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!
The new, Winter 2014 issue of Grain Magazine features the winners in the poetry and fiction contests.
Fiction
judged by Stan Rogal
Winner
Dylan Levi King: “The 33 Transformation Bodies of the Bodhisattva Guanyin”
2nd Place Winner
Scott Bartlett: “The Proletarian”
3rd Place Winner
Seyward Goodhand: “We Harboured the Scholar”
Poetry
judged by M
On her blog, Rogue Embryo, artist and poet Camille Martin features a multi-part posting on Hungarian -Canadian avante garde writer and artist, Robert Zend (1929-1985). Never heard of him, but was drawn by the final installment: “Gaskets, Thumbtacks, Toilet Paper Rolls . . and Doodles.” The reason being, I’ve have recently discovered what a perfect form toilet paper rolls provide for writing! I’ve seized the opportunity whenever finding these lovely tubes left behind in the stall to provide a bit of literary enjoyment for whomever steps in next. Of course, I couldn’t be the only one, and upon finding Martin’s article on Zend, am all the more inspired by his work in visual art: “Zend used technologies that were available to him, including typewriter and computer. He also used whatever materials were at hand, including automotive gaskets, thumbtacks, and toilet paper rolls. Zend was also a prolific doodler, drawing his casual sketches (some quite intricate) on everything from Post-It notes to cocktail napkins.” Martin goes into greater exploration in her post, including images and video (of the toilet paper roll on a turntable!). After this, I went all the way back to the beginning and started reading more about Zend; Martin’s biographical work on him spans his entire life, includes a great deal of historical context and examples with commentary of his work. Martin’s personal website provides her own poetry and artwork, which simply adds to the exploration. I’m still on this serendipitous journey and am enjoying learning more about both fabulous poets and artists.
Aimee Nezhukumatathil and Adam Gottlieb are among the poets featured in the Student Day of Poetry this Friday, March 21, at UMass Boston. The Student Day of Poetry is a day-long “poetry field trip” for teens, featuring creative writing workshops, performances, and a student open mike session.
For more information, including info for teachers and a full line-up of poets and workshop leaders, visit the Student Day of Poetry page. The Student Day of Poetry is a program of the Mass Poetry organization, which also brings elements of the statewide day to individual schools.
Last Friday our Book Stand page was updated with a slew of new books received for review consideration at NewPages. Check it out to find new books, forthcoming titles from independent presses, and the editor’s picks for what arrived here in the past few weeks!
A literary magazine succeeds when it induces its reader to go beyond the magazine, and look for more of the work written by the same writers or, in the case of a magazine heavier on commentary than fiction or poetry like Chinese Literature Today, to encounter a writer or a work for the first time. The very readable essays, stories, and excerpts written by and about two of the most celebrated Chinese-language writers today—Mo Yan, recipient of the 2012 Nobel Prize and Su Tong, whose novel The Boat to Redemption won the 2009 Man Asian Literary Prize—that anchor this double issue of Chinese Literature Today do just that. And personally, while I have read Mo Yan and loved Su Tong in the original, the quality of the translations here has caused me rethink my habitual rejection of English translations of Chinese literature (why go for the “substitute” when I can have the “authentic” experience?): as Mo Yan says in his interview, translations are almost originals in themselves. Continue reading “Chinese Literature Today – 2013”
As the title of the journal suggests, Breakwater Review is the in-between. “We are both the literal space between ocean and shore and the virtual space between reader and writer. And as it turns out, we want to read about other places like us—those liminal spaces in life.” Their tenth and current issue demonstrates this through a number of poems and a couple of prose pieces. Continue reading “Breakwater Review – Winter 2014”
The latest issue of Crazyhorse has everything we expect from the best literary magazines, from familiar authors’ names—then those same authors delivering in expected and surprising ways—to previously unknown writers delighting with the same energy as those more widely known. I even learned a few things, seeing new ways to break and enjamb poetic lines, and new ways to use space and silence and sequence in verse and prose. Continue reading “Crazyhorse – Fall 2013”
Now in its sixteenth volume, Cider Press Review has not only established itself as a quality journal that publishes excellent poetry, but a quality journal that publishes excellent poems that complement each other. All of the pieces in this issue fit, they go together, not like peanut butter and jelly (because while delicious, not really similar) but like cinnamon and sugar (both delicately sweet, combined to make an even greater flavor). The issue is prepped with the first poem, Lynn Pedersen’s “Begin.” It’s the start of a journey, but “How do you map that? What part of a mountain range, / what river corresponds to fantasy?” And while you cannot be sure what you will need, eventually you have to just go, “Otherwise, / there’s no one to tell the story.” Continue reading “Cider Press Review – January 2014”
