Find the latest news from literary and alternative magazines including new issues, editorial openings, and much more.
If you haven’t used all your vacation time yet this year, you might want to consider taking a few days off just to read this issue of Parnassus—it’s that good. Don’t plan to travel with it, at 470 pages it’s nearly too big to fit in a carry-on bag. But, if care about intelligent writing and about poetry, however you do it, make room in your life for this issue. Continue reading “Parnassus – 2005”
This is a beautiful journal. It uses the same elegant design with each issue, alternating only the cover’s color and the content – and included are usually a novella, a long poem, and black-and-white artwork. Because the number of works is so small, the pressure on the editors to publish good pieces is much higher – little room for error here. Continue reading “At Length – 2005”
Editor Dan Veach is enthusiastic and proud: “Welcome to the most joyful and enjoyable celebration of poetry you’ve ever seen!” The celebration is nothing short of enormous — 330 pages of poetry divided into a series of “stages of human life” (Birth, Childhood & Youth, Love, etc., Home & Work, Aging & Death, Animals & Nature, Humor, Cities, Poetry, Music and Art, and War) interspersed with a series of “expeditions” (Ireland, Asia, Latin America, Spain, The Caribbean, Africa, Greece, Australia, Great Britain, and America), along with serene black and white drawings from a half dozen artists. Continue reading “Atlanta Review – Spring/Summer 2005”
The debut of Ballyhoo Stories, a biannual print magazine aiming “to reach the broadest audience possible,” is solid. It loses points for presentation – a less than elegant black-and-white cover, oddly shifting black-on-white with white-on-black text pages, and distracting borders and page number fonts – but the content is stronger. The eight stories loosely collected under this issue’s theme of “Portraits and Snapshots” are character-driven works that are at best quietly ambitious and at worst tend toward the sentimental, an understandable side-effect of fiction grown from personal photographs (and from a journal concerned with establishing a large readership). Several works stand out, including Michael Hartford’s “Call Me Pearl” and Amy Brill’s “The Pursuit of Joe Kahn.” Continue reading “Ballyhoo Stories – Spring 2005”
It’s fair to say that Barrelhouse is the most promising recent journal so proudly founded in drunkenness; in the introduction to their debut issue, the editors quickly establish its origin, writing, “Fine, we’ll admit it, we were drunk,” thus establishing a youngish masculinity that reverberates throughout. Continue reading “Barrelhouse – Winter 2005”
Published in Chicago, Bridge is a slick culture-oriented magazine that cranks the volume to eleven. The content is comprehensive – interviews with filmmakers and artists get as much space here as fiction and poetry – but sadly seems a bit loose: too many typos really do frustrate a reader’s experience, and some of the pieces seem to swing and miss. Continue reading “Bridge – Spring 2005”
Diner‘s editors endeavor to “support diverse voices that speak across boundaries of time and place.” Toward that end, this issue’s offers “features” of two poets who couldn’t be more different from each other: “Blue Plate Special #1” is Sandra Kohler, and “Blue Plate Special #2” is Michael Casey. The menu also includes 40 other dishes…I mean…poets. Continue reading “Diner – Spring/Summer 2005”
“If” is the theme here, and Kent Bruyneel’s poem “Struggles and gives. Breaks.” kicks things off well: “Then the strange and / proud echo of her turning around. Interrupted. By the voice / wondering aloud when she is coming back and if.” The collected pieces are nicely unified – no loose theme is this – and ambivalence of course weighs heavily, especially in Ken Howe’s amusing mock-epic poem “Jerry’s Barbershop, an Investigation,” in which the persona freaks out over a bad haircut: “I beheld / the same geek who’d take the chair some minutes earlier, OK but / with shorter hair.” Continue reading “Grain – Spring 2005”
The Malahat Review is characterized by a generous editorial vision. This issue is especially eclectic with poems by nine poets and nine fiction writers whose work ranges from experimental to solidly traditional. Continue reading “The Malahat Review – Spring 2005”
What makes this issue exceptionally interesting is the range of sensibilities found here. Continue reading “Michigan Quarterly Review – Summer 2005”
If you are like me, you often find the unknowns packing more punch than the big names in literary magazines. So you will probably be excited to see the Mid-American Review devoting an issue to unpublished authors. Continue reading “Mid-American Review – Spring 2005”
“This is what we seek: Clarity, fluidity, unselfconsciousness, poems that guide us without fanfare into what is genuinely human—an insight, experience, or mood which, though we’d not perceived it before, we recognize it instantly.” Some of the more accomplished poets whose work satisfies the editor’s vision include Linda Pastan, Diane Lockwood, Jim Daniels, and Jane Shore. Shore introduces seven poems by Nadell Fishman that “recast the roles of mother, wife, and daughter, retelling her personal story through fairy tales and popular culture…” Continue reading “Poet Lore – Spring/Summer 2005”
Although it’s not meant to be a special theme edition, it almost reads like one: “the men’s fiction issue”—approximately 75 percent of the magazine consists of short stories by male authors. These are conventional, but highly satisfying pieces for the most part, the sort of well plotted tales that take one, ever so briefly and deeply, inside another’s life. While these stories are quite different from each other in tone, in style and in the subject matter they treat, they have in common their uncommon psychological insight. Each one of these stories is narrated with close and astute attention to what moves and motivates people.
