At the NewPages Blog readers and writers can catch up with their favorite literary and alternative magazines, independent and university presses, creative writing programs, and writing and literary events. Find new books, new issue announcements, contest winners, and so much more!
I really like the phrase “the chaos of memory.” My spirit latches onto it and wraps its arms around its queer, hairy legs. The phrase expresses what kind of happens to your brain during and after trauma. Chaos roots itself in memory. My chaos came when a Mexican man sexually assaulted me on a sidewalk in the afternoon sun.
—from “Semester 1998”
My first introduction to Jenny Boully’s work was her essay The Body, which is written entirely in footnotes and has a whole lot of white space. What an inventive mind, I thought, and her latest book, Betwixt-and-Between: Essays on the Writing Life, reinforces that thought.
A good example of what independent presses have to offer is Thirii Myo Kyaw Myint’s The End of Peril, the End of Enmity, the End of Strife, A Haven. No formulaic pap, no ‘been there, done that.’ Just fine, original storytelling. At first I tried to pin down a genre for Myint’s book. Then I relaxed and let her story take me to a horrific ecological event that ruins a city and upends the lives of its people, all who are unnamed. We have the narrator, her family, and “the baby.” There is also a friend called “the girl” and assorted others, including a king and his family and numerous enemies.
Continue reading “The End of Peril, the End of Enmity, the End of Strife, A Haven”
The Fiddlehead Spring 2018 features winners of their 27th Annual Literary Contest, both in print and online:
The Ralph Gustafson Prize for Best Poem Winner
Matthew Hollett, “The Day After the Best Before”
Judges: Jennifer Houle, Sonnet L’Abbé, Sachiko Murakami
Read an interview with Matthew Hollett here.
Poetry Honorable Mentions
Conyer Clayton, “Recurrent”
Conor Mc Donnell, “Qui vincit? (medicamina)”
Short Fiction Prize Winner
Kate Osana Simonian [pictured], “The Press”
Judge: Kerry Lee Powell
Read an interview with Simonian here.
Fiction Honorable Mention
Samantha Jade Macpherson, “The Fish and the Dragons”
In addition to its twice-a-year print publication of fiction, nonfiction, poetry, reviews, translations and now plays-in-progress, The Cincinnati Review features free online content, inviting writers published in their print issues to contribute to their blog. “We’re especially interested in posts that can include an audio, visual, or video element, but we’re open to everything.”
One of those “everythings” is a beautiful recipe for scones shared by Siân Griffiths [pictured], which is as much personal narrative as it is recipe: “Let your mind wander as you sift and press the flour and butter in your fingertips. Remember the girl who told you that it doesn’t count as being the daughter of an immigrant if your immigrant father was only British. Remember the precision of your grandmother’s back garden with its perfect border of perfect flowers. Wonder why you even own that stupid pastry cutter.”
The Cincinnati Review online also includes miCRo, a weekly highlight of flash fiction or nonfiction or poem under 32 lines each. Recent contributors include Cady Vishniac, Kelle Groom, Becky Hagenston, Joshua Kryah, and Lisa Fay Coutley. Submissions for this feature are open year-round (excluding during contest submissions).
Gerald Purdy is the featured artist for Weber Spring/Summer 2018, who comments, “Time and space have collapsed in art but not in the self of the artist. I happen to think we are still driven by the need to tell stories and to create illusion and order where none exists.”
I love the striking simplicity of this cover photo for the Spring/Summer 2018 issue of The Aurorean, but it’s the moose that drew enough favor to land it here! Appropriately enough, titled “Tulips in Moose Vase” is a photo by Cynthia Brackett-Vincent.
The cover of The Main Street Rag Spring 2018 is the intriguing collage “Extinction” by Sebastian Matthews.
The Kenyon Review will be accepting submissions during their open reading period (Sept. 15 – Nov. 1) for a special issue “to engage the possibilities, as well as the limits, of Literary Activism,” with guest editors Rita Dove and John Kinsella. “They share a belief that literary writing offers one of the most effective means for interrogating and challenging social oppression, inequality, and injustice,” writes David H. Lynn in the May/June 2018 issue. “Their goal will also include presenting a range of responses to a world whose soil and water and air are under grave threat.”
Read Lynn’s complete Editor’s Notes: Literary Activism and the World We Live In.
