with poet Elizabeth Bachinsky, in which she writes: “We really are living in hybrid times.” A fitting remark both for the “cultural capital” writers find themselves living with and for this intelligently edited gathering, which takes as its theme “Reuse and Recycle: Finding Poetry in Canada.” Poetry editor Shane Rhodes contributes the titular essay, considering reuse and recycling in the context of found poetry: its background in Canada, its shifting motivations, and its internet-driven permutations. With few exceptions, however, most of the work in Arc considers reuse obliquely and explores material subjects through honed language rather than through the repurposing of archival or computer-generated texts. Continue reading “Arc Poetry Magazine – 2013”

Aufgabe is a tome. It weighs 1.5 pounds on my bathroom scale, and that’s a paperback without any glossy pages. The journal publishes once a year, and the 2012 issue contains American poetry, a section of poems by poets from El Salvador in the original and in translation edited by Christian Nagler, other poems in translation, essays, reviews, and “notes.” Continue reading “Aufgabe – 2012”

Court Green devotes a big chunk of every issue to a dossier on a special topic or theme. This year it’s sex. There are many fine poems here, but before I get to them, I want to make an observation based on reading so many poems about sex in one bunch. Continue reading “Court Green – 2013”

Ascent has been featuring essays, fiction, and poetry since 1975. The website is updated regularly, every couple of months. Continue reading “Ascent – January/April, 2013”

The experience of a minute occurs differently on a train, in sixty parts, rather than the measurable clattering of east coast winter hellos, vowels in mini-seconds through the incisors. Traveling by rail has been the essential inorganic character of thousands of recollections of the Western canon. Like the prospects of vaudeville and print journalism, it was meant to last forever. And thanks to a moving, technically masterful essay by Barbara Hass in the current issue of Fjords, it does. Her essay, “This Wilderness We Can’t Contain,” is imaginative without losing the tight management of its political and philosophical themes, without unraveling the travel narrative in the irresistible surrealism of the setting. In unpacking the 2011 flood of the Missouri River, she captures an essential rail experience—with the expert and shifting lens of the other elements that contribute to environmental disaster. Continue reading “Fjords Review – 2013”

If discussion of female genitalia makes you uncomfortable, this may not be the journal for you. But if you understand and appreciate that women’s sexuality is natural, then read on. Continue reading “Cliterature – Spring 2013”

“Accept the changes, Celebrate the advantages, Find Purposes.” This quote from Mike Shirk, a disabled artist featured in Kaleidoscope, exemplifies the humanity, humility, and honesty you’ll find in the issue. A magazine dedicated to discussing disabilities through art, fiction, poetry, and personal essays, Kaleidoscope is inspiring. This “Significant Relationship” issue (the last print issue before they transition to a digital model) offers comfort to caregivers, understanding to outsiders, and hope to the disabled. Kaleidoscope is different than almost every other literary magazine I’ve read; it is art with a purpose—with a humanitarian agenda and a palpable sense of community. Continue reading “Kaleidoscope – Winter/Spring 2013”

If I can say one thing about The Drum it’s this: don’t read it. No, you read that correctly. It’s just a corny joke to say that you can’t read this literary magazine; you listen to it. Your resource for “Literature out Loud,” The Drum publishes fiction, essays, novel excerpts, and interviews in audio form, often in the author’s own voice. Even if you don’t think you’d enjoy audio literature, go to the website, at least to check it out. Continue reading “The Drum – 2013”

Reading a long short story is a special process somewhere between starting up slow and circling around for the long haul, as you do for a novel, and nabbing on the fly the conflict and character quirks thrown out by the early paragraphs of a short story which are swiftly brought to some end. So I respect and admire the unique mission of The Long Story: to publish stories of eight to twenty thousand words (most between eight and twelve thousand) and let the reader develop a relationship with the ideas and people unfolding between the first and twenty-thousandth words. Continue reading “The Long Story – 2013”

Fiddleblack, an online magazine now on its tenth issue, seeks to find and publish pieces that “eloquently capture what it means to know the finite bounds of self and place.” The editors go on to say that they are “interested in works of fiction, poetry and creative nonfiction that make purposeful commitments to figuring out whom one is meant to be, and how it is that one should exist in the space enclosed around him.” And certainly the characters included in this issue are searching through these problems. Continue reading “Fiddleblack – April 2013”

In the United States, the word freedom is talismanic, introduced from kindergarten as the American creation myth and held up by politicians and news commentators, rightly or not, as the premier American export. We own the idea—so the subtext goes—and the rest of the world struggles to become like us. So when I hold in my hand the Winter 2012 issue of Mānoa, called On Freedom: Spirit, Art, and State, I wonder how each piece and photograph defines freedom: does the definition conform or aspire to the American definition, and is it first and foremost political? Continue reading “Manoa – Winter 2012”

The feel and writing of Literal Latte, a magazine that has been “serving up a stimulating brew since 1994,” are authentic. All of the work is quality and well worth the read. And what’s even better is that this issue features contest winners—the best of the best. Continue reading “Literal Latte – Winter 2013”

