Whiskey Island is the literary magazine of Cleveland State University, and, according to their website, the name comes from a neighboring peninsula that has gone through several metamorphoses over the years: “it has been a dump, a US Coast Guard Station, a ship graveyard, and a predominantly Irish immigrant shanty town.” This peninsula now shares the name with a magazine that is rich with strong fiction and poetry. Continue reading “Whiskey Island – 2013”

The Antioch Review, as its website explains, has been publishing high-quality poetry and prose by the likes of Joyce Carol Oates (whose haunting 1966 “The Dying Child” appears in the “From Our Archives” section of this issue), Gordon Lish, Edith Pearlman, T. Coraghessan Boyle—the list is long and impressive—for more than seventy years. Over its venerable lifespan, it has seen changes in ideology, format, and focus, all a testament to its adaptability and continued emphasis on intelligence, currency, and “the best words in the best order.” Every year, TAR publishes an all-fiction issue (with a few poems), a celebration of the genre with more than twice as many entries as most issues contain. This year’s volume is a winner. Continue reading “The Antioch Review – Summer 2013”

Banipal’s 47th issue features fiction from Kuwait. I’ve never read anything by a Kuwaiti writer, and all I know about Kuwait I know from images of the 1990 Iraqi invasion: torched oil wells lining the blue sky and then what seemed to turn almost immediately into a decades-long American affair. Peacetime Kuwait is indistinguishable, in my mind’s eye, from any other small Gulf country, with an oil reserve, women draped in black, workers from India and the Philippines. What makes Kuwaiti fiction Kuwaiti? Continue reading “Banipal – Summer 2013”

Occupying the centerfold of this issue of The Bloomsbury Review is a wise, pithy conversation between two award-winning women writers of the West: Page Lambert and Laura Pritchett. Both have written for decades in multiple genres, but I had never heard of either. Their conversation is inspirational—grounded, specific, filled with references to writers, books, and the relationship between place and heart. “We are bound by a real and raw love of books and land,” Pritchett says near the end. For her, books and the natural world are so linked she “can barely see the difference,” possibly because she read books by the river when she was a child. Lambert says that Place (with a capital P) is as central to stories as a main character, listing Isak Dinesen, Jack London, and other writers as having formed her sense not only of place but also of writing that transfigures Place as Place transfigures the characters within it. The conversation—whose provenance is nowhere listed (where did it take place? When? Who transcribed it, or was it originally written rather than spoken?)—introduces me to women whose work I see I must learn more of. But by “work” I mean not only their fiction and nonfiction but also the unconventional ranching work they do daily, devoted to livestock, home, and place—the American West. Because this is where I live, this issue—this conversation—calls to me in particularly strong ways. Continue reading “The Bloomsbury Review – 2013”

Now ten years old, The Cincinnati Review has established a reputation as one of the top literary journals in the Midwest. This issue, which includes work by writers such as Porter Shreve, Daniel Anderson, Erin Belieu and Michael Mlekoday, holds up to the journal’s reputation. The issue includes a hefty mix of fiction, poetry, artwork, nonfiction, and reviews, with formal and aesthetic diversity showcased in all categories. Continue reading “The Cincinnati Review – Summer 2013”

Colorado Review has found the sweet spot, with material accessible enough to be enjoyed and edgy enough to shake you up. Terry Shuck’s wrap-around cover photograph sets the tone, with idyllic clouds and leafy trees above a dry swimming pool, patched and smeared with shades of ocher, aqua, and green. The empty pool has an eerie look. Are those clouds and trees really all that idyllic? The image makes you look twice. Continue reading “Colorado Review – Summer 2013”

According to the mission statement, “First Inkling is a visionary print and online medium dedicated to seeking out the most talented student authors in the English language, and publishing their work alongside criticism from the most important writers of our age.” With its second issue, the magazine has attempted to keep this mission foremost in mind. The collection of student writing in five genres between its artful covers is representative of writing programs and universities from ten of the United States and the UK. Published by Rockland Community College of the State University of New York, it lays claim to being “the best college and university writing in English.” These momentous goals aside, the 2013 issue of the magazine contains some gems to be mined by thoughtful readers. Continue reading “First Inkling – 2013”

Fourteen Hills, the literary journal of San Francisco State University, has already received a lot of praise. This journal specializes in presenting experimental and progressive poetry, fiction, and illustrations from vibrant artists living in the US and abroad. Continue reading “Fourteen Hills – 2013”

