NewPages Blog :: Magazine Reviews

The debut of a new literary journal always causes me a small pang in the breast. It can be such a vicious world for these little literary nestlings. A trim, handsome journal out of Greensboro, North Carolina makes its debut with this Fall 2004 issue, and if Volume 1 Number 1 is any indication, the folks behind Backwards City Review should be assured that, whatever perils await them on the road of financing, distribution, sales, etc., they’re well ahead of the game in the editorial department. This inaugural issue is happily modest, but by no means meager, in its offerings: 4 short stories, 1 nonfiction piece, 26 poems, 3 fascinating comics, and as a delightful bonus: a facsimile of a hilariously pungent dispatch from the famous Kurt Vonnegut, answering the query: “Where do you get your ideas from?” Michael Parker’s story “Results for Novice Males” pictures in restrained (but never constrained) prose, the sticky relationship between two fledgling triathlon competitors, each struggling through dysfunction from opposite poles of class, and takes its thematic cue from the compelling idea of “junk miles”—“the mileage one accumulates without actually getting better, stronger, faster.” Alix Ohlin’s “Local News,” concerns a TV reporter who dreams of a better, happier, more successful life, and finds herself dramatically subject to the maxim of her journalism teacher: “When you…break all the rules I’ve taught you, then you’ll know you’re working in news.” And Adam Berlin’s unique story “Speeding Away” portrays the mean-spirited machinations of two bachelor protagonists as they wriggle their way out of a promise to drive an annoying friend of a friend home to New York from an Indiana wedding.  Continue reading “Backwards City Review – Fall 2004”

“It is the age of noon / when all the hours are sleeping / and you remain awake, for this / is where the poem begins…”—the young German poet Matthias Göeritz (translation by Susan Bernofsky) captures the essence of the entire glorious endeavor of poetry, waking us from sleep, from the stultifying trance of a hot, uncomfortable day—a “metamorphosis” as the poem’s title announces. Continue reading “Smartish Pace – 2004”

For those still Stone Age enough to think of Texas poetry as an oxymoron, welcome to Austin. Alex Grant’s “Vespers” offers home and peace and space and the beautiful old word quieten. Kelle Groom’s poems find the soul of things and help us hear the faint but heartfelt dialogue between the living and the dead: “I wonder / If they are always talking behind the glass, / Full of joy for us, if they are in the trees, swinging, / Smiling, saying live, live, live, & on this side / We hear birds, / Songs from far away.” Brenda Ladd’s photo series gives us lost-(or perhaps found) in-performance soul glimpses of the likes of B.B. King, Abbey Lincoln, and Clarence “Gatemouth” Brown. (A white light shot of a joyful Ray Charles graces the issue’s cover.) Weston Cutter’s wondrous strange, down on all fours and calling “Same Animal” reminds us that evolution of the human kind can be a tricky proposition. To delight you even as it makes you weep that we’ve all but lost to computers the handwritten record of our writers’ painstaking choices is the manuscript page of Walt Whitman’s lovely “unpublished, undated, and perhaps unfinished fragment” “In Western Texas”: Continue reading “Borderlands – Fall/Winter 2004”

Don’t be constrained by the name—Southwest Review, a cosmopolitan literary journal with a strong sense of the past (and thus, a keen understanding of where we might be headed), surely isn’t. Fearlessly fascinated by the inner life, The Review showcases the essay form, with offerings on the painter Tintoretto, Lou Gehrig’s disease, and Baroness Elsa Von Freytag-Loringhoven, now recognized as “the great-aunt of punk” (“‘Cars and bicycles have taillights. Why not I?’ she quipped when asked to explain the battery-operated taillight tacked to the bustle of her dress.”) Chris Arthur’s “Getting Fit” offers a breathtaking description of the simultaneity of life, how, weird or wonderful as it may seem, everything everywhere—birth and death and whatever we can find to squeeze in between—is somehow happening all at once: Continue reading “Southwest Review – Fall 2004”

