NewPages Blog :: Magazines

The American Poetry Review is an old school classic. Like the New York Review of Books, its large, newspaper sheets enchant readers who nostalgically yearn for the days of yore before Wasteland iPad apps and “liking” poems on Facebook (or the social media engine of your choice). This is not to say that APR is a musty old rag littered with obscure and dank Poundian cantos. Intriguing interviews and poetry grace its pages. Continue reading “The American Poetry Review – May/June 2011”

This issue of Whiskey Island is a good one. In fact, it inspired me to buy a subscription to the magazine. And I’m stingy, so that should tell you a lot. Continue reading “Whiskey Island – 2010”

After twenty-four online issues, apt, in existence since 2005, has done something uncommon in today’s literary scene. At a time when many journals are abandoning print altogether to establish themselves exclusively as online venues, no doubt as a strategic move toward long-term viability, apt has decided the two mediums can and should exist alongside one another. For its 2011 inaugural print issue, apt has brought together the work of Curtis Tompkins, Janelle M. Segarra, Christina Kapp, and David Bartone among others. Continue reading “apt – 2011”

The Yellow Medicine Review: A Journal of Indigenous Literature, Art, and Thought has been publishing fiction, poetry, scholarly essays, and art from the perspective of pre-colonial peoples since the Spring of 2007. The cover art for the Spring 2011 edition provides a visual cohesiveness to the broad theme—the tradition of change in indigenous art and literature—addressed in its 256 pages. This issue contains works primarily from North American authors, with a smattering of writers representing indigenous peoples from other parts of the globe. Continue reading “Yellow Medicine Review – Spring 2011”

MoMA advertises in Bomb. To be more specific, MoMA advertises on the entire back cover of Bomb. I noticed it immediately, and it wired my expectations for what I would find inside. MoMA doesn’t advertise in just any magazine. Continue reading “Bomb Magazine – Summer 2011”

Claiming to be an “independent magazine of critical thinking on political, cultural, social and economic life in the U.S” and that “seeing racial, gender, class, and political dimensions of personal life as fundamental to understanding and improving contemporary circumstances,” Z Magazine “aims to assist activist efforts for a better future.” It is published by South End Press, and is committed to “the politics of radical social change.” Continue reading “Z Magazine – May 2011”

Come for the literary fiction and enjoy some fine photography while you’re here. This issue is worth the cover price just for Adam Peterson’s award winning story “It Goes Without Saying.” The story follows a travel writer as he navigates a personal crisis while attending a conference abroad where he is the guest of honor. Peterson incorporates apothegms of travel wisdom, without pretension, and avoids the pitfall of didactic lecturing while incorporating just the right amount of comic relief: “The world went on around him, he just wasn’t home to watch it. This was another mistruth of travel writing. The distance one felt when getting away was an illusion. Everything, including the traveler, fell hopelessly forward.” Continue reading “Camera Obscura – Summer/Fall 2011”

On the back cover of Left Curve, Franz Kafka proclaims, “The spark which constitutes our conscious life must bridge the gap of the contradiction [between inward and outward] and leap one pole to the other, so that for one moment we can see the world as if revealed in a flash of lightning.” In this issue, authors strive to bridge the gap between the academic and the political, the enlightened intellectual and the deeply philosophical. Unlike other literary journals, Left Curve prides itself on its lofty ambitions of analyzing and even criticizing the effects of cultural modernity. Infused with the fire of devoted and headstrong liberals, many of the essays featured in the magazine cover an array of topics, from the recent Wall Street financial meltdown to the importance of animal equality. The selection and depth of material can be rather daunting, though prepared with the right mindset, can be pleasantly challenging and enlightening. Continue reading “Left Curve – 2011”

The editor’s note of Issue 12 of Literary Bohemian promises an escape for summer, urging readers to “let the summer change the equation to x = why.” Through 17 poems, all rich with setting, the issue definitely accomplishes this goal. Continue reading “Literary Bohemian – Summer 2011”

Here are three fiction writers to watch out for. They all set up confrontations of one sort or another on which their stories turn, and they’re all in the latest issue of The MacGuffin. Continue reading “The MacGuffin – Spring/Summer 2011”

The Fall/Winter 2010-11 issue of MAKE is dedicated to the spirit of play. And the work presented within is most definitely playful – both in its layout and its content. But don’t assume that because its framework is built around play that it must also be somehow unsophisticated or impetuous. As the editors point out at the start, “the seemingly lighthearted subthemes are all tempered by profound solemnity.” MAKE explores the youthful pastime of play, but in the end offers up very grown-up compilation of literary work. Continue reading “MAKE – Fall/Winter 2010-11”

