NewPages Blog :: Magazine Reviews

“[T]he way you can feel his intelligence moving on the page in the choices and turns he makes.” This is Cornelius Eady describing the work of Gregory Pardlo, the poet whose work he has chosen for “Poets Introducing Poets,” always one of this magazine’s finest features. I’m not sure I’ve ever read a better description of that elusive and spectacular quality that makes great poetry so hard to define and so easy to love. And Eady – who praises Pardlo’s line and his ear, as well as his poetic intelligence – couldn’t be more right about Pardlo. His work is “dense, but it’s never a burden to navigate” (“Kite / strings tensing the load of a saddle- / backed wind”). Continue reading “Poet Lore – Spring/Summer 2009”

You can hold Sentence in one hand. It’s fat, but also squat, and just the right size for a one-fisted read, so you can hold a cup of coffee, or a glass of wine, in one hand and hold up the journal in the other. But, wait – you won’t need the caffeine or the booze. Sentence provides its own special and particular high. I have loved it from the first issue, and this one is easy to love, too. Continue reading “Sentence – 2008”

Only three writers have ever published plays in The Sewanee Review, including William Hoffman, whose drama in this issue, “The Spirit in Me,” based on a story of the same title, appeared in the Review twenty-five years ago. The play takes place in a southern West Virginia coal town (Hoffman’s father, incidentally, owned a coal mine) in the sweltering summer of 1936 and is an exploration of race and class issues which unfold inside the framework of a love story, shaped by the strong arm of the law and the church. The dialogue is fast-paced, despite the sluggish, heavy heat, and the voices clear and true and particular. It’s easy to imagine a production of this short play, with its spicy, clipped dialogue, finely etched characters, enormous imaginative opportunities for a set, and historical importance. Continue reading “The Sewanee Review – Winter 2009”

South Loop Review is the creative nonfiction and art annual published by the English Department of Columbia College Chicago, and though said to “give greater emphasis to non-linear narratives and blended genres,” I would say the publication as a whole is fairly balanced in its variety. It might be more accurate to say the non-linear and blended genres are the stronger and more lasting pieces in this issue. Continue reading “South Loop Review – 2008”

The Fall + Winter 2008 issue of Memoir fluctuates from brilliant, precise, and unbelievably apt to sentimental, predictable, and disappointing. Reading this issue from cover to cover feels like a wild rollercoaster ride; while the peaks are so incredibly steep they are totally worth the purchase price of this issue on their own, the valleys are a dull and thrill-less place whose only attribute is the promise of an upcoming incline. Continue reading “Memoir – Fall + Winter 2008”

I’m not easily distracted by bright, shiny objects, but it’s hard not to skip right to Harry Gamboa Jr.’s fotonovela (photo story). The fotonovela is a two-dimensional take on the popular, highly successful, and always melodramatic Latin American telenovela (soap opera). Aztlángst – which, I think, is Gamboa Jr.’s invention and probably means Azatlán-style anxiety (Azatlán is the Chicano term for the US states that were once a part of México) – is a narrative that unfolds in black and white photos of various dimensions with text-box dialogue. The story is introduced with the cast of “actors” and a photo of a man face down on the sidewalk who turns out not to be dead, as one might suppose, but has collapsed in response to financial disaster (the angst in Aztlángst). “The entire system is based on panic,” Serpiento says when he’s told, “Whatever you do, don’t panic.” What is there to panic about? Bank swindling, living beyond our means, gangs, vigilantes, corporate socialism, dirty bombs, no credit, possessions repossessed, and rich war profiteers, all in four pages. The photos are hysterical; the text is an entertaining combination of irony and melodrama. I can’t wait to read the next installment (this is No. 1). Continue reading “PALABRA – 2008”

Slice Magazine is definitely slick. To begin with, it has a nice shape, slightly more square than rectangular, bigger than the typical paperback book – its very size lending itself more to the coffee table display than the random misplacement on an overstuffed bookshelf. Page by page, the design by Amy Sly and Amanda Ice is hip and pleasing to the eye; this issue is embellished throughout with a color I want to name “pumpkin,” the only additional color enhancing the requisite black and white. Titles are rewarded with their very own pages, the type large, unique, inviting, accompanied by a thematically appropriate illustration or photograph. Even the white spaces between sections of prose are uniquely addressed; while one story is divided by three pumpkin colored X’s, the next is divided by a series of pumpkin colored asterisks, the next by a pair of slightly staggered lines. The cover illustration by Jessica Gomez is immediately followed by an equally appealing cover photograph by Patrick Schlichtenmyer, as if the burden of narrowing in on a single cover layout was simply too much to bear. Teetering somewhere between an art/lit magazine or a lit/art magazine, the overall design and presentation of Slice is definitely exemplary. Continue reading “Slice – Spring/Summer 2009”