The Spring 2018 issue of The Chattahoochee Review features the 2018 Lamar York Prize Winners and select finalists:
Winner for Fiction
“A Day in Which Something Might Be Done” by Michael McGuire
Published Finalist
“The Goddess of Beauty Goes Bowling” by Chaya Bhuvaneswar
Winner for Nonfiction
“Concaves” by Deborah Thompson
Published Finalists
“Here Is How I Come Undone” by Caroline Burke
“How My Body Was Made” by Terry Ann Thaxton
For a full list of finalists and judges’ comments on the winners, click here.
Winners of the annual Lamar York Prizes for Fiction and Nonfiction receive $1,000.00 each and publication. The prize is open from November 1 – January 31.
Brevity: A Journal of Concise Literary Nonfiction blog for May features an interview between Sarah Einstein and Sven Birkerts, “On Writing, the Distractions of Technology, and Iota.”
Einstein checks in with Birkerts on what may have changed in how we are impacted by technology since just 2015 and the publication of his book Changing the Subject: Art and Attention in the Internet Age.
“If you spend much of the day free-styling between platforms, what do you have to work with in the soul-making department, and what will you use to make your art, if art is what you make?” Birkerts comments.
The two also discuss how we can (if we can) regain “access to the sublime through art” and what exactly Birkerts wishes people would pay more attention to and less attention to in our daily lives.
Birkerts will be a workshop leader for the Iota Conference in mid-August, where he hopes “to use exercises and conversation to help the writers get closer to the urgency and insistence of their respective projects.”
Read the full, and brief (of course), interview here.
Carve Spring 2018 includes the winners of their annual Prose & Poetry Contest:
FICTION
“Peach” by Thomas Gresham
NONFICTION
“Stories of Men and Women” by M.K. Narváez
POETRY
“On Learning That Ho Chi Minh Once Worked as a Baker at the Parker House Hotel in Boston” by Robbie Gamble
Honorable Mentions
“I Am Fat” by Paulette Fire (Nonfiction)
“Sal Wants to Sleep” by Serena Johe (Fiction)
The contest is open from October 1 – November 15 each year. Each winner receives $1000 and publication.
The Common is a print and online publication of The Common Foundation, “a nonprofit dedicated to publishing and promoting art and literature that embodies a sense of place” with an emphasis of publishing new writers from around the world. Issue #15 includes a special portfolio of Arabic stories and artwork from Jordan.
Authors featured (translated by) in this issue: Mahmoud al-Rimawi and Haifa’ Abul-Nadi (Elisabeth Jaquette); Ghalib Halasa, Jamila Amaireh and Fairooz Tamimi (Thoraya El-Rayyes); Ja’far al-Oquaili, Mufleh al-Odwan and Majidah al-Outoum (Alice Guthrie); and Elias Farkouh (Maia Tabet).
TEACHERS: The Common also provides discounted classroom subscriptions, desk copy, and lesson plans to accompany the specific issue, as well as an in-person or Skype visit from Editor in Chief Jennifer Acker or a participating author. Click here for more information.
“Percy Lightfoot, Star Pupil, Trent School, 2017” by Amy Johnquest is featured on the cover of The Masachusetts Review Spring 2018 issue in addition to a full-color portfolio of her work inside.
Hanging Loose 109 features a full-color art portfolio by Elizabeth Hershon as well as “Dreams” on the cover.
Into the Void issue 8.2 (2018) is one that required a double take with “Blindness: Study #0” by Pedro Aires, “A young architect from Portugal interested in experiementing with mulitiple creative processes.”
The Spring 2018 issue of Paterson Literary Review includes winners and all the honorable mentions of the 2017 Allen Ginsberg Poetry Awards:
First Prize
Howard Berelson, Teaneck, NJ, “Last Night”
Robert A. Rosenbloom, Bound Brook, NJ, “Dear Amy”
Second Prize
Eileen Van Hook, Wanaque, NJ “Thanksgiving Memory”
Third Prize
Phillipa Scott, West Orange, NJ, “Hoboken, 1990”
For a full list of the Honorable Mentions and Editor’s Choice selections, click here.
The Allen Ginsberg Poetry Awards, honoring Allen Ginsberg’s contributions to American Literature, are given annually to poets. First prize, $1,000; second prize, $200; and third prize, $100. Winning poems are published in the following year’s issue of the Paterson Literary Review. The contest is open between June 1 and September 30 of each year.