After a brief, thirty-two-year interlude between this volume and its last, december is back with its latest anthology-format release. And while many Decembers have passed since the last december, Gianna Jacobson, who takes over editorial and publishing duties from the late Curt Johnson, has made certain that the poetry, prose, and art portfolios in the latest issue possess those timeless qualities which the original editors laid out for the magazine more than a half century ago when they described themselves as “humanists . . . far more concerned with people than we are with dogmatic critical or aesthetic attitudes.” With its unpretentiously elegant layout and the urgency of its content, december’s revival issue feels like a confident extension of this long-standing tradition. Continue reading “december – Winter 2013”
Dragnet: always a delight to read. This particular issue features an Ouija board, a calculator museum, a fortuneteller, a twin who loses his virginity with the presence of his conjoined brother, and watermelons that are not for sale. Sadly, Dragnet has announced that they are closed to submissions as they are on an indefinite hiatus. It’s sad to see such a quality digital publication cease—but perhaps one day they’ll be back. Continue reading “Dragnet Magazine – November 2013”
The journal Fiction International provokes fantastic response in its “Real Time / Virtual” edition. On the one hand, the crime fantasy of Michael Hemmingson’s “Tranquility” evokes Kafka in an astute commentary of family law in American jurisprudence: it presents content (the nature of freedom) and framework (idea of cyber-cognitive implementation of punishment). On the other hand, Robert Hamburger’s “The Michelangelo Massacre” is too convincing to be of the fantasy genre, but it is fantastic in the second sense of the word—superlative. The journal is uniformly excellent in its focus and quality of execution and exemplifies its mission to marry formal innovation and social activism. Continue reading “Fiction International – 2013”
Put forth by the Department of English and Foreign Languages at Cameron University, The Oklahoma Review publishes a mixture of fiction, nonfiction, poetry, and reviews. Although I found a couple of pieces in this issue to be a little too daring (to the point they weren’t successful), there were several pieces that made it worth the read. James Brubaker contributes a whimsical piece titled “Three Television Shows About Familial Love.” Both comedy and social commentary, the fiction piece accurately picks out key elements of television shows and turns the elements in on themselves. Continue reading “The Oklahoma Review – Fall 2013”
Printed on the back cover of this issue of Hayden’s Ferry Review appears, along with front and back cover art by Carlos Jiménez Cahua, the word “DEPARTURE” broken into three lines: DEP / ART / URE, and I noticed this one afternoon picking up the issue from the coffee table. I had already become somewhat familiar with the contents of the issue, and my brain reversed the fragments of the word, reading from the bottom up: Your Art Dep(artment). Continue reading “Hayden’s Ferry Review – Fall/Winter 2013”
The Ostrich Review, founded in 2012 and having put out five issues so far, offers fiction, poetry, and artwork. This issue holds several pieces worth reading. If you read Chris Lowe’s “Kudzu” for face-value and you’re just along for the ride, you may not get much out of it. It’s not just about wrestling, football, and pre-teen sexual desire. The reward comes with a close read, piecing together all the subtle references to the character’s mother… Continue reading “The Ostrich Review – 2014”
Every issue of The Kenyon Review offers reason to celebrate, but this issue is particularly special, as it commemorates the journal’s seventy-fifth anniversary. Even better, the editors are taking a look back as they continue to publish cutting-edge work. The Kenyon Review’s first editor, John Crowe Ransom, published philosophical and aspirational statements composed by prominent intellectuals of the day. The tradition will continue in the coming year; sixteen writers who published in The Kenyon Review early in their careers will offer their own “contemporary credos.” Continue reading “The Kenyon Review – Winter 2014”
The Ledge, lyrical and relentlessly beautiful, may lead a reader safely away from any kind of cliff or precipice, despite the suggestion of its title. The connotation for this volume does ring true if one reads ‘ledge’ as an embodiment of ‘edgy,’ but not with the metaphor of a natural feature entailing the risk of falling. The work is precise and challenging and invites further consideration; I examine a few especially rich works here. Continue reading “The Ledge – Winter 2013”
I’ve admitted on several different occasions, perhaps even during previous reviews, that I absolutely judge books by their covers. Sure, maybe this is partially because of laziness, but also I believe a journal’s aesthetic comes through not just in its material, but also in its design. It’s not a strategy I swear by, but very often a journal’s look can be telling of the type of material inside. Continue reading “The Louisville Review – Fall 2013”
Published at the University of Michigan, The Michigan Quarterly Review is an attractive journal. At roughly 150 pages, it is fairly slim, with a vibrant glossy cover. More importantly, what’s inside is also interesting: an attractive mix of the creative and academic essays alongside fiction and poetry. Continue reading “Michigan Quarterly Review – Fall 2013”