It’s a good thing that Alligator Juniper comes out only once a year because if you want to take in all of it – and you should – it would take nearly that long to get through it. That is, if you give the journal the time and attention it deserves. I hardly know where to begin. Continue reading “Alligator Juniper – 2008”

My favorite section of this issue was the interviews: Theresa D. Smith interviews the poet Adam Zagajewski, and Mehdi Okasi interviews the novelist Lan Samantha Chang. Zagajewski discusses how he writes poetry, why he writes poetry and themes in his work. “The empirical world is less luminous than our favorite books of poetry,” he concludes. Chang talks about her craft process and how reading other contemporary novelists has challenged her to write differently than she originally intended. These mini Paris Review-like interviews are both informative and inspiring. Continue reading “The Sycamore Review – Winter/Spring 2009”

Despite having to evacuate the city during the fall term, Bayou’s editorial staff nevertheless had time to compile an impressive selection of work. Especially notable are the nonfiction pieces and George Pate’s “Indifferent Blue,” winner of the Tennessee Williams/New Orleans Literary Festival One-Act Play Competition. Continue reading “Bayou – 2008”

A quick glance at the Contributors Notes of the Spring 2009 issue of Third Coast reads like a promotional pamphlet for the country’s top MFA programs. Coast to coast, nearly every school is represented, the teachers of writing, the recent graduates, those still pursuing the elusive MFA or PhD. Yet, despite the ongoing rant that too many MFA graduates will inevitably result in the generic poem or prose, this issue serves as a glorious contradiction. Occupying nearly 200 pages of text, a total of 28 poets writing 36 poems, 15 prose writers writing 6 short stories, 2 creative non-fiction pieces, 1 play, and several reviews for a recommended books section, I applaud the editors of Third Coast for their wonderful diversity of taste, for their willingness to publish both the well established and the newly emerging, for their particular caliber of excellence. This issue provides a little something for everyone in pursuit of a satisfying read. Continue reading “Third Coast – Spring 2009”

“This issue of WHR brings together several papers from ‘Critical Renovations,’ a symposium held at the University of Utah in November 2007. The symposium invited scholars of English working in a wide range of periods, genres, and media to reflect on, revisit, and perhaps recycle our scholarly past.” Hold onto your hat. Here comes some serious lit crit, cultural studies, scholarly stuff. I mean I. A. Richards, and Eve Sedgewick, and Saussure, and Leo Spitzer, and Ortega y Gasset, and Fredric Jameson, and Paul de Man. I mean “critical gestures,” and an “oblique gloss” on methodological problems, and “developmentalist narratives.” But, don’t despair! There’s something valuable in every one of these dense, academic essays. Continue reading “Western Humanities Review – Winter 2009”

Lee Gutkind is right. His ledes (opening lines) are better. This issue’s theme is “First Lede, Real Lede” and in his introduction, Gutkind lets us know that the magazine’s editors have rewritten three of the eight essays’ ledes in search of the “real” (and more effective) beginnings. What’s more, he invites us to compare the originals and the new-and-improved ledes for ourselves, as the originals have been posted on the journal’s Web site. (All three are supposedly available, though only two had live links when I visited.) Creative Nonfiction’s revised ledes are so much better; in fact, I was all the more eager to know which of the other opening lines had also been revised. Alas, I’m left to wonder. Continue reading “Creative Nonfiction – 2009”

Where have I been for the past thirty years? The older I get the more frequently I find myself stunned by the breadth and depth of my absolute cluelessness. Not knowing about Willow Springs is definitely my latest admonishment. If issue 63 is any indication, Willow Springs’s thirty year publishing history is hard earned and well deserved; from cover to cover, the work in this issue is above and beyond. Continue reading “Willow Springs – Spring 2009”