Access. Activism. Marginality. (In)visibility. Social justice. Key concepts in LGBTQ circles, whether explicitly or subtly voiced in an Indonesian metropolis or an American prison, Palestine, or San Francisco. In the newest issue of Los Angeles-based make/shift, a vital magazine that “embraces the multiple and shifting identities of feminist communities,” filmmakers, documentarians, project organizers, and others reveal lives marking daily realities through visual and performing arts as well as through grassroots actions. This insightful, cogent selection offers several contemporary perspectives on urgent issues, including: violence and murder among transgendered populations; racial profiling playing a role in the arrest of a teenager; lingering consequences of abuse; and, in a featured interview with Victoria Law, author of Resistance Behind Bars: The Struggles of Incarcerated Women, the problems these women face, such as limited resources for childcare and shackling during childbirth. Continue reading “make/shift – Spring/Summer 2013”

To what extent do literature and journalism perform the same work? Editor Robert Stewart prefaces this issue of New Letters with a brief comment that considers the relationship between these separate fields that may not be so separate. Stewart quotes Philip Roth speaking in an installment of American Masters: “There’s a journalistic side to writing novels.” Stewart goes a step further, asserting that “we don’t hear the word journalism often enough in literary discussions . . .” Writers of fiction need “the facts to present the story; literary journalists and memoirists need the story to present the facts.” Continue reading “New Letters – 2013”

In its first run, Middle Gray Magazine is providing a venue to display artists’ and writers’ works. The layout creates a collaboration between pieces and relies on the artwork to influence the mood of the entire journal. It succeeds in giving each artist his or her space with a longer bio and description of the work where appropriate. It’s a small collection of surprising and exciting work. Continue reading “Middle Gray Magazine – 2013”

This issue of Passages North transports readers in all directions to many destinations where memory is immediate and present and history is imminent and alive. The opening pages are home to the winners and honorably mentioned of the 2012 Fiction Prizes. The winning stories convey readers down corridors of metaphor and into realms of secrecy. Traci Brimhall’s story, “After the Flood the Captain of the Hamadryas Discovers a Madonna,” the winning entry of the short-short fiction category, is a poetic work of prose that clarifies with its ambiguity and wonderment. The opening paragraph immediately draws us in: Continue reading “Passages North – Winter 2013”

Unsplendid is an online journal that publishes poetry with form, but that form can be rather loose. With forms ranging from sonnets and sestinas to those that are made up for the sake of the poem, Unsplendid’s poems are sure to tackle language, using rhymes and repetition to further the ideas. Continue reading “Unsplendid – Summer 2013”

Halfway through The Tusculum Review, I feel like I have to come up for air: so much of it seems to take place in a small space, i.e., the writers’ and the characters’ heads. The poems jump from one time or image or location to another within the space of two lines, though individual sentences and fragments offer the occasional reward. Some of the essays are entirely cerebral, while others are a more traditional mix of storytelling and meditation. The stories, while mostly well-written, don’t quite hit the mark, and I’m left wondering: is there more? Continue reading “The Tusculum Review – 2013”

Richard Farrell, the creative nonfiction editor of upstreet magazine, opens the 2013 issue with a short essay about a boy who finds unexpected treasure: “Sea levels rise dramatically . . . Thousands of stones have washed up and cover the beach, as if the sea’s reliquary has emptied its contents at the child’s feet.” The stories, essays, and poems in this issue are like the stones found on Farrell’s beach: polished and smooth to the touch. Continue reading “upstreet – 2013”

Redemption is at the heart of Witness magazine’s latest issue: “Heavy with religious and secular meaning, weighted with emotion, and anchored in morality, redemption is a frequent theme in literature.” This vast theme is examined and exposed in this offering of stories, poems, and essays from an award-winning literary journal. Continue reading “Witness – 2013”

According to Wikipedia, Professor Matthew Strecher defines magic realism as “what happens when a highly detailed, realistic setting is invaded by something too strange to believe.” The article goes on to say that “magical realist texts create a reality ‘in which the relation between incidents, characters, and setting could not be based upon or justified by their status within the physical world or their normal acceptance by bourgeois mentality.’” Who wants to think of themselves as having a bourgeois mentality, accepting things as “normal” and thereby obstructing magical realism? Not me. This issue of A Cappella Zoo—entitled “Bestiary” because, I assume, it’s the best of the first demi-decade of this labor-of-love journal of magical realism of all kinds—completely dismantles whatever bourgeois mentality I, or you, may be harboring. It will charm you, in every sense of the word. Continue reading “A Cappella Zoo – Spring 2013”