Continue reading “The Portland Review – 2005”
Quarterly West consistently turns out sparkling pieces of fiction, poetry, and non-fiction, and this issue is no different. Steve Fellner’s notable essay, “Are You There Judy? It’s Me, Steve,” is a bittersweet reflection on the impact of Judy Blume on the author’s adolescence. The fiction ranges from experimental to realism, and teenage thieves, dying in Israel, and raising exotic animals are among the wide-ranging subject matter. Continue reading “Quarterly West – Winter 2005”
Salmagundi continues to offer up work that is challenging, not because it is unusual or inventive, but because it is thoughtful in the truest sense of the word. Thinking, is in fact, the subject of one of this issue’s many splendid essays: “The (Possible) Reasons for the Sadness of Thought,” by the ever thought-provoking George Steiner. Continue reading “Salmagundi – Spring/Summer 2005”
The latest issue of 96 INC. is dedicated to the memory of founding editor Vera Cochran Gold and contains her intriguing “Vegetable Monologues: Broccoli, Okra, Fennel, The Pepper Farm, Eggplants.” The suite of short-shorts are experimental in form, affecting mediations on isolation and alienation. Continue reading “96 INC – 2005”
This issue features a “Portfolio of Appalachian Poets,” which includes poems by 34 regional writers. The Appalachian’s most celebrated poet, Charles Wright, is front and center, followed by established and lesser known names who explore subjects explicitly linked to the region (landscapes, family life, flora and fauna, the “local characters,” mining, regional landmarks), and others from anywhere and everywhere (love, the loss of love; love, the loss of love). There is a pleasing mix of modes, styles, and tones and all of the work is strong. I was particularly taken with work by Lynn Powell, Michael Chitwood, and Cathryn Hankla. Continue reading “Shenandoah – Spring/Summer 2005”
If you dislike the homogeneity of Starbucks and Barnes & Noble, here’s the magazine for you. The equivalent to a locally owned coffee-shop, Arkansas Review is a fiercely regional tri-quarterly; based on that alone, it’s a laudable effort. The poems of Jeffrey Renard Allen are as bluesy as you’ll ever see (“Bol weevil in the cotton / worm in the corn / Devil in the white man / War going on”), and the centerpiece essay focuses on the racial implications of lodging alternatives in Clarksdale, Mississippi: “Race and Blues Tourism” is a perfect example of how focused investigation, even (especially?) in an area so removed from ‘cultural centers,’ can enlighten and entertain. Continue reading “Arkansas Review – April 2005”
In its 63rd year, The Antioch Review is still a benchmark. Robert S.Fogarty’s editorial quote from Claude Levi-Straus identifies its theme as, “the search for unsuspected harmonies.” In the lead essay—of seven solid essays—Daniel Bell’s “Ethics and Evil: Frameworks for Twenty-First-Century Culture” asks: “How do we contain wars of faith, and the spread of potent ideologies while giving people an anchorage for their lives?” while Alan Cheuse’s ”Reflections on Dialogue: How d’yuh get t’Eighteent’ Avenoo and Sixty-Sevent’ Street?” addresses the question of the narrator in “And God said let there be light, and there was light [. . .]” while tracing the origins of speech and story. Iraj Isaac Rahmim’s autobiographical “Sacrifices” defines poverty: “[. . .] being poor as a student is not being poor at all; it is simply getting an education.” Work from eleven fine poets (among them: Neil Azevedo, Michael Demos, and Marilyn Nelson) is included and in “Poetry Today,” John Taylor concludes his review of Giuseppe Ungaretti’s Selected Poems and Giorgio Caproni’s The Earth’s Wall: Selected Poems 1932-1986 with poetry of his own: “[. . . ] intimations of citadels looming there above us, even as we pass below the ramparts [. . .].” Continue reading “The Antioch Review – Spring 2005”
