Find the latest news from literary and alternative magazines including new issues, editorial openings, and much more.
Last month I reviewed Frogpond and noted it as one of THE journals for haiku enthusiasts. Modern Haiku is another of THE journals haikuists should be reading. This journal has been in continuous print since 1969, with a masthead of esteemed haiku experts, each a haiku household name: Kay Titus Mormino, Robert Spiess, Lee Gurga, Charles Trumbull, and the current editor, Paul Miller.
A good looking, glossy magazine, Green Mountains Review puts a strong emphasis on poetry. In fact, the best story in this issue is written by Therese Svoboda, who – not surprisingly – splits her time between prose (four novels) and poetry (four collections). The work “355,” about spies in the American Revolution era, contains the type of subject matter that most writers would spend half the story setting up so that they could splash their research all over the page. Continue reading “Green Mountains Review – Fall/Winter 2006”
“If this were another country, somewhere / in Latin America, say, or Eastern Europe, I could write lines like, / My country, take care of your light!, as Neruda did, / I could write, I am begging you the way a child / begs its mother, as he did… Oh, to live among those writers / who make unabashed use of vodka / and exclamation marks!” This is how Eleanor Stanford’s “Political Poem” goes, and it begs to be anthologized for its treatment of motherhoods and motherlands. James Tate and Dara Weir, two poets in constant conversation, are also interviewed and their poems prominently placed. Continue reading “Hunger Mountain – Fall 2006”
The Literary Review’s editors chose to begin their fiftieth anniversary year with a translation issue. They also chose Robert Pinsky to write an introduction to translation. And what an introduction it is. I have been a fan of Pinsky since I first read his poem “Shirt” for a workshop. That the former poet laureate has also translated Dante’s Inferno and Czeslaw Milosz’s The Separate Notebooks enables him to speak like the sage that budding translators need. “Translation is also the highest, most intense form of reading,” says he, in “On Translation.” For Pinsky, it is “also the only art that is like writing. Continue reading “The Literary Review – Fall 2006”
In its sixteenth issue, Natural Bridge features a special section “in response to women’s writing.” The “general” pages feature poems such as Paul Hostovsky’s “People in Pediatric Oncology,” Rachel Hadas’s “The Middle Way,” and Andrew Sage’s “Paradise.” Each introduce their subject while illuminating it, tasks that seem just as vital in works explicitly responding to a text or writer. Natural Bridge’s most effective responses do this double duty. Continue reading “Natural Bridge – 2006”
I sensed what Anis Shivani’s argument would be in his essay, “Why is American Fiction in Its Current Dismal State?” before I flipped to it: lack of risk-taking fiction. Shivani’s tone in the essay is not sad, which saves the essay from becoming victim of its own subject. His attacks are scathing – “Fiction writing is the way it is because America has turned it into the last great Fordist model of production.” Elsewhere he argues that “the decline of American fiction is a sign of the decline of elite liberal consensus. The vacuum in political ideology is being filled today by an anti-politics, of personality and charisma…” Continue reading “Pleiades – 2007”
Prairie Schooner is one of the few journals with impeccable credentials, having disappointed few writers and readers. This issue is no exception. Continue reading “Prairie Schooner – Winter 2006”
It’s fitting that the journal whose health T.S. Eliot once lauded as an indicator of the world of periodicals should publish such an issue. The Sewanee Review’s issue comes subtitled “A Salute to British and American Poetry.” The opening pages are a list of books reviewed, including Wendell Berry’s Given, W.D. Snodgrass’s Not for the Specialists: New and Selected Poems, and the much lauded Adam Kirsch volume, The Wounded Surgeon. There’s a menagerie of material here. Continue reading “The Sewanee Review – Fall 2006”
In the introduction to the seventeenth installment of the “Writing in the South” series, Editor Bret Lott questions the past, present and future of Southern literature through the lens of Walter Sullivan’s essay in the original “Writing in the South” issue, thirty-nine years ago. Sullivan wrote, “[…] the new Southern writer must be something other than Southern: his faith and vision must be fixed somewhere beyond the Southern experience: he must find his own source. Continue reading “The Southern Review – Winter 2007”