Arguably, there is a line between humanity and the supernatural. There is the world as we know it and there is that which is otherworldly. The latter may be interpreted as: God (in all his/her/its forms); Death; the Spirit; Magic. Regardless of what we choose to call it, our fascination with it is and always will be present. In the latest issue of the Mid-American Review, we see the line crossed and re-crossed. We see it buried in dust, painted over with vibrant colors, twisted, stretched, formed into something more like a circle, or a knot. Almost every piece acknowledges, to some degree or another, forces beyond character control. Continue reading “Mid-American Review – Fall 2010”

Something every day—gettin up, goin to school
No need for me to complain—my objections overruled, ahh!
Too much monkey business, too much monkey business
Too much monkey business for me to be involved in!
—Chuck Berry Continue reading “MONKEY BUSINESS – 2011”

The Open Face Sandwich shares a great deal in common with its edible namesake. It’s strange, isn’t it, to sit down with a menu and see that you can order a sandwich without a top piece of bread. Giving it any thought, you have to ask why. Why the unorthodoxy? On a pragmatic level, why give up the bread? What’s the gain? Maybe the experience is the gain. Maybe it’s enough to say you tried it. Maybe only having half the bread, rather than leaving you hungry, leaves you satiated in a way you didn’t expect. Consuming the breadless bread, or something Zen like that. Continue reading “The Open Face Sandwich – 2010”

Founded in 1965, Salmagundi magazine takes pride in its spectrum of essays, reviews, interviews, fiction, poetry, regular columns, polemics, debates and symposia. In the past, the magazine has featured the likes of acclaimed literary figures such as J.M. Coetzee, Christopher Hitchens, Susan Sontag, and Joyce Carol Oates. Additionally, the magazine boasts that it showcases neither a liberal nor conservative predilection, proclaiming that, “in short, Salmagundi is not a tame or genteel quarterly. It invites argument, and it makes a place for literature that is demanding.” Continue reading “Salmagundi – Spring/Summer 2011”

Number six of the Ampersand Review is one packed with loads (and I mean loads; this thing is practically a monster) of juicy fiction and chomp-able poetry. It even has a couple of nonfiction selections that are beyond readable. I have recently been getting into nonfiction perhaps even more than fiction, and the reads in this issue certainly shuffle me along the same path. Continue reading “Ampersand Review – 2011”

The recently published “Summer Reading” issue of Tin House is… well, it is… Continue reading “Tin House – Summer 2011”

While Bone Bouquet is subtitled “a journal of poetry by women,” the poems in this issue go beyond the idea of women writers only writing about women’s issues. Instead, it holds a wide spectrum of styles and subjects with only the commonality of being written by women. Continue reading “Bone Bouquet – Winter 2011”

Published twice a year, the Tulane Review is a student-run literary and art journal published by the Tulane Literary Society, which claims on its website to be the “hub of all literary activity” on the Tulane University campus in New Orleans. Nestled in the uptown section of the Crescent City, near where the Mississippi River snakes so tightly it nearly doubles back on itself, Tulane University is itself a hub of literary activity. The works of the forty-seven writers and artists published in this edition are like the intermingling effluents of the hundreds of rivers and tributaries that stream together in the Mississippi River. Continue reading “Tulane Review – Spring 2011”

The newest issue of Hayden’s Ferry Review melts in the hands. Perhaps this is due to its comfortable size—large, a bit overweight—or the season in which it is published. In reality though, the fiction, poetry, and photography inside enacts the melting. In fiction, “Meet Me on the Moon” by Robert Warwick brings summer and its thematic counterpart growing up to the forefront with effortless prose: Continue reading “Hayden’s Ferry Review – Spring/Summer 2011”

Sitting down with a hot mug of coffee and looking at the landscape-style, bright green literary magazine sitting flat on the table in front of me, my first thought was, I hope I don’t stain this. My second thought on the cover, after having read through the pages between the two covers, was that the content was just as strange and delightful. Well, most of it. Some of it was more strange than delightful, and some more delightful than strange. Still, I’m glad I didn’t stain it. Continue reading “Welter – 2010”

Continuity is the watchword in High Desert Journal’s first number under editor Charles Finn. Founder and publisher Elizabeth Quinn remains at the top of the masthead, but with the title of managing editor. According to Finn’s editor’s note, Quinn continues to be very much a part of the endeavor, but will focus now on “the difficult and necessary job of keeping the magazine financially afloat.” Finn pledges to continue the journal’s dedication to furthering the understanding of the “people, places and issues of the interior West.” Continue reading “High Desert Journal – Spring 2011”

