NewPages Blog :: Magazines

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Produced by the Creative Writing Department of Florida International University, Gulf Stream presents about as straight-up a dosage of contemporary fiction, nonfiction, and poetry as you could hope for. Continue reading “Gulf Stream – Volume 21”

Lilies & Cannonballs Review “seeks to create a space for the synthesis of contrary elements: aesthetically driven and socially conscious literature and art; traditional and experimental forms; crazy-man conservative and bleeding liberal views.” Continue reading “Lilies and Cannonballs Review – Spring/Summer 2004”

A Christian publication, Mars Hill Review is distinguished by its willingness to leave behind the preaching-to-the-choir safety of explicitly Christian texts and venture forth into the realm of pop culture in search of what MHR calls “reminders of God.” This issue offers a spiritually in-depth interview with poet Carolyn Forche, Cindy Crosby’s piece on the restoration of her faith as she helps restore a prairie, stories, poetry, and a generous selection of assumption-challenging book, film, and music reviews—these last on topics as diverse as the Christian-Celtic connection and garage rock revisited. You’ll find here articles supported by Bible verses alongside cogent cultural commentary that would be at home in any (secular) literary magazine. Of the latter, particularly insightful is Craig Detweiler’s review of Sofia Coppola’s fine film Lost in Translation. Informed by memories of his own isolating sojourn in Japan, Detweiler’s assessment, like the film itself, calls attention to what is missing, to that something beyond ordinary life that we all seek in imperfect ways… Continue reading “Mars Hill Review – 2004”

This perfectly-bound academic quarterly out of Pittsburgh State University (that’s Pittsburgh, Kansas, not Pennsylvania) presents poetry, articles, and reviews. Continue reading “The Midwest Quarterly – Summer 2004”

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

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

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

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

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

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

This issue of the populist journal Rosebud features stories by the winner and several close finalists for The Le Guin Award for short “imaginative fiction,” as well as a Roundtable called “Truth in Poetry?” My favorite short fiction piece was Alicia Conroy’s “The Nameless Season,” a runner-up for the Le Guin Award. Continue reading “Rosebud – April 2004”

Been longing to, as the song says, drive south? Just pick up a copy of the Arkansas Review and step into one of Daniel Coston’s you-are-there paintings of quintessential southern settings somehow rendered exotic by his fresh view of their familiarity. The white churches, the flat green lands of the Mississippi Delta, an “old store south of Pine Bluff, Arkansas on highway 65” will seem so real you’ll want to have your picture taken there. Then head out to the inexplicably named Club Disco 9000, actually “a juke joint, a prefab steel barn on Otha Turner’s place, out in the country” with white, middled-aged British blues fan Garry Craig Powell. In “Talkin’ Blues at the Living Blues Symposium,” he’ll give you his entertaining/worried take on the current health of (and his not so promising prognosis for) the blues and the fact that white people’s love for the blues (or their co-opting of it, depending on how you look at it) helps keep it alive, yet also tends to alter its essence. Who you play for can change your song, as R. T. Smith will warn you in his tour de force for one (fictional) voice “Dear Six Belles,” a wonderfully cranky and obsessive paean to real Cajun music: “Authentic whang-doodle, chers, the true thing.” Hear it? “You gotta cherish the blue swell in the emotional motion, give your self whole heart to the Loosiana razzy dazz.” If you start now, you can be back by suppertime. [Arkansas Review, Department of English and Philosophy, P.O. Box 1890, Arkansas State Unversity, State University, AR 72467. E-mail: [email protected]. Single issue $7.50. http://www.clt.astate.edu/arkreview] – AS Continue reading “Arkansas Review – August 2004”

An enjoyable new offering that hails from Seattle, Swivel showcases “women writers of wit.” As editor Brangien Davis writes, “In Swivel, you’ll find both funny ha-ha and funny strange, but mostly you’ll find that we take funny women seriously.” Continue reading “Swivel – 2004”