What captures my attention and then holds my interest is Cutbank’s predilection for strong, inviting first lines. Ingrid Satelmajer’s story “How to Be a Disciple” starts off the issue: “Sure, there’s the obvious – Jesus H. Christ, as Binky says, his thumb between a wrench and a hard place.” Rebekah Beall’s personal essay, “Sight,” which begins with “My God, you’re heartsick.” Cara Benson’s prose poems (though I am not sure they couldn’t also be labeled sudden fiction), which begin: “The kettle was boiling above and the baskets were underfilled” and “Everybody walked in the room I mean everybody in the same room then walking around that room to sniff the walls as a type of appraisal of that room.” And Daniel Doehr’s “The Ticket Office Girl,” which opens with, “I saw the ticket office girl again.” Continue reading “Cutbank – Winter 2009”

This issue has so many good stories, it is a shame that only a few can be singled out. Most interesting perhaps is “An Honest Man” by Doug Rudoff, which begins, “The first thing you should know is that everything that I write here is a lie.” The author then takes us on the journey of a young boy’s life in Mexico, some of which is supposedly true, but we’re never sure what. Another engaging story is “Blink” by Chuck Campbell, about an eighty-one year old widower, his stubbornness, his relationship with his son, and the man’s eroding ability to separate fact from fantasy. Continue reading “Word Riot – March 2009”

This publication has existed since 1989 and is produced by the creative writing department at Florida International University. In this latest edition, they explain that financial considerations have forced them to switch from a print format to an online format, but they are pursing funds to allow them to return to print eventually. Meanwhile, the latest edition provides the reader with fiction, poetry, non-fiction, two interviews, and some art and photography – certainly a little something for everyone. Continue reading “Gulf Stream – 2008”

The Hampden Sydney Poetry Review offers up an eclectic mix of familiar names (David Wagoner, Moira Egan, Lyn Lifshin, Philip Dacey, Cathryn Hanka), and lesser-known poets, though most have published widely – 43 in all in this issue. Two poets’ bios stand out for their unusual claim to fame. Meredith Picard “has published more poetry than any other American geologist.” (Her poem does consider the natural world but is not geology-themed.) And Fred Yannantuono “who was fired from Hallmark for writing meaningful greeting-card verse, and who once ran 20 straight pool balls, insists that Paul Newman claimed to have known him for a very long time.” His poem, “Frog World,” is about ridding oneself of the “money, the gardener, the rankness, the murk” required to provide frogs who have inhabited one’s yard with the means to thrive. Continue reading “The Hampden-Sydney Poetry Review – Winter 2008”

Hunger Mountain is a sophisticated, grown-up journal that commands attention, respect, and serious consideration. Fiction contributions are fully formed, adeptly crafted examples of storytelling, full-blown narratives with characters whose trajectories we want to follow. Poems are an inspired blend of small philosophies couched in indelible images. A portfolio of paintings, an artist’s statement, and descriptions of the paintings mimic a visit to the finest art gallery. Continue reading “Hunger Mountain – Winter 2008-09”

Contributors’ notes in Iron Horse Literary Review include writers’ remarks about the genesis of their piece or comments to contextualize the work. “2009 Discovered Voices Award for Nonfiction” winner Lara Burton says she wanted to write an essay in the “classical style.” If by this she means well-researched, linking personal opinion or experiences to larger concerns and investigations, leaving the reader with information she most likely did not possess prior to reading the piece, and a traditional or conventional narrative shape, she has certainly accomplished her goal. More importantly, she has written an exemplary essay, beautifully composed, interesting, original, and enjoyable to read. In other words, a classic. “On deserts, loneliness, and handshakes” is about all three of these seemingly unrelated entities and their very seemly relationship. The prose is natural, but deliberate; the essay’s pace is perfectly orchestrated; and Burton arrives at a smart, satisfying conclusion. Continue reading “Iron Horse Literary Review – February 2009”

My biggest complaint with university literary journals is that they too often stress style over content. A boring, tedious story is still a boring, tedious story no matter how much it may be slathered in mellifluous, Updikian prose. I ask, how often can one be spellbound by another sensitive account of visiting an Alzheimer-afflicted grandmother in the nursing home? It was with considerable glee, therefore, that I enfolded myself within the online pages of this literary journal’s latest issue and read some real stories. Continue reading “JMWW – Spring 2009”