In addition to poetry and book reviews, the Spring 2018 issue of The Wallace Stevens Journal is a special issue: “Re-triangulating Yeats, Stevens, Eliot” edited by Edward Ragg and Bart Eeckhout. Content includes:
“Pages from Tales: Narrating Modernism’s Aftermaths” by Edward Ragg
“Yeats, Stevens, Eliot: Eras and Legacies” an Interview with Marjorie Perloff
“Atlantic Triangle: Stevens, Yeats, Eliot in Time of War Ireland” by Lee M. Jenkins
“Crazy Jane and Professor Eucalyptus: Self-Dissolution in the Later Poetry of Yeats and Stevens” by Margaret Mills Harper
“’Where / Do I begin and end?’: Circular Imagery in the Revolutionary Poetics of Stevens and Yeats” by Hannah Simpson
“’Dead Opposites’ or ‘Reconciled among the Stars’?: Stevens and Eliot” by Tony Sharpe
“The Idea of a Colony: Eliot and Stevens in Australia” by Benjamin Madden
“’We reason of these things with later reason’: Plain Sense and the Poetics of Relief in Eliot and Stevens” by Sarah Kennedy
The Wallace Stevens Journal is avaialbe by subscription from John Hopkins University Press and is also available on Project Muse with article previews.
I started reading the latest issue of MAYDAY on May 1, of all days, so as I clicked through the poetry, prose, translations, and art in the Winter 2018 issue, my mind kept going back and forth between distress signals and a day of springtime celebration. While the pieces I gravitated to seemed to have more of that distressed feeling about them, one can also find moments of hope and celebration.
Unlike the vast majority of literary and popular magazines, Copper Nickel does not greet their readers with an editor’s note outlining the materials of the issue. They do not offer a lens for readers to examine featured pieces. And why should they? The featured works of poetry, fiction, nonfiction, and translation folios speak for themselves; they do not require an approach or an explanation. What the editors do achieve, however, is to provide the magazine’s readers with the freedom to imagine and interpret authors’ works without any imposed limitations. Plus, let’s be honest, no one buys magazines for their editor’s notes; we buy them for art, and in the Spring 2018 issue, art speaks for itself.
Under the seemingly plain cover of the Winter 2017/18 issue of Barrow Street, featuring a black and white photograph of one of the New York streets, I have found complex colors of poetry seeping through the pages. Barrow Street publishes both “new and established poets writing in a wide variety of styles” offering something captivating for any picky reader.
For an issue on craft, let’s start at the end where it all comes together. Ecotone, a journal of place, concludes with contributors offering a single sentence on what craft means to them. Contributor Emily Larned says, “Craft shows us how to live: deliberately, conscientiously, mindfully, and as well as we possibly can.” Ecotone publishes authors and artists whose words are deliberate, whose language and choices are mindful and precise in communication.
Aqua, white, and yellow, the cover of Willow Springs 81 is built around Chris Bovey’s silkscreened “Garbage Goat,” a tribute to a local Spokane bovidae. The colors, the image, the typography itself evince freshness, a liveliness that portends well for the content within. Published twice yearly, Willow Springs is funded in part by the MFA program at Eastern Washington University, though its contributors come from all over the country.
The Winter 2017 issue of subTerrain provides a change of perspective through its Canadian west coast view of fiction, poetry, commentary, art, and book reviews. The subtitle, “Strong Words for a Polite Nation,” piques the reader’s interest, but it may depend on where the reader is sitting. As a Michigander, I can vouch for the politeness of our Canadian neighbors. And, yes, some of this most recent issue will offend some readers, but aside from an opinion writer who believes four-letter words add shock value, there is only a poetry collection that might take someone aback.
The Spring 2018 issue of The Bitter Oleander features an in-depth interview with European Editor, poet and translator John Taylor. Editor and Publisher Paul B. Roth delves into a variety of issues and interests with Taylor, including influences on his writing; his bout with polio and interest in mathematics in his youth; the value of “slow” travel – trains being a particular favorite mode of transportation and thought/work space for Taylor; the situation of being an American writer living abroad and the concepts of ‘foreignness’ and ‘otherness’; and the “subtle positivity” of Taylor’s writings. The interview is accompanied by over a dozen pages of Taylor’s work.