The cover of this slim volume (nine poems, three short stories, one great interview) depicts an ethereal white horse splashing in, or wading through, or rising up from, blue waves of grass against a stark black background. The spine is the blue of the grass; the title is the white of the horse. The whole effect is classy and dreamlike at the same time, a little like the contents of the journal—an image you want to remember, and yet it doesn’t feel quite like home. Continue reading “Natural Bridge – 2013”
I loved learning that New Madrid (emphasis on “mad”) is named for a seismic zone in Mississippi and Kentucky where, in 1811-12, four earthquakes struck of such magnitude that they changed the course of the Mississippi River. Great power follows the name of such a place! Continue reading “New Madrid – Winter 2014”
One of my favorite things about The Normal School is that the editors are so willing to try something new, but they never leave the reader behind. Managing Editor Sophie Beck and her team begin a new experiment in this issue, adding recurring columns: Joe Bonomo will write about music, William Bradley will take on comics, and Phillip Lopate will submit musings about films. Continue reading “The Normal School – 2013”
Room is Canada’s oldest literary journal that is both by and about women; each issue focuses on women and gives them a space to “speak and connect” with one another. This issue tackles the theme of “A progressive lens,” promising to bring forth and support new ideas in the form of poetry, fiction, and nonfiction along with an interview and a few book reviews. Continue reading “Room – 2013”
While poetry and short story collections provide more in-depth exposure to the vision of a single writer, they don’t offer the same opportunity to unexpectedly stumble onto your next obsession like a good journal can. Able Muse, with its eclectic blend of fiction, essays, book reviews, art portfolios, artist interviews, as well as its focus on metrical poetry, provides readers with a bevy of opportunities to do just that. In fact, Able Muse even manages to offer a bit of an extended look at the work and processes of a featured writer and artist in each edition. This issue features poet Jehanne Dubrow and photographer Peter Svensson. Continue reading “Able Muse Winter 2013”
Reading Salmagundi is like sitting in a graduate school seminar in the humanities or a panel at the 92nd Street Y. Confidence, and sophistication, big names, and the requisite originality ooze through the page. Fortunately, it never quite tips into snobbishness, and following the writers’ trains of thought was for me a demanding but enjoyable exercise. Depending on your background, though and I use the word “background” broadly to mean cultural, ethnic, class, academic, professional, or simply experience or preference as a reader—it may be hard to miss the milieu in which Salmagundi situates itself: among the cerebral, among those who do not have to or who do not worry about money, those who have already carved out a place for themselves in the world, the arrived. Continue reading “Salmagundi – Fall 2013/Winter 2014”
Occasionally the predominant voice of a journal can be found within a single statement embedded indirectly in a piece within. For this issue of Boulevard, one turns to Robert Zaller’s essay on Robinson Jeffers. Zaller writes that Jeffers defines “the task of culture as the pursuit of truth.” The essay is about the poet not the publication, but it speaks in microcosm what the journal does throughout. Boulevard does not seek to categorize the journal as something as amorphous as “the pursuit of truth,” but I think it presents at least twenty clips of veracity from aperture to aperture, until we barely recognize the camera against the disciplines of truth themselves. Continue reading “Boulevard – Fall 2013”
Eleven writers and four featured artists share space in this 98 page-long issue. The glossy finish on every page, a very artistic layout, and deep thought writings make this issue of Stone Voices a perfect coffee table magazine. It carries a byline of “art-spirituality-mindfulness-creativity,” calling out for readers looking inside to invest some time rather than a distracted flip through. That is not to say the material is not entertaining. Continue reading “Stone Voices – Winter 2013”
The theme of this issue of The Chattahoochee Review is animals, broadly interpreted enough to span war, destiny, and the romantic capitalization of road kill. Reading the journal straight through may change the way you perceive animals, art and even the construction of modern plot conventions. Continue reading “The Chattahoochee Review – Fall/Winter 2013”
Sugar House Review is an independent poetry journal based in Salt Lake City, UT. It is named after one of the oldest and most artistic neighborhoods in the city, Sugar House. The journal aims not only to be rooted in their region and to gain local recognition, but to also appeal to a larger national and international audience. This desire for a global reach ensures that each issue of Sugar House Review is filled with great poetry and thoughtful reviews. As the artwork of this issue suggests the underlying theme is of the honeybee, each poem calls upon the “spirit” of the honeybee in some form of another making issue number nine a delectable issue. Continue reading “Sugar House Review – Fall/Winter 2013”
American Life in Poetry: Column 468
BY TED KOOSER, U.S. POET LAUREATE
Here’s another lovely poem to honor the caregivers among us. Amy Fleury lives and teaches in Louisiana.