Two engaging personal essays, one by newcomer David Harris-Gershon and the other by award-winning essayist Floyd Skloot land side-by-side and are emblematic of the issue as a whole—expertly crafted work by new and more established writers who know how to link their personal stories or perspective to the larger world. Even work poetry editor Donald Revell labels as an unexpected revision of the confessional mode, Jenny Mueller’s “Lyric,” reaches beyond the confines of experiment or solipsistic musing to offer a broad, surprising, and accessible world: “The cicada orgasms / sing, cease. A knock and a bruise / is this afternoon, its approaches // by lapses. A blast at the sills: it’s the earth, wanting in, heat-zonked / and spoiling, prodigal.” Continue reading “Colorado Review – Spring 2005”

A press release from Vallum: contemporary magazine announces the magazine is “dedicated to exploring reality in all its warped and beautiful aspects” and that this issue is the journal’s first theme-based effort. The theme is “reality checks,” featuring “‘snapshots of things real and unreal.” Continue reading “Vallum – 2005”

The interviews (sometimes a dull spot in literary magazines) are a highlight of this issue of Columbia. In Mary Phillips-Sandy’s talk with culture critic Camille Paglia, high priestess of free associaters (think female, literary Robin Williams), Paglia offers an energetic mix of liberal, conservative, and crackpot views—the dead giveaway of an open mind at work. She compares Stephen King to Edgar Allan Poe, to the glory of both; takes a passing whack at Joyce Carol Oates’ prose style (“I can’t believe she just throws that stuff out there!”); and is a great proponent of the Web, for which she began writing “early on,” but admits to composing her first drafts “by hand with a real pen on real paper.” Continue reading “Columbia – 2004”

I always enjoy reading Atlanta Review’s poetry; the work is typically approachable, emotionally invested, and refreshingly direct. Many of the poems in this issue even seem to follow the whole “emotion recalled in tranquility” rule of poetry – the speakers are trapped in between occasions, reflecting on the past or future – at concerts, diagnoses, at movies, in the kitchen. This issue featured poems from the Atlanta Review’s 2004 International Poetry Competition, as well as an interview with the always-lively, acclaimed poet-teacher-extraordinaire Marvin Bell. There were a couple of wonderful food-oriented poems in this issue, including “Basmati” by Amy Dengler, and a great poem by Marian Wilson called “Frump Femme Fatale” about a librarian action figure gone wild. One of the other poems I particularly liked in this issue was Alicia Ostriker’s “What You Cannot Remember, What You Cannot Know,” which appears to be written to a daughter or granddaughter. I have to admit I immediately forwarded the poem to both my mother and grandmother. But don’t mistake this for any kind of easy, sentimental verse. Here’s a quote from the poem: Continue reading “Atlanta Review – Fall/Winter 2004”

A wild little journal of “innovative writing and art: collaborations, interviews, collage, poetry, poetics, long poems, reviews, graphs, charts, non-fiction, cross genre…” not to mention the marvelous pasted-on-the-page-as-separate-slips-of-paper reproductions of photos and artwork. Does somebody do this by hand? Now, that’s innovative! Innovative is one of those tricky words that confuses me, even though I confess I often use it to describe work that is risky or unusual or odd or curious and there’s all of that and more in Birddog. There are excerpts from Mark Tardi’s divided-columns poem “Chopin’s Feet,” where every other page is divided graphically with a straight vertical line and the verses are like Chopin’s complicated music moving from dense rhythms to lighter ones and back again. There’s Heidi Peppermint’s poem, “The Gulf Streams,” whose diction wavers between the utterly familiar and ordinary (“Boy, those days we’ve talked about are here! / pamper yourself with daily maid service”), to a playfulness that veers toward the arcane (“Boy, those sways wave tangent about arrant! / Boy, those swerves as stranger about arsy-varsy!”). There are excerpts from Bob Harrison’s poem “Counter Daemons—4D,” incorporating concepts from computer programming, as well as from the “counting coups” of the Plains Indians. There are Brigitte Byrd’s prose poems whose fate, we hope, will not be the same as this title: “Comparative Obscurity”: “If there is estrangement what is the difference between speaking to the dead and speaking to the living.” If you’re open to Birddog’s innovation, you’ll know the answer to that question. Continue reading “Birddog – 2004”

Hayden’s Ferry Review is, as always, an enjoyable mingle of poems, prose, art, interviews and essays. This issue has interviews with esteemed experimental poet C.D. Wright, acclaimed visual artist James Turrell, whose pieces explore the actions of light (several representations of his work are included with the interview, which I appreciated), as well as poet David St. John, whose poems also explore the nature of light. Continue reading “Hayden’s Ferry Review – Spring/Summer 2004”