This is the twentieth anniversary issue and I can’t think of a better birthday present than a poem as heartbreakingly skillful as Jennifer K. Sweeney’s “Something Like Love,” winner of last year’s Poetry Awards. It’s deceptively simple and deceptively good, sounding, at first, like it might be one more casual conversation masquerading as verse, (“In our kitchen” the poem begins), which it most definitely is not (“Dinner time-traveled us to the unfinished, the unclaimed. / We ate the past. // Though we never spoke of it, my sisters and I, / we were all under the regime of the rotting.”) “Something Like Love” merges the twin absences of food and love and expresses the pain of an undernourished (nurtured) childhood with a kind of restraint and grace that is rare and impressive – and utterly memorable. Continue reading “The Ledge – Winter/Spring 2009”

Voices from Okinawa comes in a study jacket with an ornate, colorful illustration depicting a procession of gaily clad musicians that covers the entire bottom half of the cover. The upper half is in a bold crimson featuring a small insert with a man in a splendid robe riding a horse; the title is printed all across the cover in large green letters. The overall appearance is very Japanese. Running through the literature is the theme concerning the connection between Okinawa and Japan. Japan took over the sovereign country of Okinawa that actually had a connection to China in the nineteenth century, making its people second-class citizens in their own homeland. The struggle runs through every piece in this journal. Continue reading “Manoa – Summer 2009”

This issue’s theme is “bridges and views,” introduced by a stunning and unusual cover photo that merges beautifully the concept of bridge and view – the relationship of structure to perspective. The image does not have the appearance of stock photography, though I was unable to find a reference to the photographer. These are, of course, rich, provocative, and perhaps even favorite topics for artists from all disciplines and genres. Continue reading “Notre Dame Review – Winter/Spring 2009”

Quarter After Eight publishes prose-poems, short-short fictions, essays in-brief, etc., all of which must be contained within 500 words or less. The highlighted criterion encourages an “innovative address to the prose form…dedicated to blurring the traditional lines of prose and verse.” This issue features 28 short pieces including the 2008 Robert J. DeMott Short Prose Contest winners, with First Place going to Cynthia Reeves for “Naming the Dead.” As stated in a preface by contest judge Sean Thomas Dougherty, Reeves manages “In barely a page…[to] offer us [an] elegy for the loss of a friend, the gaining of sexual knowledge, and the subsequent hurt that follows years later through the ghost of memory.” “Naming the Dead” is so beautifully rendered it’s difficult to decide if its lines should be quoted in prose or verse, such as in the following: Continue reading “Quarter After Eight – 2009”

The best part of Court Green, published annually by Columbia College of Chicago, is always the “Dossier,” featuring a special topic or theme. And this year’s, “Letters,” is my favorite so far. Whatever the reason – because letter-writing is, in its essence, about the printed word; or because so many of us have some things we can imagine saying to so many people; or because people who love to write and are, by profession, proficient at it, are also, naturally, great letter-writers – these “letter poems” make for extremely inventive and entertaining reading. Continue reading “Court Green – 2009”

Mark Halliday, judge for the journal’s annual poetry contest, describes the winning poems as “ready to…confront contradictions,” “avoid dumb enthusiasm,” and provide “neatly managed endings,” which serves equally well to describe Fugue’s editorial approach, and it’s one of the reasons I’ve always liked the magazine. I appreciate Halliday’s winning choices, poems by Lisa Bellamy, David J. Corbett, and Carol Louise Munn, three distinctly different examples of what it takes to make a poem, but all “strikingly alive,” as Halliday says, and all more emotionally charged and more satisfying than they appear on a first reading. These poems tell stories more moving and more complex than their language, at first, seems to imply. Bellamy, in particular, is both clever and tender, a combination of tones that can be difficult to pull off. Continue reading “Fugue – Summer-Fall 2008”

The theme of this all-fiction issue is shame and glory, “which seemed a marvelously arbitrary way to come across good stories,” writes Leslie Daniels in her introduction to the issue. “As writers, shame set us wildly in motion. And glory is . . . transformation, the alchemy involved in making art,” she concludes. Continue reading “Green Mountains Review – 2009”

J Journal takes a journey to the dark side of humankind – the criminal side, the enforcement side, to those who have been brutalized, taken advantage of…it uses literature to pose “questions of justice, directly and tangentially.” Each poem, each short story brings a situation laden with irony, and leaves it unresolved, leaving the reader to search within, find the discordant inner chord that has been struck and bring it back into tune. Continue reading “J Journal – Fall 2008”