Ablution
Because one must be naked to get clean,
my dad shrugs out of his pajama shirt,
steps from his boxers and into the tub
as I brace him, whose long illness
has made him shed modesty too.
Seated on the plastic bench, he holds
the soap like a caught fish in his lap,
waiting for me to test the water’s heat
on my wrist before turning the nozzle
toward his pale skin. He leans over
to be doused, then hands me the soap
so I might scrub his shoulders and neck,
suds sluicing from spine to buttock cleft.
Like a child he wants a washcloth
to cover his eyes while I lather
a palmful of pearlescent shampoo
into his craniotomy-scarred scalp
and then rinse clear whatever soft hair
is left. Our voices echo in the spray
and steam of this room where once,
long ago, he knelt at the tub’s edge
to pour cups of bathwater over my head.
He reminds me to wash behind his ears,
and when he judges himself to be clean,
I turn off the tap. He grips the safety bar,
steadies himself, and stands. Turning to me,
his body is dripping and frail and pink.
And although I am nearly forty,
he has this one last thing to teach me.
I hold open the towel to receive him.
American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2013 by Amy Fleury from her most recent book of poems, Sympathetic Magic, Southern Illinois Univ. Press, 2013. Poem reprinted by permission of Amy Fleury and the publisher. Introduction copyright © 2014 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.
Book covers are skewed to poetry this time, by sheer chance. Enjoy!
The Dustbowl, poetry by Jim Goar, Shearsman Books
The dustbowl loomed. A book that
could not be opened. The bastard
son remembered a sword. This is my
body. All those angry lambs. Crows
go round and round. Ain’t got no
home. A barn beneath the sand.
Here today. Gone tomorrow….
Dutiful Heart, poetry by Joy Gaines-Friedler, Broadkill River Press
from “Assisted Living/Caring for the Irreducible”:
Sunlight breaks through the heart here.
It can barely raise its head,
its neck weak as an after-harvest stalk.
………………………………………………….
There are two sides to this life:
The side you nurture, and the side you fail.
The child you inspire, and the one you reduce.
Sacrifice. And the women you turn hard against.
Albedo, poetry by Kathleen Jesme, Ahsahta Press
from “Hard Believing Time”:
Went hungry. For a long day longer than reasons, went out
to the garden and the garden was bare. Even the crows
stayed away. At first, a long sign of summer,
then second late frost dropping the buds to their knees.
I’ve been dropped to mine, too. Used to be
I’d pray when my knees kissed the dirt of my garden. But
now the ground says I’m the scourge of God, so I come
crashing down. When the end comes: even if
it’s true, the end has a way of returning every favor, a way
of washing its hands of you.
In Pilgrimage‘s “Grace” issue, Editor Juan Morales announces two new partnerships the magazine will take on. The first is with CantoMundo, “an organization that cultivates a community of Latina/o poets. Through workshops, symposia, and public readings, CanotMundo provides a space for the creation, documentation, and critical analysis of Latina/o poetry.” The second partnership is with the SoCo Reading Series, “which brings poets and writers to the CSU-Pueblo campus for featured readings and classroom visits.”
Additionally, Pilgrimage is now accepting submissions through Submittable but will still continue to check the mail for any postal submissions.