Apalachee Review is an attractively designed magazine hailing from Tallahassee, Florida. The editors are Michael Trammell and Jenn Bronson. The quality of work is high across all five genres presented—fiction, poetry, essay, book review, and visual art—with fiction getting a nod as the particular strength of this issue. Continue reading “Apalachee Review – 2013”

This issue of Burnside Review brings with it some big changes. While it is still unmistakably an issue of Burnside Review, a new poetry editor, John Pursley III, and a new fiction editor, Adam O’Connor Rodriquez, have brought a new energy to the journal and are taking the journal to the next level. Continue reading “Burnside Review – 2013”

Ask anyone here at NewPages, or anyone really who knows me, and they’ll tell you I can’t pass up anything cat-related that catches my eye. Anthony Santulli’s “Sorry for Your Loss,” though not necessarily sentimental, came to me only a day after my mother’s cat was put to sleep. Only a paragraph long, this short piece of nonfiction holds symbolism, even as the four of them “crawl up the stairs on all fours.” He writes, “What is it you’re holding on to? Is it the ninefold freedom of springtime shedding and arched backs, of sandpaper tongues and their baths?” Perfectly compact, and wonderfully cat-like. Continue reading “The Citron Review – Summer 2013”

Color is what first struck me with Catamaran Literary Reader. A quick flip through the pages reveals not only the abundance of visual artwork, but also the vibrancy of their colors and movement. The cover is “Jump #5,” one oil painting among four in the issue by Sarah Bianco which depicts several people in different stages of a leap downward against a background of yellow, blue, and red. It’s hard to tell where they will land. I want to guess that the cover was chosen to match Catamaran’s emphasis on the “California regional themes of environmentalism, personal freedom, innovation, and artistic spirit.” For ages, people have come to California to live their dreams. For many, the move must have felt like a leap into a beautiful unknown. Continue reading “Catamaran Literary Reader – Summer 2013”

Only just under a year of publication, Bodega seems to be in its element. This issue is cohesive; it works together, and not because of a theme or genre. Bodega pieces capture vivid imagery, placing words and phrases next to each other in surprising and delightful ways. Such as “we adopted the ferns / as our pets and spent long hours brushing their hair” (Sarah Burgoyne’s “Autobiography”), and, “When the floral bouquets are passed from a beautiful woman / and the ribbon is cut, one aquarium opens and another is drained.” (Jake Levine’s “Kim Jong Un Looking at Things”). Read both of these poems; they are seriously good. Continue reading “Bodega – July 2013”

This issue of Four Ties Lit Review has a, perhaps unintentional, unifying theme: looking at people and communities in a new light and learning to accept the differences and overcome the boundaries—whether it is the readers who are asked to do this or the characters in the stories themselves. Continue reading “Four Ties Lit Review – Summer 2013”

The mission and vision of Cruel Garters is “to publish both well-established and newer voices in a small, stripped-down publication that minimizes literary trappings and focuses on the work itself.” They state they prefer “the short, lyrical, and odd but are most interested in work with its own voice and aesthetic.” Continue reading “Cruel Garters – 2013”

This issue is titled “Sustenance and Survival,” and while the editors claim that the most direct connection would be through stories about food, the pieces “expand our definitions of nourishment.” Editor-in-Chief Leigh Thomas writes, “this selection of fiction, nonfiction, and poetry offers up a feast of ways to envision sustaining ourselves that have very little–if anything at all–to do with food (at least as we normally imagine it).” Continue reading “Hot Metal Bridge – Summer 2013”

Published by faculty members and students of West Kentucky Community and Technical College, the Spring 2013 issue of Exit 7 features fiction, nonfiction, poetry, and art originating from a wide range of geographical and stylistic traditions. The volume is slim and handsome, bookended by images of paintings by Bo Bartlett, whose work is also showcased in the middle of the journal. Continue reading “Exit 7 – Spring 2013”

drafthorse focuses on “fiction, creative nonfiction, poetry, visual narrative, and other media art where work, occupation, labor—or lack of the same—is in some way intrinsic to a narrative’s potential for epiphany.” This Summer 2013 issue speaks to that, loud and clear. Continue reading “drafthorse – Summer 2013”

American soldiers maintain a fine tradition that is far removed from the work they do abroad: they create great literature that helps the rest of us understand the true nature of the battles fought on our behalf. Kurt Vonnegut helps us understand World War II in the European theater, and Tim O’Brien offers the rest of us a visceral account of how it felt to be an American soldier in My Lai only months after the massacre. This issue of The Iowa Review spotlights the work of soldiers who served in Iraq and Afghanistan. Continue reading “The Iowa Review – Spring 2013”