Probably one of the most unassumingly designed literary journals, The Baltimore Review stands up to the best of them with fiction, nonfiction, poetry, and book reviews that all have that special glint of treasures presented with a knowing wink of editorial conviction. This issue features six short stories, all impressively artful and absorbing. Joe Schall’s “Opossum”, winner of TBR’s 2003 Short Fiction Competition, treads with not a single unsure step the bizarre territory of agoraphobia, etymology, toxicology, and marsupials, blending it all together with a thematic grace that left me moved by the feeling that I’d just read one of the year’s best stories. Continue reading “The Baltimore Review – Summer/Fall 2004”

Defying the trade paperback design standard to most literary journals, The Briar Cliff Review is a magazine-size book with thick, glossy paper and an evocative array of crystal-clear full-color artwork scattered throughout. To peruse this journal is an enjoyable sensory experience, and I found myself savoring the pure pleasure induced by the design as much as I savored the contents, which are substantial: 28 poems, 6 stories, 3 nonfiction pieces grouped under the unique heading “Reflective”, 4 articles or exhibits dealing with the “Siouxland” surrounding Briar Cliff’s Sioux City origins, and 3 book reviews. The short stories here are highly literary, somewhat ponderously paced, and ultimately very winning in their shared reluctance to undercut the human mysteries they present. Continue reading “The Briar Cliff Review – Volume 16”

Cairn: from the Scottish, a pile of stones meant as a monument or landmark. Also an exceptional literary magazine out of St. Andrews Presbyterian College. Kevin Frazier’s haunting story “The Magic Forest,” the tale of a lonely child who, on the spur of the moment, absconds with an infant “being aired” in the yard, considers the law of unintended consequences in a (disturbingly undermined) fairy tale setting. Continue reading “Cairn – May 2004”

This venerable journal (it has been around for more than 50 years) can be relied upon for excellent short fiction, and this issue is no exception. Lydia Peelle’s “Mule Killers” and M. Allen Cunningham’s “Crustacean” are both evocative and nostalgic – “Mule Killers” evokes the farming past of the speaker’s family, and “Crustacean” about a man trying to keep his crumbling family from falling apart. The few poems sprinkled throughout the issue provide tonal counterpoints for the stories, which means the editor put some thought into how to position these pieces together. For instance, the poem “Revival” by Jody Winer-Cook describes a museum exhibit of stone snake-tongue-carved knives and how the speaker responds to it: Continue reading “Epoch – 2004”

Kary Wayson: you have uncountable volumes of love in store from all who read your poetry. Continue reading “Cranky – May 2004”

Imagine being able to put into words the feeling of a home run on a summer night and you’ll have the All-Star issue of Elysian Fields Quarterly, a unique and unabashedly ardent literary magazine devoted solely to America’s once (and future—well, we can dream, can’t we?) favorite sport, baseball. What are the Elysian Fields? Continue reading “Elysian Fields Quarterly – Summer 2004”

This appealing journal out of the University of Maryland publishes feminist research, analysis, theory, reviews, art, as well as poetry and fiction; the overall flavor of this issue was resolutely academic. Particularly interesting in this issue was Stephanie Hartman’s essay “Reading the Scar in Breast Cancer Poetry,” which examined how poets like Hilda Raz, Audre Lorde, and Marilyn Hacker wrote about the physical and metaphorical scars of breast cancer. Also a startling discovery – the amazing art work of Betye and Alison Saar, whose work has both powerful symbolism and haunting directness. Continue reading “Feminist Studies – 2004”

Fence opens with a reprint of Vladimir Nabokov’s marvelous “Canto One,” a tough act for any poet to follow. Eighth-grader Kyle Kenner does a good job with his two prose poems, including “Drafted,” a powerful, understated piece which ends: “A couple of days after the war was no more, his mom received a letter. A letter from the U.S.A. The letter said the soldier fought well, the letter said the soldier was no more.” Continue reading “Fence – Spring/Summer 2004”

Are you lonely for the music that used to inhabit the house of poetry? Do you miss the rhyme, though you visit it sometimes in the lyrics of your favorite songs? Does a stray phrase from “Prufrock” or “Innisfree” or “Stopping By Woods” pop into your head every now and again, wondering where you’ve gone? Continue reading “The Formalist – Spring/Summer 2004”

HGMFQ is not only a fiction journal, but a wealth of scholarly articles on gay literature and academic history. Continue reading “Harrington Gay Men’s Fiction Quarterly – 2004”