Sinister Wisdom‘s issue 91 features the work of one author, Cheryl Clarke. In an introduction, Nancy K. Bereanowrites, “It is absolutely clear to me that Cheryl Clarke was then, and remains now, a singular, powerful voice articulating the truths of fierce, independent women of color: lesbians who often live lives made triply invisible by their sexuality, their race, and their working-class realities. And she writes with the kind of precision and attention to linguistic detail that might have impressed those Republican ladies if they had had the emotional and political wherewithal to take on her work.”
Co-published by A Midsummer Night’s Press and Sinister Wisdom, the Sapphic Classics Series publishes reprint editions of iconic works of lesbian poetry. The third Sapphic Classics will be issued in early 2015.
Cream City Review‘s Poetry Prize was judged by Rebecca Hazelton and was awarded to Lisa Gluskin Stonestreet, and the Fiction Prize was judged by Tom Williams and awarded to Lenore Myka. You can read them in Issue 37.1.
Hazelton writes, “In Lisa Gluskin Stonestreet’s poems, motherhood is a transformative and even at times frightening event, one that redefines the self and one that threatens to subsume it. Her lines, ranging from long and loping to brief, almost frantic reports, mimetically capture the infatuation and the exhaustion the mother in these poems feels for her child, and most poignantly, the difficulties of remaining a writer in those circumstances.”
Wiliams writes, “[Myka] seemed to never under write or over write or play coy. It maintains a magical combination of plot moves that unsettle and affirm. It answers questions just before the reader is prepared to ask them. And, to me, most importantly, its elements accrete in a way that establish this unassailable reality: the story is presented in the only way it could be told.
“Fancy men in fancy clothes will tell you writing isn’t safe or to face our ugliness one must risk or any number of fancy things. I don’t know if writing can ever be safe but I do know there is nothing risky in telling the old stories about gender. The old stories I read and read that denied me access and made jokes at my expense. If I was lucky I would see a trans person (almost always a trans woman) be inspirational, Wow so uplifting, they say, but, more often, I saw them dead. Trans* folks’ narrative legacy is almost always, at best, a warning sign.
“Therefore as a writer I’ve come to know that submitting a work means either outing myself and writing the inspirational trans* story or dead trans* story or lying about my gender. Betray what it means to exist or betray myself. THEM, a trans* literary journal I founded and edit, is an attempt to facilitate as safe a space as possible for trans* folks to write what they want, to avoid the pressure of how they ought to display or not display their gender.”
Read the rest by Jos Charles, “Not In A Vacuum: On The Necessity Of Trans* Literature” published on The Quietus.
In Volume 4 of Raleigh Review, Editor Rob Greene announces the plan to switch the magazine over to a biannual publication cycle. “Our mission is to foster the creation and availability of accessible yet provocative contemporary literature. Raleigh Review speaks best through the works we publish. We believe fine art should challenge as well as entertain.” The next issue this year is scheduled to come out in September.
The current issue, however, features C. Wade Bentley, Elizabeth Breen, John F. Buckley, Jill Coyle, Geri Digiorno, Panagiota Doukas, Jacqueline Doyle, Susan Frith, Karen Harryman, Gregory Josselyn, Alisha Karabinus, and more.
Poetry‘s March 2014 issue features 16 poets who will be attending and featured at Split This Rock Poetry Festival: Poems of Provocation & Witness in Washington D.C. In an introduction to the portfolio, Sarah Browning writes, “poetry can remind us of the true stories of our lives, rescuing those stories from the forces bent on shaping us to their purposes: that we become silent, fearful, distracted by mass entertainment and celebrity culture. Split This Rock celebrates and promotes poets doing this important work.”
The poets are Sheila Black, Yusef Komunyakaa, Eduardo C. Corral, Natalie Diaz, Franny Choi, Gayle Danley, Joy Harjo, Maria Melendez Kelson, Dunya Mikhail, Shailja Patel, Danez Smith, Anne Waldman, Wang Ping, Myra Sklarew, Claudia Rankine, and Tim Seibles.
“In my first year of graduate school, I humiliated myself. A hip young male professor had us reading Martin McDonagh’s The Pillowman, a play that prominently features jail-cell torture, patricide, and countless other forms of violence. My professor said that this is what good writing does: uncovers the darkness in us all. I raised my hand and told him that I don’t think I have that kind of darkness in me…”
Read the rest by Courtney Sender in her essay “The Ability to Desire a Thousand” available on this month’s Glimmer Train Bulletin.