When I finished this annual journal of Upstate Medical University, The Healing Muse, I felt I had been on a journey of discovery. Through fiction, non-fiction, poetry, and photography, health care givers and patients explore and express their feelings and thoughts about the roles and relationships they have with each other as well as with illness and disease. The complexity of the works presented reflects the complexity of the personal dramas from each side of bed. Steven Katz in his poem, “The Cathedral,” eloquently describes the situation: “Thrown together in a whirlwind / by hurricane Cancer / Surgeon and patient twist about / With all the awkwardness / Of new dance partners / Having to learn subtle nuances / Indelibly intertwined like sides of a spiral staircase / Vaulting up the bell tower of humanity.” Continue reading “The Healing Muse – 2004”

I hadn’t read this journal or the work of interview subject, fiction writer Kathleen Hill until now, but I’ll read both again. The interview (conducted by Barbara Brooks) is one of the most engaging I’ve encountered. Continue reading “Inkwell – Fall 2004”

Although the holiday season is over, there were several times while reading Night Train that I wanted to jump up and shout, “Joy to the World!” The fiction is just that good. Both editors and writers are to be congratulated for this impressive reading experience. Continue reading “Night Train – 2004”

The second issue of the newly relaunched journal out of Emerson College in Boston includes poetry, fiction, interviews, art, and a fistful of short book reviews. One of the highlights of this issue was the interview with the always-entertaining Nancy Pearl, my own hometown’s (Seattle) celebrity librarian who has her own action figure! Her wit and passion for books are palpable. Continue reading “Redivider – 2004”

“While I was reading your poems, my tailbone went numb many times. I’m afraid, my dear friend, that you’re a poet and nothing can be done about it. I’m expressing my immense sympathy.” That’s a quote from Zbigniew Herbert in a letter to poet Janusz Szuber which he reads, at her request, to interviewer/translator Ewa Hryniewicz-Yarbrough. Tailbone numbing writing is a perfect description of the superb work collected in Absinthe. A dozen poets and fiction writers from 11 countries appear here in expert translations (with the exception of poems by the British poet Fiona Sampson whose work, obviously, appears in the original English). What distinguishes this journal overall is that there is nothing occasional here, not a single piece that seems remotely casual in intent or outcome. What numbs the tailbone is not merely the exquisite control demonstrated by each of these authors, but the overwhelming sense of responsibility this control suggests—every word, no, every syllable, counts in poetry and prose alike. While there is much variety in the subject matter treated and the style of the pieces collected here, what they have in common is a particular seriousness or authority that seems, to put it bluntly, unmistakably not-American. These are accomplished and successful artists, widely published and recognized in their own languages and countries. They deserve a wide and grateful audience in English, as well. Continue reading “Absinthe – 2004”

This was a special 10th Anniversary issue called The Best of The Asheville Poetry Review, a retrospective of the work the journal has published since 1994, including in its 250 pages a surprisingly diverse set of writers – from Robert Bly, Joy Harjo, to translations of Baudelaire, Celan and Lorca, to Eaven Boland, Virgil Suarez, Gary Snyder Sherman Alexie and R.T. Smith. It’s hard to pick out from such a large, myriad cast a “typical” poem, but there were many meditations on natural themes, and many of the poems felt restrained, although again, there were prose poems and experimental work among the traditional narratives and even some formal verse. Along with the poems, there were critical essays, book reviews, and interviews, including a long interview with William Matthews. Scott C. Holstad defended Carl Sandburg’s poetry and his focus on the American working class in the essay “Sandburg’s Chicago Poems: The Inscription of American Ideology.” When’s the last time I read anything that defended Carl Sandburg? I applaud Holstad for his courage in recognizing what was good in the work of this long-maligned American poet. I loved Joy Harjo’s “The Flood” and Cathy Gibbon’s “Dumb Blonde,” as well as the clever “Terzanelle of the Insomniac Dreamer” by Tom C. Hunley. Kudos also for the beautiful cover art work, and the high production values of this glossy journal, as well as the resistance to the usual tyranny of “big names” in anniversary issues. Neither did the editor succumb to the regionalism one might expect from a journal called “Asheville Poetry Review” – the editor chose just as many poems from new or little-known authors as he did from recognized writers, which shows courage, and opened the doors of his journal to writers not only of other states, but other countries as well.  – JHG Continue reading “Asheville Poetry Review – 2004”