boundary 2 is a serious journal—with cover art by Theodore A. Harris titled “On the Throne of Fire after Somebody Blew Up America (for Amiri Baraka).” Continue reading “boundary 2 – Spring 2005”
This beautifully bound, map-wrapped volume is a treasure of outstanding short stories and poetry with new work by familiar names as well as lesser known. The quest theme applies to almost anything, as editor Bradford Morrow acknowledges, having summoned the timeless Robert Coover (“Dragons have no sense of time [. . .],” from “Sir John Paper Returns to Honah-Lee,”), William Gas, (“The Piano Lesson,” and a great deal more), and John Barth’s forgiven archness in “I’ve been Told: A Story’s Story,” as well as Paul West’s “Slow Mergers of Local Stars” (it is not enough to simply kill a lion), and Joyce Carol Oates’s “The Gravedigger’s Daughter” – a mother and child on the lam. Continue reading “Conjunctions – 2004”
Ready to stand at indistinct edges or walk vertiginous margins, the aptly named Ecotone is a brave new offering out of the University of North Carolina at Wilmington. As editor David Gessner explains, it’s the edges, “between genres, between science and literature, between land and sea, between the civilized and wild, between earnest and comic, between the personal and biological, between urban and rural, between animal and spiritual” that Ecotone feels are “not only more alive, but more interesting and worthy of our exploration.” Worthy of exploration as well is this first issue, a nicely produced perfect-bound volume weighing in at over 150 pages, with a center section of art devoted to gorgeous collages by Pamela Wallace Toll. Continue reading “Ecotone – Winter/Spring 2005”
Field: (f?ld) n. any wide, unbroken expanse; in this case, one of terrific poetry. But longtime readers of the venerable journal, in publication since the 60’s, won’t find that news revelatory. As usual, there’s much here to be praised, with new work by notables such as Pattiann Rogers, Marianne Boruch, Dennis Schmitz and Sandra McPherson. Continue reading “Field – Spring 2005”
Gargoyle is the collection eclectic was invented for. Its contents include—in addition to the cartoon frontispiece by Patricia Storms offering aid and comfort to writers everywhere, and several photographic portraits—the non-fiction “Berkley Morning,” an excerpt from Phillip Henry Christopher’s Trippin’ with Charlie and “Dreaming Richard Brautigan” by Greg Keeler. Continue reading “Gargoyle – 2005”
From among the sage brush and juniper (not to mention the sprawling megalopolis that is the greater Phoenix area) Hayden’s Ferry Review continues to prove that dedication to an editorial vision pays off. Continue reading “Hayden’s Ferry Review – Fall/Winter 2004-05”
It always makes me happy to see a long-running literary magazine still going strong. Continue reading “Hiram Poetry Review – Spring 2005”
Alice would love Mad Hatters’ Review—as I do—there’s something, including the astral threats of summer, to delight everyone. Continue reading “Mad Hatters’ Review – Summer 2005”
From the web site: “Matter is a unique biannual publication of literature, poetry, photography, visual art and just about anything that is made of matter.” Continue reading “Matter – 2005”
Turning the page in Post Road always brings a new surprise. Will the next piece be a non-fiction essay on the local dogcatcher, a book recommendation made by one of your favorite authors, a poem or a long series of video stills? Post Road issue 10 is a real hodgepodge of writing with plenty that had me excited. The aforementioned Matt Roberts piece, “The Dogcatcher Hates Politics,” was a fun and clever piece containing this gem: “’Excitement,’ the dogcatcher says, ‘is a dumpster full of raccoons.’” Continue reading “Post Road – Spring 2005”