Read vertically top to bottom, the final words of the lines of Ronald Wallace’s “Sex at Seventy” form this haiku by Issa: Continue reading “Nimrod International Journal – Spring/Summer 2013”

The magazine Parcel is a city of mirages, each component story its own minaret and long stretch of shadow. One such structure is Rebecca Emanuelsen’s short exercise “Transmissions.” I found it especially evocative of the power of allegory. The characters channel various spirits from different continents and eras. We have the brooding Bronte men and the sequestered Burnett children, the precocious du Maurier innocents and the brittle old women who will always transcend time with the ultimate lubricant of such travel—old money. I felt that Emanuelsen teased this reader too much with allusion, where the word “quite” infected the page and the aforementioned characters did seem borrowed from other casts, but she wrote a story I couldn’t put down. The premise is that of a bookseller who becomes entrapped in a strange thread. (Yes, it leads her to an unexpected peace, but you won’t guess where). Her opening is perfect: “Olette wakes one morning to find a string running taut from her left ear canal out through the crack beneath her bedroom door. She sits up and touches the place where the thread connects to her head, perplexed by its presence.” Continue reading “Parcel – Spring 2013”

If there is one thing you can count on when it comes to literary journals it is that Smartish Pace will always produce a solid body of poetry in each and every issue. This issue is thoughtfully constructed, well crafted, and satisfying. Coming up on its fourteenth year of publication, Smartish Pace is only getting stronger. Continue reading “Smartish Pace – 2013”

After everyone decided that Google changed the way Americans think, certain technocrats decided that we read differently too—gone were the days of “linear” reading: enter the temporary narrative, with Chaucer in the bathroom, Proust in the kitchen, Ginsberg in the den, collectively a kind of horizontal homage to Lowell or anyone who could compete with the subtitles of the foreign films playing in the bedroom. It could be that these alphabetic adventurers simply wanted a literary magazine, with twenty-five different voices in one compact book of leaves. Soundings East, for example, captures that American premise well. It showcases the end of moral innocence (Doug Margeson’s “The Education of Arthur Woehmer”), the liberation of internees at Santo Tomas University in the Philippines in 1942 (Anne-Marie Cadwallader’s “Waiting”), and a love story complex enough to cross time and space and species (Janet Yoder’s “Getting to Misha”). But what I found especially nonlinear about the enterprise was the way that the writing began. Continue reading “Soundings East – Fall 2012”

The twenty-fifth anniversary edition of the Birmingham Poetry Review presents readers with a special feature: six poems and an interview with Pulitzer Prize winning, former Virginia Poet Laureate, Claudia Emerson. The six poems demonstrate her range and proficiency as an acclaimed American poet; from her historical poem “Virginia Christian,” a narrative of the “first female electrocuted in the state of Virginia in 1912,” to the “Lightning” sonnet that brings us to the electric moment when the poem’s persona “hears the strike that splits the pecan tree,” readers are treated to language that at once is immediate and powerful. Continue reading “Birmingham Poetry Review – Spring 2013”

Quiddity has the variety anyone can enjoy: the new works of poetry, prose, art, and interviews are drawn from around the world. And the results and advantage of combining a literary and art journal with public radio programs is always intriguing. I don’t know how the radio station handled the paintings, but here we can view George Colin’s nine untitled pieces as support, counter-point, accompaniment, or just plain enjoyable. Continue reading “Quiddity – Spring/Summer 2013”

Theophrastus wrote that the root of Oleander when mixed with wine makes the temper gentle and more cheerful. While Theophrastus never got the chance to read The Bitter Oleander, he surely would have had similar sentiments about what reading it could do for a person. The Bitter Oleander strives to provide readers with deep, image-driven work that will “open eyes to a world our habits and blindness ignore everyday.” This issue is a testament to that goal. Continue reading “The Bitter Oleander – Spring 2013”

Stealing Time is a magazine for, about, and by parents. When I discovered its existence, I was immediately intrigued, yet wary as well. Would it have an angle, an agenda to promote? Would it rise above the content of most parenting magazines out there? Thankfully, the answers are no and yes. Stealing Time lives up to its mission statement: “To provide a venue for quality literary content about parenting: no guilt, no simple solutions, no mommy wars.” Continue reading “Stealing Time – Spring 2013”