The Gettysburg Review Spring 2018 features the fun funky mixed media collage of Margaret Rizzio both on the cover and a full-color internal portfolio.
I love this Glimmer Train #102 cover image of fresh fruits. Though not the kind of tropical fruit we see here in Michigan, this makes me look forward to summer farmers markets. Cover art: “I Miss My Mother” by Jane Zwinger.
The bright sunshine adds to the summery feel of “White Door Bird” by Toni La Ree Bennett, a photo that spans both the front and back covers of the Winter 2018 Cimarron Review.
Winners and Honorable Mentions of the 2018 Bellevue Literary Review Prizes can be found in the Spring 2018 issue:
Goldenberg Prize for Fiction
Selected by Geraldine Brooks
Winner: “Atrophy” by Lauren Erin O’Brien
Honorable Mention: “Full Buck Moon” by Sheryl Louise Rivett
Honorable Mention: “Bamboo Forest” by Faith Shearin
Felice Buckvar Prize for Nonfiction
Selected by Rivka Galchen
Winner: “Cancer, So Far” by Elizabeth Crowell
Honorable Mention: “Drawing Blood” by Laura Johnsrude
Honorable Mention: “The Reluctant Sexton” by Martha Wolfe
Marica and Jan Vilcek Prize for Poetry
Selected by Rachel Hadas
Winner: “Throat” by Gabriel Spera
Honorable Mention: “The Game of Catch” by Noah Stetzer
Daniel Liebowitz Prize for Student Writing
Winner: Nonfiction “Portraits” by Janna Minehart
The annual Bellevue Literary Review Prizes award outstanding writing related to themes of health, healing, illness, the mind, and the body. The next contest will close on July 1, 2018.
“If a poem works it’s because you’ve made it such that other people might participate in making it meaningful, and this participation will always rest on another person’s understanding of the poem and its relationship to a world that is not your own. Your own understanding of the poem will evolve over time too, as you reread it in light of your changing world, just as you will find the world altered in light of the poem you wrote to understand a small uncertain corner of it. With poems, you never get to settle on a final meaning for your work, just as you never get to feel settled, finally, as yourself.”
From On Poetry and Uncertain Subjects: Learning from the unknown by Jack Underwood in the May 2018 issue of Poetry. Read the rest here.
Last month, DM O’Connor reviewed EJ Koh’s collection of poems Lesser Love. In addition to being selected winner of the Pleiades Press Editors Prize for Poetry in 2017, O’Connor offers this praise: “It is clear that each page stands alone as an example of true contemporary poetry. It is clear you should buy this book, memorize all the poems, then give it to a friend who need to be affirmed that poetry is far from dead.”
At the close of the review, O’Connor notes that Koh will even write love letters to her readers, just for the asking. Intrigued, I visited her website, where she states, “I am writing a thousand love letters to strangers by hand.”
Her July 26, 2016 blog post entitled, “It’s Okay, I Love You” explains how she came to this task, beginning the entry with:
“The past nine months, my life has become unrecognizable. When I say this out loud, it means who I am is unrecognizable. But I now see myself for the first time.
“In February, I hoped to write again; beginning was also deciding. I’d once said, ‘I’m sick of writing because I’m sick of myself.’ To be kinder towards my person, I didn’t go back to that place. On a Friday evening, I was pressed for new perspective. I decided to handwrite a thousand love letters.”
She goes on to explain why the handwriting, why the love – which seems it needs less explaining in our current world that feels imbued with endless hate.
So, I wrote to EJ. I sent her an e-mail, including some details about myself, as she requests, “& add a struggle,” which I did. A couple weeks later, I received a hand-addressed envelope postmarked from Seattle. By then, I had forgotten about my request, and didn’t know EJ was on the west coast, so I was pleasantly surprised to open the envelope and find a two-page, handwritten “love letter.” Mine was numbered 62, and included thoughtful commentary and insight gleaned from information I had shared with her, including my struggle.
A love letter? If love means reaching out to a total stranger, to recognize the work they do, what they care about and what they are struggling with; to treat someone with concern and care and affirmation; to not judge and to just be kind and share in someone’s perspective with seriousness and some humor – then yes. This was the best love letter I’ve ever received.
What a difference writers can make in another person’s life. And all it takes is who we are and what we have, shared with another. So simple, so (nearly) free, and yet – so profound.