You could try cocaine, or you could read subTerrain. This Vancouver-based magazine is rough around the edges but compensates with winning, dark intense fiction and warm, intelligent nonfiction and poems. The piece I can’t stop talking about in this issue is “The Shark Tumour Collection,” a short story by Jill Connell. An 18-year-old pet store employee with cancer decides sharks, an animal made entirely of cartilage, would be the perfect anti-cancer talismans. Continue reading “subTerrain – Number 44, 2006”
In the 64 pages of this issue, John Zheng gives us 27 poets and 49 lyric and narrative poems; not surprisingly, one page is often enough to include the entire poem. Brief bios of contributing poets appear at the end, along with a page to mention a handful of noteworthy books of poems published since 2007 in the U.S. Continue reading “Poetry South – 2010”
If I were a better thief, I’d steal this entire sentence from “Zodiacs,” by William Doreski, one of a handful of stellar poems in the most recent Burnside Review: “I’m afraid / to live in the suburbs, afraid / that no one loves anyone / without consulting the zodiacs / half occluded by pollution / from coal-fired power plants.” Maybe Doreski will let me have it if I say these lines are transcendent, which, pretty much, they are. Continue reading “Burnside Review – 2006”
In N.D. Wilson’s story “Conversations with Tod,” the narrator lives across from an evangelist with twin nymphet daughters who have vowed to remain virgins for life. “God doesn’t ask a lot,” says one of the Lolitas, “just everything.” The narrator leers and Wilson steers the narrative to unexpected places, in unexpected confines. A crow plays a negative part (but have crows ever been positive other than in the two movies named after them?) Continue reading “The Chattahoochee Review – Spring/Summer 2011”
Crazyhorse has been so good for so long, I opened the pages of this issue expecting to be bored by its brilliance. Instead, Crazyhorse Number 70 features stories that are so fascinating that boredom is out of the question. Crazyhorse does not rely on heavy plotting; the plots are, in fact, fairly mundane. It is the writing that contains much of the appeal. Fiction Prize Winner “Dog People” by Steve Mitchel tells the story of a divorced father and his children, love life, and ex-wife. Continue reading “Crazyhorse – Fall 2006”
We might think of ourselves as too sophisticated for fairy tales, that is, if the term conjures up Disney-ish recastings of classic tales; yet, fairy tales provide a body of common knowledge upon which to draw for literary allusions, and thus serve as currency even in our modern lives. Moreover, these tales recast archetypes and tap into our deepest fears: there are still beasts (literal and metaphoric) to conquer, the distressed who need a rescue, the hope of bliss—but at a cost. Continue reading “Fairy Tale Review – 2006”
A capricious God, a toad-killer with a nine iron, and a broke gambler whose only joy in the world is Howard Stern, walk into a bar called Five Points. The only question is, why aren’t you there already? This issue serves up poetry ranging from Charles Simic’s “Metaphysics Anonymous” (“The unreality of our being here, / an additional quandary we are cautioned / not to concern ourselves”) to Richard Howard’s challenging but compelling re-vision (“Look again, look closer.”) of Peter Paul Reuben’s painting, “The Rape of the Daughters of Leucippus by Castor and Pollux.” Continue reading “Five Points – 2006”
This issue of GSU Review showcases the winners and finalists of their 2006 fiction and poetry contests, as well as the art of Len Kovsky on the covers and six full-color pages inside, rounding out this solid collection. Taking first place in fiction was Midge Raymond’s “Forgetting English,” about an American teacher trying to start again in Taiwan. But in a place where “[…] amid the belief that souls are lost and lonely, that they drift through an eternal purgatory, appeased with food, drink, entertainment, gifts […]” she is led inevitably to face her own haunted past and decide what to do with her future. Continue reading “Georgia State University Review – 2006”
Again, there are no editorial musings, just a hipper than anything dive into the fray. One of the first is a great poem by Jared Stanley, called “Legitimate Dangers”:
A _____ stirs the thicket.
I am cherry alive, the little girl sang.
Fleas alight from this line.
Now it’s all our celebration, right?
I’ve got to interrupt you for a second;
this is my index finger talking.