The annual Fineline Competition issue is always one of my favorites. The contest is open to entries of prose poetry, sudden fiction or non-fiction, or other “literary work that defies classification” (500 words or less). There’s a kind of freedom in the “sudden” form that seems to bring out the best in writers of all types. This year’s first-place winner is MFA student Ryan Teitman who creates a little museum of oddities, “The Cabinet of Things Swallowed,” that ends in a surprise or, more accurately, in the promise of a surprise. It’s the sense of promise that I appreciate most in these short works. Take, for example, the start of J.L. Conrad’s “Meanwhile,” one of the Editor’s Choice winners: “My dreams inscribe for me a world in which.” Or Editor’s Choice winner Alan Michael Parker’s opening line in “Our New System of Government”: “We believe we were misinformed.” The editors received nearly 2,000 submissions for the contest. I’m clearly not the only one who appreciates the form. Continue reading “Mid-American Review – Spring 2009”

Starting a new publication, especially “in times like these” (TM), is a cause for congratulation, so here’s celebrating the debut of Naugatuck River Review, “a journal of narrative poetry that sings.” (Shouldn’t all poetry?) The “narrative” label may bring to mind first person nature encounters and bittersweet childhood memories, and NRR contains its share. The real pleasures, though, are the memorable characters, the people whose lives show up in small glimpses between the lines. We meet a sawmill worker whose retirement ceremony belies his rough-and-tumble life, a bar patron who learns to resist being treated as an object and authors her own adventure, and a cross dresser who tries too hard to impress. Continue reading “Naugatuck River Review – Winter 2009”

More props are in order for the inaugural issue of this Portland prose journal. The Ne’er-Do-Well carries itself like a zine, an enfant terrible sneering at the establishment as all rejected writers in tiny presses are wont to do. Founder Sheila Ashdown explains that her intention was to encourage writers struggling with doubt. To keep writing, she says, “requires a high threshold for psychic pain and awkward conversation.” Continue reading “The Ne’er-Do-Well – 2009”

This ezine describes its work as “treatments of light and shade in words.” The website is dark and ominous and each quarter only three or four poems and stories appear for consumption. The editors are quite selective and have a particular style they are looking for. They also pay well: seven cents a word for a short story, which translates into $210.00 for a three thousand word narrative – a nice sum in today’s market! Continue reading “ChiZine – January – March 2009”

This magazine has been in existence since 1996, making it one of the more long lasting and consistent ezines of its kind. They seem to have very eclectic tastes in what they present to the reading public, hence, no doubt, the name. In this latest issue, there is much to choose from, including a spotlight on pop culture chronicler Chris Epting; a letter from Editor Tom Dooley; commentary; fiction; poetry; non-fiction; travel articles; reviews and interviews; and some satire. Continue reading “Eclectica Magazine – January/February 2009”

Tim Foley and the other editors of The Farallon Review aim to, “share the work of writers who still believe that short fiction is a unique artform, worth writing, and worth reading.” The realistic fiction in this new journal is certainly long on imagination and features distinctive narrators. Continue reading “The Farallon Review – 2008”

Chicago’s remarkable populist tradition includes a diverse range of voices, from Carl Sandburg to Gwendolyn Brooks. The Journal of Ordinary Thought is a firm product of that tradition, showcasing everyday people from the neighborhood with something to say. Some are joyfully discovering their creative potential; some are more urgent to make their opinions heard. The theme here, “Notes for a People’s Atlas of Chicago,” playfully reveals the limitations of maps in detailing the experience of lived space. Given an outline of the city, participants created their own atlases and legends. Included are maps denoting the Cubs/Sox divide, the barrage of condos being built, places to buy the best pierogies or find residences of IVAW members. Continue reading “Journal of Ordinary Thought – Fall 2008”

Enduring War: Stories of What We’ve Learned is an edifying volume that is not exactly lacking in timeliness: Have war stories ever been irrelevant? But this is not a volume to be read with self-righteousness; the lessons from world conflict are never easy to swallow. As Manoa reveals, war always seems to exist on the periphery of our consciousness, something that happened “over there” or “back then.” The photographic images of Darfur refugees may not be graphic or shocking, but they do capture the feeling and pain that can easily get lost in the drone of the media. In his introduction, Editor Frank Stewart quotes the novelist Carlos Fuentes: “Literature makes real what history forgot.” The task of literature, then, is to uncover the truth that the makers of history (and war) will find unpleasant. Continue reading “Manoa – Winter 2008”