Spire is a slender volume of poetry, fiction, and stated purpose (from the web site): “Spire is dedicated to publishing traditionally marginalized voices of minority, low-income and young writers and artists who will create the future of arts and literature. Spire publishes new writers alongside more established writers in order to lend credibility and establish interest in the work of the new writers. Continue reading “Spire – Spring 2005”
Perhaps the best editors are prescient, equipped with a literary sixth sense that allows them to provide readers with apt reflections at the right moment. So it was that I found myself clipping an article on the necessity of craft in memoir (as opposed to mere emotional regurgitation) by the current editor of AGNI, Sven Birkerts, out of a recent issue of Poets & Writers even as I was reading it, so exactly did it articulate thoughts I’d been having. A similar sensation attended my reading of an essay by AGNI’s founding editor, Askold Melnyczuk, in the current issue of the magazine. Seventy pages earlier, I’d been reading Ben Miller’s “Romancing the Dankerts” and reflecting on what it was about his prose that made it dense and stunningly lyric, lush in a way that made me want to taste it (and all this in piece ostensibly about trash and trashy neighbors who object to the trash!). And then there was Melnyczuk, ruminating on the same question: “I’m curious about why certain sentences read quickly, why others force us to slow down…” and quoting Susan Sontag: “Every style is a means of insisting on something.” I must insist that editors of this ilk are the reason AGNI consistently dazzles. Volume 61 is no different; I starred so many pieces as worth mentioning that I can’t mention them all. Birkerts may begin this issue by lamenting that with Sontag’s death, he lost his “ideal reader,” the person he felt he was editing for, even if she’d never seen a copy of the magazine, but I have a feeling that even without her guiding presence, AGNI will continue to deliver what readers are looking for–even if they don’t know it yet. Continue reading “AGNI – Number 61”
Clackamas Literary Review, a yearly glossy out of Oregon, features accomplished, edgy work that approaches difficult subjects with verve. Mir Emampoor’s short fiction piece, “The Snake,” elegantly and poignantly tells the story of a young man struggling with doubt, faith and the influence of friends during Ramadan. Continue reading “Clackamas Literary Review – 2005”
A chemotherapy ward is transformed into the visitation grounds of the Angel of Death. A game of American Indian wars interpreted by German boys is played while a real war wages in the background. A Kansas farmer anticipates her horse’s foaling while caring for her old friend, an aerial photographer sensing early signs of brain damage. These stories highlight Crazyhorse 67, whose style can be spelled out with traits—rural, man-versus-nature, agrarian mysticism, even the very presence of horses—but for all of which the prime mover is always the imagination. Christopher Burawa’s “Visitation of the Chemotherapy Angel” is a meditative prose poem; Maria Hummel’s “Peter at the Stake” is a fictional memoir inspired by true events; and Andrew Malan Milward’s “The Agriculture Hall of Fame” is a story about memory—narrated, to surprising effect, backwards and in fragments. Continue reading “Crazyhorse – Spring 2005”
Great fiction enables us to see the world with fresh eyes, as the editors of Inkwell remind us, and they have reason to be proud. Continue reading “Inkwell – Spring 2005”
Modern Haiku is everything its name would suggest: a magazine devoted to traditional Japanese poetic forms, but with a modern approach. Continue reading “Modern Haiku – Winter-Spring 2005”
Well, issue number 50 decides it. I can’t put off buying a Judy Budnitz collection anymore; her stories are just too good.