Himilce Novas’s “Painting Life Over” is a sad story, filled with memories of a youth spent amongst parents who fought constantly, and the narrator who wishes to start life over: “Me? In my mind, I’m not in the picture at all. I’m just looking at it, a little shaky, praying that the fighting will stop and that Mr. and Mrs. Pepino, the elderly couple who live right next door, also in the fifth-floor walk-up, are really as deaf as they pretend to be.” Continue reading “Ghost Town – 2010”
According to its inviting website, Minetta Review is “a student-run publication at New York University [which also considers] writing and artwork from all over the country, and . . . [has] even published international submissions.” It’s the oldest literary publication at NYU; this is the publication’s fortieth anniversary. Continue reading “Minetta Review – Fall 2013”
This issue of online journal New Purlieu Review is themed “Family” and indeed asks important questions about family as well as reflects on the importance of one. Continue reading “New Purlieu Review – Summer/Fall 2013”
While No Tokens, a new, female-run literary journal from Brooklyn, was born partially out of a desire to remind people of the aesthetic pleasures of the print journal and help assure greater gender parity in the publishing world, it’s clear from the strength of their debut issue that the editors’ guiding principle of “celebrating work that is felt in the spine” was the primary criterion for selecting the fiction, poetry, and artwork in their inaugural issue. In the issue’s most arresting pieces of fiction and poetry, characters and speakers honestly appraise lives which have gained a momentum they can no longer passively abide or completely understand. Continue reading “No Tokens – February 2014”
2 Bridges Review is a young journal that consistently shows a lot of promise; it is apparent that the staff works hard to find the best work from both new and established poets. This issue puts forth poetry, fiction, nonfiction, art, and photography where “the real and the imagination fuse.” Continue reading “2 Bridges Review – 2013”
Though I’ve read several issues of Phoebe before, I’m always impressed by how diverse the journal is in terms of genre, aesthetic, and style. This issue features poetry, fiction, nonfiction, comics, and art—a wide range of content that makes for an entertaining mix of reading and viewing material. Continue reading “Phoebe – Spring 2014”
The first sentences of the work in this issue of The Austin Review are some of the best I’ve read. Each one drew me in a little differently but with a similar level of intensity. And although the first lines of all nine pieces are of equal measure, here are a few examples: Continue reading “The Austin Review – January 2014”
The Pinch is so expressive and excellent that I’m confident any instance that I pick up this issue I will open it and begin reading something great. Publishing fiction, nonfiction, poetry, visual art, and the winners of the 2013 Pinch Literary Awards, this issue is just brimming with work you need to read and art that deserves your attention. Continue reading “The Pinch – Spring 2014”
The cover of the spring issue of Black Magnolias: A Literary Journal is striking, bold, and black & white, moving across the page displaying Alex Nodopaka’s Speed Wind Black Magnolias. It suggests an issue with writing that inspire movement and reaction; the issue does not disappoint on this account. Continue reading “Black Magnolias – Spring 2014”
Relatively new, online magazine rawboned attempts to get “the marrow of the story” and only posts pieces that are 750 words or less. Twice a year, they plan to publish print issues, showcasing their favorite pieces, and I have a couple of my own votes from this June issue, their third so far. Continue reading “rawboned – June 2014”
Bop Dead City is a humble, independent, quarterly literary magazine. At first glance it may seem to lack the finesse of larger magazines, but upon closer inspection, the reader will be pleasantly surprised to see interesting cover art as well as poetry and fiction that can and will inspire us all to read more or to pick up a pen and begin to write. This issue focuses on work surrounding loss and attempts to grasp onto the ever-elusive intersection of what was, what now is. Continue reading “Bop Dead City – Spring 2014”
This issue of Red Booth Review starts with two poems by Timothy Dyson, both synopsizing “B-Movies,” with their predictability, such as the end when “Darnell, wearing only a raincoat, / walks into the mist, smiling, alone / There is one small burst of laughter.” This of course gives the poem a sense of predictability, but the poems are more about observation than telling the story. Continue reading “Red Booth Review – Spring 2014”
This journal is a lean sixty-seven pages of poetry. No editor’s remarks, no advertisements or indices, no author bios, no other genres. The state where each author lives is identified in the table of contents and that is all. The attention in The Cape Rock is all on the work. Continue reading “The Cape Rock – 2013”