Sometimes it’s nice to get another perspective, other times it’s downright satisfying to have someone else agree with you. Ninety-five percent of the time mainstream media tells the story that needs to be heard, and when it comes to news stories, many of us hear what we want to hear anyhow. That is, we take away from a story what we want to take away from it. But if you’re in the market for well-researched, articulate articles by writer-activists with true convictions (who are not afraid to speak their minds) then seek out Z Magazine. Continue reading “Z Magazine – June 2011”

With this volume of the Hudson Review, the magazine features an exemplary selection of Spanish authors and writings, juxtaposing the modern against the established, such as Edith Grossman, Antonio Muñoz Molina, and Lorna Knowles showcased with the likes of William Carlos Williams, Jorge Luis Borges, and Pablo Neruda. Reading almost like a highly compact and sleek version of a staggering anthology, the issue does not aim to define the Spanish identity, but instead to spotlight a variation of strong voices and create a mosaic of cultural and social experiences. Continue reading “The Hudson Review – Spring 2011”

Small but mighty, Jackson Hole Review makes its debut into the realm of literary magazines. If you’ve ever wondered about the strength and validity of place-based magazines, the lead essay “Almost Paradise” by Kim Barnes will give plenty of proof positive. Telling her own story of growing up near water and having to leave it behind, Barnes lays painfully bare how deeply connected she was and the mental and emotional suffering she experienced with leaving. Barnes turns to Jung and Campbell for the psychology and mythology of these deeper reactions we have to the planet, “You see, it is not simply the place that I miss, but the recognizable stories it contains. […] What I know is that the stories that take place in a particular landscape are what give us a strong sense of belonging, of attachment. They give us a sense of shared history, a narratival investment. […] How can we separate ourselves from the land that holds our stories?” Barnes’s essay is a good lead-in along with the editorial, setting up the theme of the magazine: Connect/Disconnect. Continue reading “Jackson Hole Review – Spring 2011”

There are few among us who can say that a disability, in some form or another, hasn’t affected our life or the life of someone we love. Whether it is an accident that results in paralysis, a struggle with mental illness, chronic disease or a learning disability, the fact is, according to the United States Department of Labor, nearly fifty million people in this country have a disability. Kaleidoscope, born out of a beautiful idea back in 1979, is the literary journal published by the the United Disability Services. It gives voice to those living with, or within the shadow of, a disability. This issue of Kaleidoscope is a thoughtful literary collection that focuses on the experience of disability while avoiding any unnecessary sentimentality. Within its fiction, personal essays, poetry, articles and reviews the undercurrent moves readers through content rich with honest stories of determination. Continue reading “Kaleidoscope – Winter/Spring 2011”

Let me admit this up front: I normally am not a big fan of literary humor. It’s not that I don’t think funny and literary can exist side-by-side; Mark Twain proved that the two mix well a long time ago. But this first issue of Kugelmass is truly funny, and truly enjoyable. Continue reading “Kugelmass – Number 1”

This issue of Adbusters, subtitled POST—with an Arabic word insertion—WEST, is at first glance an irreverent avant-garde (the publishers probably think using avant-garde is passé) mish-mash of advertisements, graphics, photographs, art, essays, book excerpts, observations, and poetry about economics, capitalism, politics, jihad, revolution, militarism, overpopulation, aquaculture, genetic modification, anarchy, and you name it.

Continue reading “Adbusters – May/June 2011”

Published by C.A.L. Press, Berkeley, CA, Anarchy purports to “Disarm authority! Arm your Desires! with provocative, creative, and critical anti-authoritarian discourse and art.”

Continue reading “Anarchy – Issue 70/71”

Unless one is a regular reader of Social Policy magazine, there may be some confusion, despite Wade Rathke’s “Publisher’s note.” He says the Spring 2011 issue is “in perfect harmony with the heart and spirit needed in these times, despite the challenges of adversity…and challenges of our…heroic strengths and weaknesses.” If Social Policy is “[the] key site for intellectual exchange among progressive academics and activists from across the United States and beyond,” it would be instructive and helpful to say so in the boilerplate masthead or logo. Their website says, “Social Policy seeks to inform and report on the work of labor and community organizers who build union and constituency-based groups, run campaigns, and build movements for social justice, economic equality, and democratic participation in the U.S. and around the world.” Again, why not say so in the magazine? Its cover does include “Organizing for Social and Economic Justice.”