If any magazine could create a mythology in one edition it would be Poetry. To accomplish this in one issue is next to miraculous, but this is what they have done in the April 2013 issue. Christian Winman and a small cast of editors make their work look effortless, the selections of work by established poets speaking for a larger humanity. Continue reading “Poetry – April 2013”

Mezzo Cammin is a journal “devoted to formal poetry by women.” The explanation of the title is explained as such: Continue reading “Mezzo Cammin – Winter 2012”

The Potomac Review publishes fiction, nonfiction, and poetry from a wide selection of established and emerging authors. From the homepage of their website: “Our philosophy welcomes variety, and through it, we create an organic flow of ideas to contribute to the literary conversation.” The conversation in this issue is definitely worth checking out. Continue reading “Potomac Review – Winter 2013”

In REAL: Regarding Arts & Letters, Billy Longino interviews Stewart O’Nan and extracts the following prescription: “I found that in a lot of the plotted fiction the plot was getting in the way of what I thought the novel does best: create depth and use time to illuminate character.” The interview explores O’Nan’s literary theory in compelling insight. Hearing the analysis also informs a reading of the rest of the journal, in which writers succeed in illuminating character. Continue reading “REAL – Fall/Winter 2012”

Take note of the subtitle of Windhover. If you’re not a Christian, or if you don’t entertain at least a little curiosity about the claims of the Christian world regarding the salvific message and death-into-life of what Brian Doyle calls “that gaunt rabbi from Jerusalem two thousand years ago,” this may not be the journal for you. Every poem (there are thirty), prose piece (three, and two reviews) and work of art (several color reproductions by each of two impressive visual artists) requires at least some familiarity with the Biblical and cultural roots of Christian thought. Allusions to the life and teachings of Christ and to the tension inherent in faithful living abound in this issue. If you grok these allusions, this journal is an absolute treasure. If you don’t, you might be confused—or you might become a seeker, wandering a step or two toward conversion. Continue reading “Windhover – Spring 2013”

Zymbol is steeped in summer. A journal of surrealist fiction and poetry, this issue’s transcendence—occasionally incorporating the grotesque—appears with a tinge of nostalgia for warm days that have slipped away. With this nostalgia comes a feeling of loneliness, and an issue filled with introverted voices trying to find a connection to the world around them. Continue reading “Zymbol – Spring/Summer 2013”

I’ll be honest: revision is not my favorite part of the writing process. (I like to think I did it right the first time, even though that’s clearly not the case.) draft is special because it occupies an interesting place in the literary journal scene. Instead of rewarding the polished version of stories and poems with publication, the journal rewards the process by which writers make their good work even better. There are only two pieces in the journal: a short story and an excerpt from a book of poetry. Each piece is presented in an interesting manner: the final version is presented on the recto of each page, directly facing the draft version on the verso. Continue reading “draft – Fall 2012”

One of the poems I keep coming back to in this issue of J Journal is Judith Skillman’s “Estrangement.” I like the care and precision with which this fierce poem about old age is constructed. I like its John Donne-like metaphors and the way it broadens out from the senses to far-flung and historical references; from “Long nights / sleepless, punctuated by sleet,” to “the city seven hours south of Paris // called L’Age . . .” to the “second century martyr Perpetua, / coming now into the arena / to be mauled by lion, hyena, and laughter.” And I like its seemingly tangential relation to this journal’s stated purpose—in the words of the editors, “to gather creative writing under the justice banner.” Read in any other journal, it might not trigger associations to questions of justice. But its inclusion here enriches it with an existential dimension—what is “just,” after all, about growing old? Continue reading “J Journal – Fall 2012”

We all know the jabberwock, Lewis Carroll’s monster with its eyes of flame, riffling through the tulgey woods and burbling as it came. The story of the jabberwock “fill[s] [Alice’s] head with ideas—only I don’t exactly know what they are.” We might say that read-worthy literature is all like that, filling our heads with images and sounds whose meanings reach far beyond their mundane expression. I imagine that’s where the title of this journal, created by students and faculty of the Department of English at Mississippi State University, wants to point us: beyond our daily routines, into relevant, effective words that revise our ordinariness. Continue reading “Jabberwock Review – Winter 2013”

The history of millions in one cold breath, one empty train station, one terrifying silence. This issue of The Manhattan Review plants us in the aftermath of the Warsaw Ghetto Uprising and then attacks it mercilessly from the individual, not the statistical. Those who lived to deal with the silence, to inhabit neighborhoods forever changed, move on. Continue reading “The Manhattan Review – Fall/Winter 2012/2013”

The Mississippi Review, edited in Hattiesburg, printed in Brooklyn, and disseminated worldwide, does not accept unsolicited work, but its winter 2013 compilation is diverse, as though culled from every doorstep in this hemisphere, and the next. I found myself acutely aware of the language in the journal. You can have rich ideas but spare prose, and for me, when you have both you have discovered something rich and renewable. The takeaway is clear; buy two copies, so you can draw exclamations in the margin of one and keep the other pristine. Continue reading “Mississippi Review – Winter 2013”

How could one resist picking it up! Who, after all, could resist such a title? “The Disquiet of Men: in which we skirt tragedy, watch marriages wither, and seek direction while riding the rails.” Continue reading “The New Quarterly – Winter 2013”