The epigraph at the beginning of this issue of The Sierra Nevada Review comes from Aimé Césaire: “What presides over the poem is not the most lucid intelligence, or the most acute sensibility, but an entire experience: all the women loved, all the desires experienced, all the dreams dreamed, all the images received or grasped, the whole weight of the body, the whole weight of the mind.” This epigraph couldn’t fit more perfectly as each piece within this issue asks the question “What happens when a body (or person) enters a foreign place, what is the experience?” Continue reading “Sierra Nevada Review – May 2014”
Clare, a literary journal produced by students and faculty at Cardinal Stritch University in Milwaukee, has recently moved from a print publication to an online endeavor, and this is its second issue in that form. Continue reading “Clare Literary Journal – Spring 2014”
I was surprised when I realized that Subtropics was barely more than five years old. Of course the issue number is right there, announcing itself on the front cover, but I don’t think it’s entirely my fault for forgetting: published out of the University of Florida,Subtropics has the look, feel, and quality of a journal that’s been around for much longer. And if my word isn’t enough, you can check the records: last year alone, the journal had fiction chosen to appear in The O. Henry Prize Stories 2014 and Best American Short Stories 2014. Continue reading “Subtropics – Winter/Spring 2014”
Communion is a brand new online literary journal, this being their first issue, just published this month. They look for and publish work that moves them either emotionally or intellectually but really aim for work that “reflects the concept of communion—with others, self, the world at large.” And from reading the first issue, I’d say they are hitting the ground running with this goal. Continue reading “Communion – June 2014”
Fairy Tale Review maintains its fanciful theme well, but its significance as a literary document exceeds whimsy: the authors transform modern literature, spackling any clichés or invention with language, philosophy, and critical energy. Continue reading “Fairy Tale Review – 2014”
Whether written in traditional free verse or veering off into experimental territory, the poems in the latest issue of theHiram Poetry Review are frank, high-spirited, and self-assured. Featuring twenty-one poems from nineteen different poets, this slim volume benefits from a clear editorial vision favoring “poems that exhibit excellence with flaws rather than general competence.” Continue reading “Hiram Poetry Review – Spring 2014”
This 15th Anniversary Issue of Iodine Poetry Journal is a collection of unassuming poems by talented writers. The poems are deceptively simple, written with an ease that belies their metaphoric skill. Each poem imagines a story, a picture, a memory, a season, a way of thinking or living, encapsulated in lines of distilled thought that somehow feel like one collective voice of humanity speaking for itself. Continue reading “Iodine Poetry Journal – Spring/Summer 2014”
The editors of Juked state on their website that they do not adhere to any particular themes or tastes, but in this year’s issue, one might perceive a predilection for experimentation. Michelle Latiolais opens the volume with “Out,” which cannot be characterized in a single clause, but links together a complicated narrative almost without any kind of literary seam showing. Reportage of a world caramelized with sex, friendship, and the idiosyncrasies of place and a specific time sets the work apart in a shifting carnival; one is suspended between effective ‘reportage’ and the sequined world of the author’s imagination. Continue reading “Juked – Spring 2014”
The cover image of Kestrel’s recent issue is a mixed media collage of photo transfer, ink, and colored pencil suggesting a window through which we’re invited to peer deeper into “a story” (the artwork’s title), the text which, along with “1934,” appears as part of the illustration. Artist Julie Anne Struck’s arresting compositions are featured inside the journal as well, collaging image, paint, pencil, text, and texture to results akin to a two-dimensional Joseph Cornell assemblage perfect for the paginated exhibit and super appealing as cover art. As illustrations that beg the viewer to imagine their narratives, what could be more appropriate for this issue’s strong collection of prose and poetry? Continue reading “Kestrel – Fall 2013”
The fourteenth issue of MAKE Literary Magazine focuses on visual culture, toying with the ideas of perception and image. The journal itself is stunning—a mix of colored, white, and black pages that proclaims on its front, “All colors, are, in fact, here.” It’s a line plucked from Cristina Rivera Garza’s poem “I. Despejar” or “I. To Clear.” And it fits perfectly, given that MAKE has a little bit of everything—poetry, fiction, nonfiction, book reviews, artists’ portfolios, an interview, translations, and comics are all represented and flow together flawlessly for fulfilling, well-rounded read. Continue reading “MAKE – Fall 2013”