My thanks to EJ. I hope others who share in this experience have as great an appreciation. May we all “promise to notice our light every day.”
From the creators of Creative Nonfiction magazine, True Story provides a monthly home for longform (5000-10000 words) nonfiction narratives. This pocket-sized publication showcases one exceptional essay by one exceptional author at a time. Are you perhaps the next exceptional author to be featured? True Story is looking for a wide variety of voices, styles and subjects, and of course, readers who would enjoy the same. Subscriptions offer this gem delivered to your mailbox each month – perfect for your beach bag and road trip packing. And not just for you, True Story would be a fabulous gift for the readers in your life. For less than a date to the movies, you can send someone True Story for a year. Also available (for even less!) on Kindle. Just want to sample it? There’s a grab bag of back issues available here.
What better way to usher in summer than to introduce SWWIM Every Day? SWWIM actually stands for Supporting Women Writers in Miami, and although it retains its origin’s namesake, everyone is invited to enjoy the international reach of contributors included in this daily online publication of poetry by women, women-identifying and femme-presenting writers. Continue reading “New Lit on the Block :: SWWIM Every Day”
Diana Arterian presents a force of nature in her debut, full-length poetry collection Playing Monster :: Seiche. Formed after its namesake, seiche, the book plows ahead, a standing wave, a constant, nonbreaking push forward. Throughout the pages, Arterian writes with insight and honesty while weaving together the story of her family’s abuse at the hands of her father, and a period of her mother’s life in which strange men suddenly appeared with the sole goal of threatening her.
Unfamiliar with Barrie Jean Borich’s previous works, I decided to forgo my usual research concerning the author’s expertise and dive into reading Apocalypse, Darling right away. Peeking inside just to get a taste of her writing, I suddenly found myself unable to stop reading despite my previous plans for the evening. Just like the author, “I almost forget we have some place to be,” so I cancelled my plans to explore Borich’s world of “the beautiful wastelands.”
Winner of two NEA fellowships, a Pushcart Prize, and an award from the Academy of American Poets, David Rigsbee is a seasoned American poet who has published ten books of poetry, multiple chapbooks, and a few translations over the past forty years. The poems in Rigsbee’s newest collection, This Much I Can Tell You, are as circumspect in language as they are in dispensing an immediate and experiential wisdom, as the book’s title implies.
Best not to imagine your love dead
or to put literature ahead of life.
Best not to write certain things down.
—from “Cartas de Amor”
If forced to write a narrative log-line for Mather Schneider’s A Bag of Hands, Rattle Poetry’s 2017 Chapbook Prize selection, it would be simple: Cab driver marries Mexican, life ensues. But that is veneer.
Three poems by Elizabeth Hoover, winner of the Boulevard 2017 Poetry Contest for Emerging Poets, as selected by Contest Judge Edward Nobles, are featured in the newest Spring 2018 issue. Works by honorable mention poets Lea Anderson and Elizabeth Eagle are also included.
This annual contest awards $1,000 and publication for the winning group of three poems by a poet who has not yet published a book of poetry with a nationally distributed press. The current contest is open until June 1, 2018.
The Greensboro Review Spring 2018 issue features the winners of The Robert Watson Literary Prizes:
Eli Cranor for his story, “Don’t Know Tough”
Alison Powell [pictured] for her poem “from The Book of Revelation”
This annual contest awards $1000 for both fiction and poetry as well as publication and closes each year on September 15.
The most recent issue of Michigan Quarterly Review (Winter 2018) opens with Associate Editor Keith Taylor’s “What is Found There: Poetry at Michigan,” commenting on this issue’s special feature. He recounts the Spring 2017 200th anniversary celebration at University of Michigan, which included a day-long conference entitled “Poetry at Michigan.” This was a “continuation of two symposia done over the previous few years: one on Theodore Roethke, and the other focising on Robert Hayden and his work.”
This issue of MQR has now become the even larger discussion of poets and their connections to UofM, including: Donald Hall, “an important professor” at UofM for almost twenty years; an unpublished interview with Seamus Heaney “a regular visitor for almost a quarter of a century, both before and after his Nobel Prize”; Francey Oscherwitz, and undergraduate at the university thirty-five years ago; Hannah Webster, “a recent graduate of the Zell Writing Program,” who “writes about her experience with the Prison Creative Arts Project,” including works from Michigan prison students; and Bob Hicock, not a UofM grad, but who lived in Ann Arbor for some twenty years, has contributed “a provocative essay on the necessary and inevitable changes happening in contemporary American poetry.”