This issue of the venerable, well-respected Ploughshares was guest-edited by poet and essayist Martín Espada, and many of the poems and prose he picked for the issue pack incisor-sharp observations and an emotional wallop. The table of contents boasts so many poetry luminaries I can’t list them all, but here’s a partial list: Adrienne Rich, Yusef Komunyakaa, Robert Creeley, Gary Soto and Sharon Olds. Continue reading “Ploughshares – Spring 2005”
An annual poetry journal out of the underrepresented Los Angeles area, POOL comes with two surprises. The first is its structural egalitarianism: the poems are arranged alphabetically by author, encouraging readers to pick through the mag in any order or style they so please. And the reactions to these customized readings, those are the second surprise. Continue reading “Pool – 2004”
“My name is Damien Echols, and I am a poet, author, and death row inmate who is currently awaiting exoneration through D.N.A. testing.” That’s how one handwritten cover letter addressed to Porcupine began, and when the editors read it, they knew that merely considering Echols’ poems for publication wouldn’t do him justice. Echols’ is a well-known reputed case of wrongful imprisonment (as one of the “West Memphis Three”) and his professed innocence has created a minor cause celebre among activists. But what’s really moving here is the personal account of the psychological horrors and spiritual growth experienced behind bars. Continue reading “Porcupine – 2005”
The magazine formerly known as the Beacon Street Review has gotten a makeover by the grad students at prestigious Emerson College. The latest offering of Redivider is a joyful romp through the peaks and discontents of American pop culture from the fringes to the mainstream. Continue reading “Redivider – 2005”
Something about a Southern poetry journal, especially one with cream-colored pages and chapbook binding, makes the day pass by slowly. Tar River Poetry is never morbid, never too light, often ironic, often chatty like a friend sitting on the porch during a barbecue. I love, for example, the assonance of William Trowbridge’s “Foolish Tears”: “Tonight, Fool’s sobs / blort through the dark as dog’s bark and big rigs / blast across the overpass.” Continue reading “Tar River Poetry – Spring 2005”
6×6 first caught my interest with its zine-like appearance. I don’t mean zine-like in the sense of something badly copied at Kinko’s, but zine-like in the sense of a magazine carefully and lovingly put together with limited funds that manages to look much better than most of the big-names. This issue is bound in felt paper and held together with a thick rubber band, yet still looks nice and professional. The name 6×6 refers to the format, which is six poets with six pages of poetry each. This normally means six poems a poet, but not always. Dorothea Lasky, for example, offers up one, long six part poem. The highlight for me was Laura Sims’ minimal and idiosyncratic pieces from the manuscript “Practice, Restraint.” Her poems are extremely short, but suggest whole worlds: “At the east branch- // One empty room / And another / Abandoned /// By Spaniards.” Each of the six poets it working in their own distinct style and yet the whole issue feels strangely cohesive. If I could make one complaint, it would be the lack of biographical information, but overall this is a strong collection of contemporary, avant-gardish poetry, and if that sounds interesting at all to you, why not drop the mere three dollar cover price and give 6×6 a try? Continue reading “6×6 – Fall 2004”
This issue of American Poetry Review, the bimonthly newsprint journal that keeps its readers on the cutting edge of poetry criticism, features poems by Donald Revell, translations of Vallejo by Clayton Eshleman, a review of Michael Ryan and a smattering of his poems, and several excellent poems by Anne Marie Macari, but the standout features for me were two essays. One was Dana Levin’s perceptive essay “The Heroics of Style” on the effects of stylistic pressures on the poetry of Sylvia Plath, and the other was John Yau’s piece, “The Poet as Art Critic,” on John Ashbery and Frank O’Hara’s writing on art criticism. Continue reading “The American Poetry Review – June 2005”
This issue of Arts & Letters, an attractive glossy, 7×10 twice-yearly journal with a spacious, easy-to-read layout, is dedicated to Susan Atefat-Peckham, who is eulogized touchingly in an essay by Poetry Editor Alice Friman. The issue also contains an excerpt, called “Grandmother Poem,” of Donald Hall’s upcoming memoir about his wife, Jane Kenyon. Very high quality fiction and poetry throughout the issue, including “Esther the Golden,” by Yona Zeldis McDonough, which tells the story of beautiful and devout Esther, who rebels against her close-knit community of faith in order to embrace a wider view of the world, and Margot C. Kadesch’s “Mate Selection,” about a biologist who is torn between her married boss and studies of sex-driven chickens and her business-oriented boyfriend. Also fascinating were poems by Minnie Bruce Pratt, especially “Shopping for a Present: The Repository of Human Flesh and Blood” and poems by Tenaya Darlington, who won the Arts & Letters Prize for Poetry, especially “The Oldest Living Bombshell Bares All,” whose lines echo Plath’s “Lady Lazarus,” especially the ending:“And yet she rises, //batting her eyes, / cracking a whip with aloof va va voom, / the woman who strips down to her death, / then ignites herself again.” Excellent work in an attractive package, Arts & Letters deserves a place on your literary magazine shelf. Continue reading “Arts & Letters – Fall 2004”