I hear women’s voices when I read this magazine. I should: this is a “140-page, perfect-bound, all-women’s literary journal published annually by the University of Alabama at Birmingham”; every voice is a woman’s. But I didn’t expect to feel such a bond, such a connection, and I was unexpectedly moved as I read: these writers know how I feel, they live my life, they speak my language. I teach fiction writing, so I went to the story section first. Every story made me smile with recognition and appreciation, and each one left an echo in my mind, an impression I carried around with me as I do with the best literature—a new way of perceiving my ordinary world, no longer ordinary, thanks to these women writers. Continue reading “PMS poemmemoirstory – 2013”

A Public Space showcases a splendid selection of stories that balance plot, pacing, and literary innovation without sacrificing what makes classic short fiction remain essential. From the first story in the volume, “American Lawn” by Jessica Francis Kane, to the last, a translation, “Something in Us Wants to Be Saved” by Patricio Pron, the reader glides through the narrative. There is enough drive in the stories, metered without sacrificing the thrall of language, to make you read endlessly, wanting to know the end, but letting the powerful pacing direct your review—allowing all truths in its own time. Continue reading “A Public Space – Winter 2012”

War is a constant throughout human history. Even now as I write this review, North Korea is threatening all-out war with South Korea and the United States (even though they have technically been at war since 1953, but we won’t get into that). The latest issue of The Sewanee Review examines all the facets of war in its collection of fiction, poetry, and essays. From the battlefields of the distant past to the conflicts of today, the authors in this issue examine the heavy cost of war and the impact it has on those who survive. Continue reading “The Sewanee Review – Winter 2013”

Brevity Poetry Review publishes—what should be obvious from the title—short poems, all coming in at under 30 lines. Each issue puts forth just 10 of these short poems, giving more weight to each one. And this issue contains no mediocre poems; they are all worth reading. Continue reading “Brevity – March 2013”

All the bad, bad boys. You sort of wanted them to fraternize with each other—take the sociopath Greg from Erika Wurth’s short story “Freight Train” and introduce him to the Matthew/Luke character (trust me, they are merged in the story too) from Graeme Mullen’s memoir of creating a community art project, then place them under the suicidal tutelage of Ilya Leybovich’s eponymous ‘suicide artist’ flailing for good fortune in the Upper East Side. I wanted the characters to meet each other, and that is how you know that even the surreal ones are thoroughly alive. Continue reading “Southern California Review – 2013”

Ghost Ocean Magazine publishes some of the best poetry and short prose; as far as long prose goes, they say, “Just don’t waste our time.” Published on their website in an easy to navigate and read format, the writing feels cohesive, like it really does belong together under one roof. Continue reading “Ghost Ocean Magazine – January 2013”

World Literature Today always packs an exciting table of contents, one that makes me want to spring up off my couch and catch the first international flight. I see the shining achievement of WLT in the editors’ ability to balance what is innovative and cutting edge with what is well established and relevant. Its unique content distinguishes it from most mainstream literary magazines, giving it vitality and spunk. This special double issue treats photography as a modern narrative form. Featuring twenty-one photographers, the spread beautifully illuminates many intersections between literature and photography. Continue reading “World Literature Today – March-April 2013”

Spry is a new literary journal that claims to be a place “for people who excel at taking risks.” And certainly, even in their very first issue, they have succeeded with this. Continue reading “Spry – 2013”

Star 82 Review puts forth its first issue, filled with sections titled “Shorts,” “Postcard Lit,” “Art Post,” “Erasure Text,” and “Hidden Gems.” I wish this magazine well, because they are already publishing great work. Continue reading “Star 82 Review – March 2013”

SWAMP is an online magazine that exists to feature the writing from postgraduate creative writing students. Edited by postgraduate writers, it is a great community for these students. Continue reading “SWAMP – Number 12”

Picking up this issue of Beecher’s Magazine is like sneaking into a speakeasy and becoming part of a very cool, very exclusive club. The gray cover of the perfect-bound journal is distinguished by a gold squiggle and a round cut-out that only reveals the issue’s number. It seemed to me that the whole Beecher’s team was on the same gold-edged page; the fiction, nonfiction, poetry, and art chosen by the editors is just as mature and inviting as the journal’s design. Continue reading “Beecher’s Magazine – Spring 2012”

Tongue doesn’t claim to provide any answers, to provide stories that reveal them, but the editors “revel, instead, in poems and art at ease with a kind of ambivalent vulnerability.” And as I read this issue, I certainly felt that. Continue reading “Tongue – Winter 2013”

Before reading Chtenia: Readings from Russia, my only experience with Russian literature was in college, where I read Chekov’s “The Lady with the Dog” and Gogol’s “The Overcoat.” I fell in love with these stories and realized that I needed more Russians in my life. Chtenia satisfies with its wonderful selection of fiction, poetry, and essays from Russian authors both past and present. The winter 2013 issue is a special treat because it is dedicated to all things dark and scary in Russian literature. Senior Editor Tamara Eidelman writes: Continue reading “Chtenia – Winter 2013”