I’ve never eaten a cactus before, but I hear that it’s very good once you make it past the prickly exterior. Editor Sara Rauch of Cactus Heart magazine explains on their website how literature and art should be like the succulent interior of the desert plant: “It should shock and wound and delight us; it should fill us with delight and terror and mystery. It should survive.” This issue is their first print issue, and it is certainly a delight to read. Continue reading “Cactus Heart – May 2013”

Chicago Review is “an international journal of writing and critical exchange published quarterly.” And they are not falsely advertising; it really is just that. This issue is jam-packed with fiction, nonfiction, poetry, and discourse on ecopoetics that takes the reader around the globe in 218 pages. From first page to last, the reader is kept engaged and moving. If anyone is looking for a reference on how to organize and put together a journal, this issue of Chicago Review is it. Continue reading “Chicago Review – Winter 2013”

Concho River Review, published by the Department of English and Modern Languages at Angelo State University, presents a strong list of talented writers in this issue. Most of the prose and poetry here revolve around country life or the outdoors, but these are not the unifying themes of this journal. The only connection is solid writing “from Texas and beyond.” Continue reading “Concho River Review – Spring 2013”

Nimble language and arterial ideas spur this volume of Cutbank, although the thematic diversity and innovative riffs of the journal make any sweeping introduction to the volume impressionistic. The journal veers from the fantastic to the postmodern, crossing the continental (two widely disparate counts of Paris) to the nuclear (stories warbling on familial love and deception.) This issue reflects the editorial organization and voices of many worlds—be it that of a Youngstown Lolita or the fractured narrative of someone seeking the seamless whole after anorexia. Continue reading “CutBank – 2013”

The Georgia Review consistently delivers the best of contemporary fiction and poetry. Given its hefty reputation, it is no surprise that this issue is packed with high-quality writing from established authors. But above all else, this issue is an investment in Mary Hood, whose feature consumes two thirds of the journal. You may have never heard of her. I hadn’t. Hood is a southern writer whose history with The Georgia Review dates back to 1983, and whose fiction has been published in Harper’s Magazine, The Kenyon Review, The Gettysburg Review, and more. Continue reading “The Georgia Review – Spring 2013”

What sets Grist: The Journal for Writers apart is its “commitment to the writer’s occupation.” To begin with, three interviews with working writers provide appealing insight. Then there are two craft essays, one on metaphor in poetry, one on time in fiction. Mostly, there are 148 pages of poetry, fiction, and creative nonfiction (no book reviews or criticism) of exciting quality. And don’t miss the online companion, a smart nod to the online presence all writers, these days, must have. Continue reading “Grist – 2013”

Gulf Coast Editors Zachary Martin and Karyna McGlynn claim in their editor’s note that while many literary journals announce themes in advance, they are partial to “themes that announce themselves gradually.” In “The ‘Issues’ Issue,” we see the effects of that thinking: a vibrant collection of prose, poetry, and art diverse enough so that you forget about theme while reading, only realizing much later how subtly and cohesively each piece fit into the issue, binding the journal together. Continue reading “Gulf Coast – Summer/Fall 2013”

I’m a lifelong city-dweller, and reading High Desert Journal reminds me of one of my favorite experiences in travel: immersing oneself in a new normal. High Desert Journal “is a literary and visual arts magazine dedicated to further understanding of the people, places and issues of the interior West.” The key word is “understanding,” broad enough to encompass myriad means of expression, and at the same time narrow enough to tamper attempts at the pedantic or the exotic. There’s nothing fancy about the journal. The horses, rifles, ranches, and cowboy aspirations in the stories are not packaged as the stuff of artistic ambition, but rather parts of ways of life. The artwork and images bespeak the dedication of the journal to perpetuate the expression of the various understandings of this part of the world. For someone visiting from outside the region like me, High Desert Journal is a proud and easy-going host. Continue reading “High Desert Journal – Spring 2013”

My first impression of Niche was: it is great to look at. Like that initial, hormonal attraction when you meet someone new, I was drawn in instantly, ready to say, “I’d like to get to know you.” Continue reading “Niche – May 2013”

Contemporary fiction often ignores or pushes aside gay themes. That’s why it’s wonderful to have a journal like Jonathan; it spotlights what is generally left gathering dust. A journal dedicated to gay men’s fiction, Jonathan is captivating from page one. More than most journals, it reads like a chorus of voices; the ten narrators of Jonathan’s fiction are vulnerable. They are strong and insightful. Continue reading “Jonathan – May 2013”

The Fiddleback editors say that their mission is cross pollination; “We believe in mixing and colliding artistic disciplines to attract a diverse readership and promoting work that asserts itself.” Continue reading “The Fiddleback – Vol 3 Issue 3”