This twice-yearly perfect-bound journal, which focuses on the practices and experiences of medicine, illness, and related topics, always contains touching fiction, non-fiction, and poetry of high quality. The knockout story for me in this issue was a delicate story of class, race, and responses to miscarriage, titled “Baby,” by Lois Taylor, and the poem “Being Nursed by Walt Whitman,” by Jennifer Santos Madriaga, about the experience of teaching poetry to dying students: “My father asks me what it’s like to teach / writing to dying people. ‘Are you afraid?’/ ‘Dad, we’re all going to die,’ I say. / ‘Yes,’ he says, ‘You’re right.’ / There’s a brief silence as static crackles / on the long distance telephone line./ ‘You’re right, absolutely right.’” Continue reading “Bellevue Literary Review – Spring 2005”
Black Warrior Review does everything right. They consistently publish great fiction and poetry while doing things differently and standing out from the crowd. The most obvious example of this is their chapbook series: each issue includes a full-sized chapbook in its pages. The current issue is excellent from start to finish, and it seems impossible to decide what stands out the most: Julie West’s eight gorgeous full-color paintings? The minimal, haunting line-work of Richard Hahn’s comic? Adam Prince’s hilarious short story “The Triceratops”? One thing I feel compelled to comment on is G.C. Waldrep’s chapbook, “Precision Castanets.” His prose-poems here are written in dream-like prose with a strong inclination towards humor and absurdism. Maybe a cross between Ben Marcus and Dean Young could give you an idea. An excerpt from “Fight or Flight”: “The latest fashion was antlers. Continue reading “Black Warrior Review – Spring/Summer 2005”
Calyx, “A Journal of Art and Literature by Women” produced out of the Pacific Northwest, has a gladdening grab bag of known and unknown authors and artists, as well as some interesting reviews of poetry books by both local and national writers. As usual, the art in Calyx is fascinating, particularly some portrait/collage work by Sara Paulsen, whose images of haunting faces marred by various layering techniques (watercolor, computer graphics) are compelling. Continue reading “CALYX – Winter 2005”
The question of national literature is never without debate, and in Canada there’s always plenty of discussion going on about what it means to be truly Canadian. While the debate doesn’t end with The Antigonish Review, it’s a very good place to begin it. I find much of the literature here to be decidedly traditional: it belongs to the outdoors, to fishing and heron spotting and crafting driftwood into spirit masks. Like Anita Lahey’s “Cape Breton Relative,” these works paint a colorful but sometimes sobering portrait of a rural landscape distinctly belonging to Canada (or at least Nova Scotia and, on occasion, Vancouver Island). But this is “Canada’s Eclectic Review,” and there are also many fine turns and surprises. In “Impaired,” Devin Krukoff hits an emotional chord by viewing the world through the eyes of suffering: “The moon is split clear through the center, / a severed tongue on the plate of my window, / while across the world the sun climbs over Africa, / a continent shaped like a spear.” Kevin McPherson’s story “On Stilts” finds a man on the edge of his sanity after his wife’s death in a car crash, using long, run-on fragments to convey grief and vengeance: “My legs threaten to betray me they want to go AWOL head for the fence but I force them back in line.” And Thomas Trofimuk’s “unfolding” is a passionate and strange tale of a poetic one-night stand whose nervous rush still makes it hard for me to let go. As it turns out, there’s a worthwhile reading venture to be had here. [www.antigonishreview.com] — Christopher Mote Continue reading “The Antigonish Review – Autumn 2004”
This handsome new journal, from its burnished full-color matte art-adorned cover (beautiful work by painter Gaither Pope) to the last page, left a surprisingly pleasant impression. The roster of contributors includes a diverse but impressive set of writers, including David Lehman, Beth Ann Fennelly, and Pulitzer-winner Robert Olen Butler, just to name a few. I especially enjoyed Aimee Nezhukumatathil’s poem “At Medusa’s Hair Salon.” Here’s an excerpt: “…I say to Henri, Cut it, // cut it all. It’s clear no one in the salon knows / how Medusa even became a Gorgon;…who would want her hair cut to stun / men into giant concrete tongues, lapping / for air.” I also very much enjoyed the poem that answers that largest of questions, “Why So Many Poets Come From Ohio,” by Margo Stever, especially the line about “why shopping malls built to last / for centuries.” Continue reading “The Cincinnati Review – Spring 2004”
Billy Collins’ gracing the opening of this issue with three wonderful poems is almost an added bonus, because The Florida Review is already filled with outstanding writers whose names may not be recognizable but whose work is surely a sign of things to come. Continue reading “The Florida Review – Fall 2004”