This Magazine is a delightfully eclectic little glossy out of Toronto that has been in publication since the 1960’s. The magazine has recently seen some format changes, as it attempts, in the words of editor Patricia D’Souza, to define what it “means to be a magazine of alternative culture in a time when alternative culture has become a mainstream concept.” This will no longer run single-theme centered issues, choosing instead to “adop[t] a storytelling approach that is more responsive to current events.”  Continue reading “This Magazine – 2004”

Ignore the over-sized, cursive drop caps that begin each piece (inelegantly in their aggressive elegance) and concentrate on the larger-than-life sized prose in this issue. When I think of “spiritual literature,” I think first of poetry, and there certainly are some memorable poems here (most notably work by Rachel Hadas, Kathleen Graber, and ellen), but it’s the prose that, surprisingly and delightfully, commands my attention above all.  Continue reading “Tiferet – 2004”

What comes to mind when you think of undergraduate writing? Overwriting? Sentimentality? Fuzzy thinking? Certainly I had my doubts when I cracked open the cover of Allegheny Review, an annual devoted to the work of undergraduates. Yet, although I found one or two examples of overwriting, I was pleased to find my doubts largely ungrounded. The writing in Allegheny is clear—so refreshingly clear that some of our more mature poets could take a lesson. A stark sonnet on a woman’s abortion blows any notion of sentimentality out of the water. Continue reading “The Allegheny Review – 2004”

There is only one word for this journal: superb. This fall/winter issue features a dazzling array of top-notch poetry that includes Matt Zambito’s “The Word on the Street,” John Surowiecki’s “Imaginary Seascape with Literary Orphans” who “dream of making sail / for some island where they’ll find no word / for themselves and where the most valuable gift / anyone can give them is indifference,” Nancy Van Winckel’s “The Very Monday,” and many, many others. Continue reading “West Branch – Fall/Winter 2004”

Contributors’ notes and their remarks take up fourteen pages and while writers’ comments can enrich the work or detract from it, these comments are both useful and interesting. This is especially true for the poetry, extraordinary work by fourteen gifted poets, including student prize winner Kat Darling. There is much variety here, work that ranges from lyrical to edgy, all of it strong and original. In his remarks, James Jay lets us know that his poem was inspired by a 19th century Muslim poet from India, a poet whose confidence he humbly professes to envy, though “Today Let’s Call Ourselves Gahlib,” is the work of a poet who deserves to have confidence in himself: “Ghalib, dig up that cougar your father / buried at the beginning of summer. / He wants to teach you about biology. Go find that corpse, // less cleanly picked / than his science / had hoped…” I must single out poems by Jendi Reiter, Christina Hutchins, and Richard Kenefic, too, although there isn’t a poem in this issue I would want any reader to miss. Michael Petracca’s essay, “Plover Mind,” about his work in the Snowy Plover Docent Program in California, is marvelous, part science lesson, part personal essay, part primer on haiku.  Continue reading “Alligator Juniper – 2004”

As numerous literary magazines are focusing on flash-fiction and other short writing forms, At Length stands out as the only magazine I know of devoted entirely to long form work. Each issue features a long story or novella and a long poem. The story, “Small Mercies,” in this issue is by Tim Winton, whom I’m informed has “won every major award in Australia.” Frankly, at only 28 pages, it was not as long as I would have imagined, which is no problem since the story is great. It revolves around a man moving back to his hometown with his son after his wife’s suicide and manages to end in an unexpected direction. This particular issue also features a series of minimalist sketches by William Cordova titled “BADUSSY,” which I thought were excellent. I’ve never found poetry to work very well in long form, but Anne Winters’ narrative poem “An Immigrant Woman” held my interest till the end.  Continue reading “At Length – Summer 2004”