“Anger is an energy, according to Johnny Lydon. Who am I to argue?” comments Drew B. David, sole editor and “energy” behind Angry Old Man, a new print and online quarterly publishing all textual and visual forms, with mixed media (or intermedia) especially encouraged. Angry Old Man is a lit mag dedicated to textual-visual hybridization and true aesthetic experimentation. Continue reading “New Lit on the Block :: Angry Old Man”
The American Literary Review has been publishing well-crafted creative writing for nearly thirty years. In 2013, the journal published its final print issue and moved to an online format where it continues the tradition of providing exceptional writing to readers with an even more accessible format.
The MacGuffin is the perfect literary companion. Published three times per year out of Michigan’s Schoolcraft College, The MacGuffin doesn’t overload its issues, and its solid selection of poetry, fiction, and creative nonfiction carefully placed to compliment the flow of subject or imagery speaks to the editorial care behind this quality production.
Booth 11, the Women Writers issue, began, arguably, with male tears. In his introductory letter, Editor Robert Stapleton details an email he received after the 2015 Booth Poetry Prize shortlist was announced, in which a particularly entitled male noted: “Eight of your ten finalists are women. Is this gender bias or chance?” Stapleton kept his cool, explained the process dispassionately, and used the experience for growth. Prior to that email, he notes, two-thirds of the editorial staff at Booth had been men. Since then, the numbers have balanced as more than half of the journal’s editorial positions have been filled by women. Stapleton realized there was more he could do. “American history is dominated by the patience of women,” he writes, “and the world of American publishing, a garden of so much culture and progressive thought, should have been leading this charge long ago.”
After hungrily reading each word of the featured works published on the Crazyhorse website, I was more than excited to get my hands on the entire Fall 2017 issue. Through Shane Brown’s “Blue Hole,” a cover art piece, I fell into the wonderland of prose and poetry. Jonathan Bohr Heinen, the managing editor, notes that “art isn’t some frivolous reflection of aimless escape.” While this issue’s pieces take us on a journey, they nevertheless offer a reflection of reality. As Heinen puts it, “It’s the light that shines so brilliantly and helps us make sense of the world we inhabit. It’s truth.” The editor’s insight offers an entry point for readers as they carefully tread the pages of the 92nd issue seeking “the light.”
“You should read while you can,” urges the speaker in Luke Brekke’s poem “Bottom’s Poetics.” This issue of Poetry Northwest offers a number of wonderful pieces that can make any reader appreciate the opportunity to read. Staying true to their mission, the Winter & Spring 2018 issue entices its readers with “the promise of discovery” as it presents both poetry and visual art. The editors Aaron Barrell and Erin Malone note that this issue offers “a communion of eye and ear.” Indeed, careful readers have the opportunity to immerse themselves in a hybrid of visual and textual formats such as poetry comics by Bianca Stone, Colleen Louise Barry, and others.
Brick’s 100th issue celebrates forty years of nonfiction. An international journal published out of Toronto, Brick “prizes the personal voice and celebrates life, art, and the written word.” In issue 100, the authors look out into the world, to literature, to poetry and to nature for inspiration, while grounding their insights in the personal. Brick is a love letter to our artistic influences.
Celebrating its 45th year in publication, AGNI, published out of Boston University, takes its name from the Vedic god of fire, the guardian of humankind. AGNI’s fiction, nonfiction, and poetry are a fire in the darkness, illuminating the corners of reality we do not see.
I barely knew how to start with the 2017 edition of The Baltimore Review. It is huge. There are 325 pages of poetry and prose, a culmination of four online issues from Summer 2016 to Spring 2017. A little history in the Editor’s Note gave me a better sense of what I was delving into. The Baltimore Review has been around since 1996 and became an independent nonprofit organization in 2004. Though based in the Baltimore area, the journal accepts work from anywhere, and publishes online to a vast audience. There is such a wide variety of voices in the fiction pieces. There are stories about ballet dancers, dogs, gardeners, a young girl in Hawaii caring for her grandfather, an imagining of the future of online avatar use. The journal also feels current. The cover is a gorgeous painting by Sughra Hussainy featuring a self-portrait obscured by the zipped lip emoji, a statement about how women are often told to remain silent, even now. The Baltimore Review is not a place for silence. It’s a raucous collection of talented voices, passionate about a wide range of topics. It’s 325 pages of fresh new work.