“A poet’s love of poetry is everything,” says Rodney Jones, interviewed in this issue by Andrew McFadyen-Ketchum. The Missouri Review editors love what they do, too – they have created something that is clearly a labor of love. Continue reading “The Missouri Review – Winter 2008”

Jason Sanford, the founding editor of this literary magazine is stepping down after seven years at the helm and ceding his position to Spring Garden Press out of Greensboro, N.C. He will, however, continue to direct the wonderful and very needed Million Writers Award. As his farewell salute, he has presented a selection of the best fiction, essays, and poetry from the last seven years. Continue reading “storySouth – Winter 2009”

I absolutely love The Sun. Without fail, in every issue I’ve ever read, there has been writing aplenty to admire. The Sun is one of the most democratic literary magazines I have ever encountered in that it celebrates and honors anyone who has something worthwhile to say. I have never read a less than stellar piece of writing in it. Edited by Sy Safransky, The Sun’s contents are always a revelation, a slap in the face reminder that brilliance and compassion are lurking everywhere. Continue reading “The Sun – March 2009”

The third issue (v2n1) of Tuesday; An Art Project comes in a plain, thick, yellow wrapper. Inside is the table of contents, a feature poem, short bios of the authors, editorial information, and – most importantly – cards and postcards containing the poems, prints and photographs. There are only seventeen cards, and they are all striking. Continue reading “Tuesday; An Art Project – Fall 2008”

Poetry editor Judith Hall introduces the all poetry issue with a beautiful editorial: “Those not spent by life are privileged. A poet, reading in the evening, writing after dawn, enjoys such privileges.” A reader with this issue in her hands is privileged, too, I am happy to say. Continue reading “The Antioch Review – Winter 2009”

If you’ve had it with glamour and cuteness in your literary diet, turn to The Chaffin Journal for the antidote. Formerly known as Scripsit, this journal from Eastern Kentucky University is all meat and potatoes. The writing frequently dwells on quotidian themes in rural and small-town locales. That means The Chaffin Journal opts for straight story and verse over risk taking. Overall, the performance is uneven, but sometimes, the lumps in the landscape provide solid, memorable art. Continue reading “The Chaffin Journal – 2007”

The Table of Contents had me pretty excited: poems from John Yau, Molly Peacock, and Paul Muldoon (among many others); fiction from Steve Almond; a “conversation” between Alice Quinn and Adam Zagajewski. And the issue lives up to these names’ promise, but I was just as excited by the work of those whose names I did not immediately recognize: Suzanne Buffam, whose translation of Paul Eluard’s poem “Pour Vivre Ici” matches the original’s deceptive simplicity syllable for syllable (“Like the dead I had but one element”); a sardonic epistolary short story by Rudolph Delson, “An Open Letter to John E. Potter, Postmaster General,” comparing his Van Brunt postal station to the far superior Park Slope station; an amazing portfolio of black and white drawings, so different from each other it’s hard to believe they were done by the same artist, Andres Guzman, a recent graduate of the Minneapolis College of Art and Design; and a lyric of taut little quatrains, “Sabina,” by Olivia Clark. Continue reading “Washington Square – 2009”

20×20 is a new London-based magazine of “visions” (black and white photographs and drawings), “words” (prose and poetry), and “blenders” (hybrid compositions of graphics and text). A note at the end of one contributor’s piece, “Deconstruction of a Failure,” sums up nicely the inaugural issue’s editorial slant. Kiril Bozhinov writes: Continue reading “20×20 – 2008”

With the presentation of this volume, Amarillo Bay is celebrating its eleventh year of existence, certainly a notable accomplishment, and welcomes the reader to browse its archives which contain over four hundred works. The latest edition has four short stories, one piece of nonfiction, and six poems to choose from. Continue reading “Amarillo Bay – February 2009”

This issue includes the Great Blue Heron poetry and Sheldon Currie fiction first, second, and third prize contest winners, poems from an additional 20 poets, three short stories, short book reviews, a review essay, and what is classified as an “article,” an “academic” style analysis of poet Anne Compton’s award-winning poetry book Processional. Solid and satisfying reading from cover to cover. Continue reading “The Antigonish Review – Autumn 2008”