This journal is always unpredictable and sometimes even startling. Editor Paul B. Roth promises to free us from “enslavement to the usual and expected” and the unexpected is certainly one of The Bitter Oleander‘s trademarks. “The fish arrived in my dresser drawer, / swathed in socks, its eyes calm as a desert.”—a poem by Katherine Sanchez Espano opens the issue. This fish has something to say, of course: “I open its mouth and see pictures / of a lost Ticuman woman / who looks like me.” “The Fish” is representative of the issue as a whole: powerful work that means to change the way we think about the world around us or, at the very least, to change the way we read. The centerpiece of the issue is a series of poems by six Mexican poets, along with their “ars poetica.” Continue reading “The Bitter Oleander – 2004”

Carve is a slim volume featuring the work of six poets, five of whom hail from Massachusetts, the journal’s former home base. One of the six poets presents “A Birthday Acrostic for Mark Lamoureux,” Lamoureux being a contributor in Carve’s first issue. On the title page interested poets are requested to “please inquire before submitting.” It all lends a certain air of clubbiness to this volume. Still, that sense should not deter anyone from picking up a copy of Carve. These six are masterful poets, pushing language to work in new ways. The poems are oblique enough to maintain interest and challenge, but not so obscure as to alienate. Continue reading “Carve Magazine – Summer 2004”

Crazyhorse is one of the older American literary magazines, this being its 45th year, and it is nice to see the magazine still willing to publish writing that takes risks. While inevitably some of these fail, there is plenty of material here for the cost. One story that did work was Stephen Tuttle’s “The Funambulist,” which deals with how a town mythologizes the suicide of one of its members: “Our teenagers were not there the day the man walked into and then off our tallest building, but they know people who were. They have all the details.” Eerie and intriguing.  Continue reading “Crazyhorse – Fall 2004”

Editor Judith P. Stelboum ponders the purpose of a journal “devoted solely to lesbian writing” and concludes that “though some of us are still individually invisible, we must never be culturally invisible.” Here are six stories, a half-dozen poems, and some artwork to keep the images and stories of lesbians not only visible, but vivid. Continue reading “Harrington Lesbian Fiction Quarterly – 2004”

This issue begins, appropriately, with a tribute to founding editor Frederick Morgan (1922-2004). In an interview with board member Michael Peich, Morgan’s description of the journal couldn’t be more apt: “ongoing intellectual companionship.” Continue reading “The Hudson Review – Autumn 2004”

This issue of Image–a journal that seeks to explore the relationship between culture and (typically) Judeo-Christian conceptions of God, and does so in a consistently thoughtful manner–is notable once again for its intelligent interrogations of received ideas about religion. Continue reading “Image – Fall 2004”

You gotta love a journal that covers such a broad range of poetic styles. New York Quarterly has all the bases covers: Traditional sonnet? Check. Prose poem? Check. Bukowski poem? Stand-up poem? Found poem? Check, check, check. Continue reading “The New York Quarterly – 2004”

This issue of Room–a quarterly out of Vancouver published since 1975 by, for and about women, with stories, poetry and reviews chosen by an editorial collective–makes scars its central metaphor. As editor Lana Okerlund notes, “many synonyms for scar are negative: imperfection, blemish, disfigurement. But, in life, as in many of the stories, poetry and artworks in this issue, scars are more paradoxical than these synonyms imply.” Continue reading “Room of One’s Own – 2004”

Big names and big reputations here, as always: Nadine Gordimer, Joyce Carol Oates, Richard Howard, Chase Twichell, Honor Moore, C.K. Williams. Take this issue along if you’re planning a long plane ride or a day of waiting somewhere, you won’t run out of reading material and you’ll be able to escape whatever drudgery surrounds you. The work here is dense, solid, and serious. Gordimer’s story, “Alleserlorenn,” is not to be missed. Continue reading “Salmagundi – Fall 2004/Winter 2005”

With edgy poetry and quirky short shorts, Stray Dog is fun—really, really fun. This issue starts off with a prose poem—usually not the first selection in a journal—about a man writing prose poems. Michael Cocchiarale’s short short, “Other Side of the Bed,” is wildly entertaining, describing a man looking over his wife’s side of the bed for the first time in thirty years and discovering another man—and his apartment. Continue reading “Stray Dog – 2004”

What to say about this journal? There’s so much to like among the fiction, from Lucy Bucknell’s Kafkaesque “Vanishing Act” to Sean Mclain Brown’s exquisite short shorts. And Carol Moldaw’s sequential poem “Anastylosis” is a joy to read. Continue reading “First Intensity – 2003”