I absolutely loved the August 2017 issue of PULP Literature! If the quality of the short stories within this issue is any indication of the overall quality of the publication, then I cannot wait to pick up the next issues! PULP Literature contains everything I love in short stories and novellas from my favorite genres of fiction: science fiction, fantasy, mystery, history, thriller, and chiller.
The Spring/Summer 2018 issue of Black Warrior Review features the winners of their annual writing contest:
Nonfiction Contest Winner
Judge: Hanif Willis-Abdurraqib
“The Best Lighting for My Body Was at the White Horse Inn and Bar, Oakland, California” by Tony Wei Ling
Flash Prose Contest Winner
Judge: Joyelle McSweeney
“Auto-Da-Fé: Confession And Camouflauge” by M.J. Gette
Fiction Contest Winner
Judge: Nicola Griffith
“The World Holds What It Remembers Most” by Tess Allard
Poetry Contest Winner
Judge: Rachel McKibbens
“From a Poet to her Rumbero” by Sarah María Medina
Cover Art: “Undomesticated Interior No. 7” by Lisa Krannichfeld
Every year, the National Writing Project selects five outstanding student writers, grades 10 and 11, who have received a national Scholastic Art & Writing Award for poetry. These Student Poets are invited to share in a conversation and read their poetry. This year’s event, NWP Radio – A Conversation with National Student Poets, will take place Thursday, April 12 at 4:00 p.m. PDT / 7:00 p.m. EDT. The audio for event will be available the day of on the NWP Radio page along with their full archive of NWP Radio programs.
Journal of the Month is an incredible resource for writers, readers, teachers, students, librarians – does that leave anyone out?
As a general subscriber, you will receive a new literary journal by the tenth of each month, never receiving the same publication twice during your subscription. If you already subscribe to some journals, you just let them know, and they will choose others for you. Yes, there are human beings making these selections, not automated machines!
For teachers, Co-Founder Jenn Scheck-Kahn (aka one of the humans behind this marvelous enterprise), will work with you to select four magazines you’d like to teach. Each student will then receive one publication a month – based on a delivery schedule you develop together, so that the publications arrive in advance of when you plan to teach them. Instructors receive a free set of the copies they plan to teach. Now is the time to plan those readings for the next school year!
Journal of the Month is a super easy gift idea! If you have writers or readers on your holiday or birthday list, what better way to support their interests!
Subscribers can select from 4, 6, 8, 12, and even 24 months.
Try it! See if you like it (how could you not?!), then sign up for more!
FIELD Magazine Editor David Young writes:
“As FIELD 98, our Spring 2018 issue, arrives, it’s time to let you know that just two more numbers are scheduled: #99, Fall 2018, and #100, Spring 2019. Many have expressed dismay at learning that FIELD will close down, but both David Walker and I feel the need to free ourselves from the burden of editorship. Nobody thought, when the magazine began in 1969, that it would last this long and become such an institution. All good things eventually terminate, however, and fifty years and one hundred issues make for good round numbers.
“We’re hoping to organize a farewell event at next year’s AWP meeting. Meanwhile, we’re very grateful to our fellow editors, our contributors, and our subscribers for their support and enthusiasm. Also, of course, to Oberlin College for its hospitality. It isn’t easy to say goodbye. Thank you for caring and for loving FIELD all these many years.”
Thank you David Young (top photo), David Walker, and all the staff, writers, and readers through the years who helped make FIELD a vital voice in our literary community.
I still remember being in awe as I first learned about the RMS Titanic in grade school. I pored over books with clear pages I could peel away to reveal the layers of the giant ship, I unsuccessfully tried to imagine the wonder the public felt at the size of the ship with its pool and gym and cargo and grand staircase, and I repeatedly played through the 1996 PC game, Titanic: Adventure Out of Time, that takes place onboard. Despite all of this, there was still always an incomprehensible aspect to it—the ship, accident, and amount of lives lost. With years between its existence and my own and with games and movies made about the tragic event, there was something “unreal” about the Titanic. That’s where Anna M. Evans comes in.