Continue reading “Social Policy – Spring 2011”

In the inaugural print edition of Able Muse, Marilyn N. Taylor’s essay on the recent rise of semi-formal poetry, mentions “the poetry wars” between “the shaggy free-verse stalwarts vs. the tweedy New Formalists.” It’s nice to see that the new New Formalist critics published in Able Muse definitely do not write in a tweedy style, as evidenced by Taylor’s piece and Julie Stoner’s review of new books by Maxime Kumin and Carrie Jewell, which begins “After the Revival…reminds me of an after-school snack. I enjoyed the combination of salt and crunch and grease and hellfire and cheese, even if I had to overcome the occasional wave of nausea. (I’m still referring to the book.)” Continue reading “Able Muse – Winter 2010”

The Spring/Summer Issue of Black Warrior Review, featuring Graham Foust, Aaron Kunin, Bhanu Kapil, Sarah Gridley, Joshua Cohen, Megan Volpert, and many other fine writers, is difficult not to pick up and thumb through. The ritualistic cover art gets the issue going: two guys, two girls, all with skeleton heads, watching a horse as it is either pulled into the sky or brought down from it. More in this series by Joseph McVetty can be found later in the issue, in the Nudity Feature. Continue reading “Black Warrior Review – Spring/Summer 2011”

Burnside Review is a diminutive delight. Readers at the outset learn, from editor and founder Sid Miller, that whiskey is an “instigator.” Also both a “prelude” and an “epilogue.” Continue reading “Burnside Review – 2011”

In his Editor’s Note, Rhett Trull explains that, while she has “learned the patience, struggle and mercy of a body as it heals,” she recognizes—in the dying of Pita, her 20-year-old cat—that “one day” we will “reach a point past healing.” As a result, “My appreciation for each moment,” she says, has been “reinforced” by the poems she helped select for this issue. The poems, lyric and narrative, feature speakers whose distance from the poets seems slight. Continue reading “Cave Wall – Winter/Spring 2011”

Wow, this issue of Georgia Review is a true literary bonanza! Subtitled “A Home in Other People,” the issue offers a broad retrospective of selected stories and art from 1984 to 2007. This is the second retrospective that the Review has done; the first one came out in 1986, and now the staff is both celebrating the 25th anniversary of that first retrospective, in addition to marking the start of the Review’s 65th year. Continue reading “The Georgia Review – Spring 2011”

Fiction rules in this issue of the Greensboro Review. Not to say that the poetry failed to capture my attention, but the stellar stories strung together here hooked me from the first, “The Drift Line” by Charlotte O’Donnell. It’s a tale of preteen female friendship, with the complexities of that friendship’s dynamics laid bare on a rocky shoreline: Continue reading “The Greensboro Review – Spring 2011”

This gorgeous twenty-fifth anniversary issue of Gulf Coast—a celebration in poetry, prose and art—while anchored in the present, salutes contributors of past years with luminous grace. Continue reading “Gulf Coast – Summer/Fall 2011”

Most of the poetry in this issue is exemplified by Nico Alvarado’s “I Dream I Dreamt a Form”: Continue reading “LIT – Summer 2010”

If the unsettling cover art is meant to hint at the contents of this thick annual print issue of PANK, I’m at a loss as to the meaning of the hint, even after reading through to the very end. I’m not sure if that says more about the nature of the artwork, or the disparity of the work within. The pages hold prose poetry, visual poetry, and flash fiction, as well as more traditional poetry forms and longer short stories, and virtually everything in between. In the truly liberating fashion of contemporary experimental literature, PANK does not require its writers to classify their work, or if it does, it chooses not to disclose those labels within its table of contents. This can be refreshing, or occasionally annoying. Continue reading “PANK – 2011”

This journal is a joy, and my only critique is that it’s not pages and pages longer! I found Ted Kooser’s “A Farmhouse in Winter” instantly. This edition opened to this poem, as though I were assigned to encounter a chilly personality, first. As one who worships summer heat, I forgot that when I read, “It’s taken weeks but at last the cold / that poured down out of Alberta / has found its way into the old rock cellar / and up the steps to the kitchen door.” This spirit drifts into homely, hidden spaces, and somehow is expected. All is well. Are those “shelves of canned tomatoes” and “dusty rags of cobweb” prepared to move aside for this icy, temporary guest Kooser’s touch is simple, not simplistic. How I cherish the sweet power of image at the end! Continue reading “Potomac Review – Spring 2011”