Grain has an inventive way of honoring its annual Short Grain contest winners without shortchanging the other contributors – a double issue with two front covers and no perfunctory rear. In the “regular” issue, Christine Lindsay’s “Last Words” is a potent dialog with a character from a poem by Jane Kenyon. Continue reading “Grain – Autumn 2004”

After a string of elaborately presented thematic issues, McSweeney’s returns with a back-to-basics issue. Continue reading “McSweeney’s – Fall 2004”

The cover of this New Letters issue features a mural detail in which a face in a mirror mimics its own act of reflection, soliciting your gaze and shooting it right back to you. Inside the issue, broader sections of Luis Quintanilla’s frank, witty frescoes with a Don Quixote theme (fear no macho kitsch here) are enhanced by commentary from both the exiled Spanish artist and his son. Continue reading “New Letters – Number 70.1, 2004”

This captivating journal presents essays, poems and stories in their original language side by side with their English translations and notes from the translators. Continue reading “Two Lines – 2004”

This newsprint journal out of Shoreline, Washington declares on its web site that its editors embrace the romantic tradition, are biased towards narrative, and pointedly are not interested in academic exercise, minimalism, or surrealism. I believe those declarations to be true, especially when I found that the cover art was photographed by someone named “Moondoggie” and that this issue features parts II and III of a story called “The Elf King.” It is indeed an eclectic mix of poems, art, and prose. Many of the poems contain the words “God,” “Heart,” “Sadness,” and there is a lot of weather present in the poems as well – rain, moonlight, snow, Springtime, etc. So be prepared for open-hearted (if sometimes simple) writing, and you won’t be disappointed with what you find. Mary Carol Moran has two poems in here that I liked, “The Dance” and “X’s and O’s.” Here is the first stanza from “X’s and O’s:” Continue reading “The Bellowing Ark – July/August 2004”

The slim, saddle-stitched new poetry journal out of Portland, Oregon looks like care and attention has been lavished on its design; it resembles a well-done chapbook, with its heavy cardstock paper and clean, clear typeset. And the poetry you’ll find won’t disappoint either. Many of the poems have a lyrical bent and pack an emotional punch. I particularly liked Virginia Mix’s piece, called “Boundaries,” which culminates in these eerie lines: “And I can also fast-forward five years, and / squat down in her tiny kitchen, 29 years / old and pregnant, whispering into the / goat’s silky coat after he spent the day / munching on toxic rhododendron. / I cover my ears as he moans and screams / while the poison rushes through his blood, / and hold him in my lap at four in the / morning, and the moonlight shivers off / the linoleum.” I am looking forward to more of Burnside Review after this promising debut.  Continue reading “Burnside Review – Summer 2004”

This special issue is dedicated to, as the cover states, Food Matters. Continue reading “The Massachusetts Review – 2004”

Formatted like a slick cosmopolitan magazine, this quirky, subversive offering out of Canada includes comics, poems, art work, fiction, and essays, all of which were weird, humorous, or some combination of the two. They also feature sci-fi and horror genre work. One of their stated goals is to include writers from all over, and it seems they succeeded, as I count five countries represented on two pages at one point. As a lover of literary comics, I have to say my favorite comic from this issue was that depicting a tyrannosaurus rex’s search for God, which was attributed to a web site www.qwantz.com and a Canadian author named Ryan North. Of the poems, I particularly liked the prose poem “She Tried to Teach Me Poetry” by Karina Sumner-Smith, which begins: Continue reading “NFG – Writing with Attitude – 2004”

This journal, originating from Portland State University, includes poetry, fiction, photography and art from a variety of voices, not just those of the Northwest. Standout pieces for me included Dustin Nightingale’s poem, “Shoot Out the Lights,” and James McCachren’s story, “Driving,” which begins with the irresistible lines: “We had two reasons for going there: 1) because it was called “the supermarket of the stars,” and 2) because we had no chapstick. I saw we had no chapstick, though I think my wife may have hidden it. Continue reading “The Portland Review – 2004”

This new saddle-stitched journal of poetry and art out of Tennessee gives a forum for newer voices, with a lyric bent. I liked the ekphrastic poem “Shark Infested Waters” by Gayle Elen Harvey (about a show by Damien Hirst), as well as P.J. Taylor’s “The Mice and The Lemon Tree.” An excerpt of Taylor’s poem: Continue reading “Tar Wolf Review – Fall 2004”