Hunger Mountain announces itself quietly. The cover looks like a mixture of a chess piece and a road map. Reading the issue’s first poem, Annie Lighthart’s “White Barn”, prepares me for pieces featuring a home on the range, or of lives lived under a guise of simple lives and simple times. There are no flashy mechanics to the journal itself—the art is in black and white, the poetry and fiction well-worded and sometimes blunt, and the creative nonfiction as well as the young adult offerings all carry voices frank and honest. Fiction editor Barry Wightman even states it in his foreword letter: “You may ask yourself, ‘what’s this all about?’ . . . Horses. Horses. Horses. Horses.” I was prepared for horses. But what I received was much more than that. Continue reading “Hunger Mountain – Winter 2013/2014”
I cannot remember when I have ever made reading poetry in translation part of my reading habits, but after the experience of reading this issue of International Poetry Review, I am humbled and convinced that I have been missing out on unique and profound experiences with poems that are significant and at times transcendent. Continue reading “International Poetry Review – Fall 2013”
The large, red circle in the journal’s cover makes sense, because family and blood runs deep in this issue, in poems and short stories that talk about husbands and wives, sibling rivalry, or fathers and daughters. Continue reading “Mississippi Review – Winter 2014”
Do dimensions matter? Most literary journals are considerably taller than they are wide, often in the 6 by 9-inch range. The New Orleans Review is a compact 5-3/4 by 6-3/4 inches. For this reader, the size has a focusing effect that magnifies the significance of the words, for better or worse. Also as a result of size there are only seven offerings therein, perhaps a budgetary decision, but in any case one that channels attention towards the text. Two short stories, conventional in structure but not in their degree of excellence, contend with five pieces that variously blur the lines between poetry, prose poems, fiction, and essay. Continue reading “New Orleans Review – 2014”
Good grief, literally. Don’t let the vibrancy of those yellow umbrellas on the cover lull you into a state of blissful aesthetic appreciation; a hard rain’s gonna fall. The short stories, nonfiction, and poetry in the Alaska Quarterly Review’s (AQR) latest issue are soaked with serious consequence, with writers delving into the subjects of madness, financial distress, war, disease, alcoholism, and plain old existential funk. Only the writers’ leavening of such heavy subject matter with great humor, insight, and tart individuality kept me from developing a low-grade Zoloft habit while making my way through the 300-plus pages of this literary squall. Continue reading “Alaska Quarterly Review – Spring/Summer 2014”
This issue of Off the Coast carries a cover theme of “Ice Fishing,” but I am under the firm belief that was somebody’s joke to play on an outdoorsman like myself. Luckily, I really enjoy poetry, and this issue contains 41 poetic offerings for readers to peruse. None of them deal with the directive of “Ice Fishing,” but for a bad pun laced with reality, I will say that the issue felt to be casting about a bit. Continue reading “Off the Coast – Winter 2014”
The name Donald Sterling underlines an un-sterling moment in ‘post-racial’ America, delivered in sound bites that, in many ways, reveal sensibilities lurking beneath the ‘post’ in post-racial. Sterling’s girlfriend or personal assistant, V. Stiviano, was the messenger, thanks to mobile devices that heighten our desire to spy on intimate conversations. Indeed, Stiviano had the ball; and then came the slam-dunk that catapulted the message to first-class scandal. Soon, race as topic of discussions and conversations in living rooms and social media is on center stage once again, quietly intrusive, at times, to a point where it taints the spirit of any material you’re reading in the context of race. Continue reading “The American Poetry Review- March/April 2014”
The cover of this issue is a photograph of what appears to be the end of a spinning tunnel in a fun house. The end is in sight, but getting there is the hard part. There isn’t much to hold onto, and your travel is shaky. The same could be said of the experiences people face both in life in general and in this issue of Olentangy Review. Continue reading “Olentangy Review – Spring 2014”
Anak Sastra is an online magazine that provides a platform for Southeast Asian writers to publish their work in English. It is also a place for “expats, tourists, and regional connoisseurs” to share their experiences in the area. And while I came in with little to no knowledge of Southeast Asia, I still took away important insights. Continue reading “Anak Sastra – April 2014”
Hailing from Dawson City, Yukon comes a brand new online quarterly, One Throne Magazine, publishing fiction, nonfiction, and writing. And while the visual element is what will initially draw you in, it’s the writing that will keep you there exploring. Continue reading “One Throne Magazine – Spring 2014”