Slice highlights lies and make-believe in its newest issue and overflows with engaging poetry, spectacular fiction, smart nonfiction, and insightful interviews with Ray Bradbury and Isabel Allende among others. Where to begin? What to highlight? Continue reading “Slice – Spring/Summer 2011”

Admittedly, I was a bit tentative when I began reading the latest issue of The Southern Review. When I hear the word “Americana,” its self-proclaimed theme, certain images are conjured—flat beers, hunters waiting in the pre-dawn darkness, the barefoot and pregnant teenage fatherless-yet-sweethearted girl working in a diner on the side of a barren highway—of which I have become a bit tired. Let us call those images shortcomings of my imagination; I had no idea of the depth and variance to the works waiting inside this publication’s pages. Produced by Louisiana State University, it is an engrossing and well-balanced mix of poetry, fiction, nonfiction, and photography. Continue reading “The Southern Review – Spring 2011”

The editors of Barrelhouse can always be counted upon to present works that occupy the necessary space on the spectrum between “literary” and “pop culture.” Barrelhouse is the perfect journal to present to friends and family (or even strangers) who have far too long deprived themselves of the magic and potential of poetry, prose and even graphic art. Continue reading “Barrelhouse – 2010”

This hefty journal is art-in-the-palm; it is a singular delight, a challenge, and a joy, all at once. Readers are presented with a collage of literature, poetry, memoir, music, and photography. This journal explores realms of authorship with notably startling computer images of Japanese mathematical scores by the renowned visual artist, Ryoji Ikeda. Continue reading “Boulevard Magenta – 2011”

There’s something undeniably Faulknerian about this issue of the University of Montana’s literary journal CutBank. You’d think that the publication would cater to luminous pieces of prose and poetry that highlight the golden beauty of the Rocky Mountains, work that showcases rugged mountain people born with a heritage of adventure and manifest destiny. While CutBank does feature poetry and prose that praise the glory of the Midwest, this issue’s selection of contributions seem to be fascinated with the darker elements of human nature, of greed and tainted love, sad-eyed people searching for a savior. Continue reading “CutBank – 2011”

This handsome journal is clothed in Lee Etheredge IV’s type on photograph cover. Readers are directed to “Some Words About the Images,” where they encounter his shape poem, declaring: “i am not a poet.” Etheredge is a visual artist, who utilizes drawings produced by a standard typewriter. The final piece featured is utterly unique. This artist succeeds easily in engaging brain, eye, and heart. Continue reading “Fence – Winter 2011”

Originally coined by Lewis Carroll in the poem “Jabberwocky,” the term jabberwock is defined as “a playful imitation of language consisting of invented, meaningless words; nonsense; gibberish.” On the contrary, the Jabberwock Review contains a selection of fiction, nonfiction, and poetry that attempt to defy such a negative connotation. The works featured in this volume are undeniably character driven, focusing on narrators and protagonists that seek a deeper understanding of his or her identity. While there isn’t a specific theme to this issue, the organization of the pieces creates a smooth flow, creating a seamless transition for the reader. Continue reading “Jabberwock Review – Winter 2011”

Parcel is a corporeal labor of love, a treasure for the reader who yearns for the simplicity of words on paper. This edition is dedicated to those “with a love of the elegant, tangible, hand-delivered book.” When Heidi Raak, owner of The Raven Book Store, and Kate Lorenz, Kansas kindred spirit, became a team, they wondered: could they produce a gem of a journal, crafted to arrive at each reader’s door, a ready-to-open-present? Continue reading “Parcel – Spring 2011”

In this issue, Saltwater Quarterly channels inspiration through one of the most powerful and seductive emotions of the human condition: desire. Whether it is carnal or the spiritual, the maternal or the romantic, the selection of poems and prose are crafted by a sense of urgent yearning, carved from the deepest truths of the human heart. Continue reading “Saltwater Quarterly – Winter 2011”

In the Letter from the Editor, Darren Richard Carlaw states that the goal of StepAway Magazine is “to perpetuate the evolution of the walking narrative,” and encourages authors “to submit work which forges pathways through the cityplace.” Carlaw recalls his childhood fascination with William Blake’s “London,” which later spawned an admiration for Guillaume Apollinaire, Charles Baudelaire, and Walter Benjamin. In this issue, the featured contributors transport readers to the bustling streets of New York City to the fast-paced glitz of Los Angeles. While Carlaw sought inspiration from classic literature, StepAway Magazine is an undeniable product of modernism, unafraid to unflinchingly explore the ugliness of such cities. Continue reading “StepAway Magazine – Spring 2011”