Ever wondered what would happen if a mermaid were inverted with scales on the upper half? Continue reading “Boulevard – Fall 2004”

Mindprints, from the Learning Assistance Program of Allan Hancock College, is an annual literary journal “for writers and artists with disabilities or those with an interest in disabilities.” In this issue, Marcia Mascolini’s hilarious/wise “Hocus Pocus” considers real-world faith in one very wriggly kid’s encounter with an unmelting Communion wafer: “You have touched the Body of Christ, they yelled. I didn’t really think so. If I had touched the Body of Christ, I think it would have felt more like chicken.” Continue reading “Mindprints – 2004”

Bristling with the work of thirty-four different poets, this issue of Notre Dame Review is mostly blank verse, all of it enjoyable, and much of it breathtaking. I was most amazed by Beth Ann Fennelly’s long, sober, meditative piece, “The Presentation,” a title deriving from the hospital procedure of showing a stillborn infant to its mother. “Within hours, within you, / the cell, smaller than a decimal point, / began its long division. / But you know how unforgiving / math can be. Just one small mistake / and it won’t add up.” Continue reading “Notre Dame Review – Summer 2004”

This free, bi-monthly newsprint publication offers West Coast readers insights into the lives of poets and publishers, plus a handy calendar for poetry-related events up and down the West Coast. The front-page articles include a discussion of The Complete Poems of Kenneth Rexroth by Jack Foley and an interview with Kazuko Shiraishi and her translators Samuel Grolmes and Yumiko Tsumara by Ikuko Tomita. Inside are more essays on Rexroth, a few poems, including one by Shiraishi, as well as reviews and news about various poetry figures, including a discussion of Louise Glück. The reason this newsprint publication is invaluable to me, besides the fact that it is wonderfully inexpensive, is that it contains a detailed lists of conferences, readings, festivals, classes and even public radio programs devoted to poetry, mostly focused on California, but including events from Seattle to Colorado. When planning trips, I always glance through their schedule to see if I can make any readings or festivals while I’m there. [Poetry Flash, 1450 Fourth Street, #4, Berkeley, CA 94710. E-mail: [email protected]. Single issue: Free on newsstands; Mail subscriptions 12 issues/$30 (U.S.). www.poetryflash.org] – JHG Continue reading “Poetry Flash – Winter/Spring 2004”

Prose Ax’s zine-like appearance (saddle-stitching, black-and-white photocopied art works on the cover and throughout the issue, untrimmed pages) and authors with attitude who write pieces with titles like “Brain Spiders” are going to appeal to a zine audience more than your typical academic audience. And this little collection of poetry and short prose pieces has edge in spades, although occasional clichés creep in to zap a piece’s potential. Continue reading “Prose Ax – Spring 2004”

If you love to read more than, well, more than just about anything (except possibly that), you’ll love the University of Liverpool’s The Reader, a compendium of, appropriately enough, all things readerly: essays, interviews, reviews, recommendations, even quizzes and crosswords. A “reading lives” section includes Elizabeth Spooner’s “Let’s Hear it For Librarians” (“Sixty-five years ago, at the age of ten, my life began. Continue reading “The Reader – Summer 2004”

The standout feature of this issue of the hefty annual Red Wheelbarrow, which publishes poetry, fiction, creative non-fiction, and artwork including comics, is a long (eighteen-page) transcript of De Anza college students interviewing Adrienne Rich, a lively back-and-forth conversation that included discussions of politics, Rich’s poem “An Atlas of the Difficult World,”  feminism, classicism, the problems of globalization, and more. This is a must-read for Rich’s fans, though they probably won’t be that surprised by Rich’s answers. The other thing that immediately stands out about this lit mag is the size and spacing – at least 14 point font, and everything, even the poetry, is double-spaced. Easy on the eyes, perhaps, but a bit disconcerting at first. “Bee-Stealing Season” by Margarita Engle and “Mother as Rope” by Jennifer Perrine were two poems among the many deserving attention in this issue, which also include “Tell Me” by Adrienne Rich and work by Virgil Suarez and Lyn Lifshin. Here are a few lines from “Mother as Rope”: Continue reading “Red Wheelbarrow Literary Magazine – Number 5”