American Life in Poetry: Column 466
BY TED KOOSER, U.S. POET LAUREATE
Li-Young Lee is an important American poet of Chinese parentage who lives in Chicago. Much of his poetry is marked by unabashed tenderness, and this poem is a good example of that.
I Ask My Mother to Sing
She begins, and my grandmother joins her.
Mother and daughter sing like young girls.
If my father were alive, he would play
his accordion and sway like a boat.
I’ve never been in Peking, or the Summer Palace,
nor stood on the great Stone Boat to watch
the rain begin on Kuen Ming Lake, the picnickers
running away in the grass.
But I love to hear it sung;
how the waterlilies fill with rain until
they overturn, spilling water into water,
then rock back, and fill with more.
Both women have begun to cry.
But neither stops her song.
American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©1986 by Li-Young Lee, whose most recent book of poems is Behind My Eyes, BOA Editions, Ltd., 2009. Poem reprinted by permission of Li-Young Lee and the publisher. Introduction copyright © 2014 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.
The Feminist Scholars Digital Workshop will take place Monday, June 16th through Sunday, June 22nd, 2014. Sign-up Deadline: Monday, May 5th. The Feminist Scholars Digital Workshop is an online, asynchronous, interdisciplinary, participant-driven workshop for scholars and individuals working on feminist-oriented research projects. The goal of the workshop is to create an online space where participants can exchange scholarship and ideas. The Feminist Scholars Digital Workshop is a group affiliated with the Humanities, Arts, Science, and Technology Alliance and Collaboratory (HASTAC).
Poetry‘s March 2014 issue features the work of Lorna Simpson, titled “Back of Yellow Dress,” for the issue dedicated to “Split this Rock” (of injustice) and the way in which poetry can “speak out publicly for justice and peace.”
PMS poemmemoirstory‘s cover image is by In
The staff of Free State Review will welcome a new member to their team: Robert Timberg, who will work as an associate editor specializing in nonfiction. Editor-in-Chief H.N. Burdett writes, “There is no one I respect more as a reporter, as an editor, as a patriot, and as a friend, and there is no way I could exaggerate my job in having our editorial staff augmented by his wisdom and judgement.”
Prism Review has announced the winners for their 2014 Contests in poetry (judged by Nathan Hoks) and fiction (judged by Scott Nadelson):
Poetry Winner
Anna Soteria Morrison: “[Flight Fable]”
Fiction Winner
Rob Schultz: “The Evaluation of Echoes”
“The eroticism of ‘[Flight Fable]’ enacts a series of birds that hunt, feed, dance, and flaunt their necks,” writes Hoks. “Amid all this avian fluttering and flight, the poem dwells in the charged, conflicted space between desire and action. It is a lovely, strange poem by a poet whose imaginative ears and eyes transform language into an ornithological and amorous event.”
Nadelson writes that “’The Evaluation of Echoes’ stands out for the way it captures both a specific cultural moment and a character’s internal landscape, showing us an AM radio man’s world on the cusp of change—collapsing or blooming into something new we don’t yet know. DJ Noland is a fascinating figure, both jaded and full of wonder, and that the unpredicted snowstorm can be at once comic and magical is testament to the writer’s skill. What I admire above all, though, is the dazzling language…”
Both pieces will appear in issue 16, due out in June.
Right Hand Pointing has recently changed their URL to righthandpointing.net. The old site (.com) does redirect, but it currently has a malware warning. To avoid this, please navigate to the new site. The editor, Dale, sent out a newsletter apologizing for the inconvenience and assuring that it will be fixed once there is time.
Amoskeag has released their 30th anniversary issue. Editor Michael J. Brien writes that this issue “represents first time authors along with Puschart Prize nominees, presenting works of survival, nostalgia, hope, hurt, grief, and redemption…,” featuring work by Deborah Brown, Donna Pucciani, SNHU’s MFA Award in prose winner James Seals, the SNHU Undergraduate Prose Winner Amy Fontenot, the SNHU Undergrduate poetry winner Natalie Jones, the New Hampshire High School Poetry Winner Kelsey Jarvis, the New Hampshire High School Prose Winner Emily Bascom, and more.
Along with the issue came an announcement that the next issue, Issue 31 to be released in April, will be the last for Editor Brien. “The University has been blessed with the continuing of this national journal for over thirty years,” he says. “Each editor has contributed to Amoskeag‘s growth and expansion. This year we have had two of our authors, Ainey Greaney and John Debon, selected as Notables in The Best American Essays of 2013. It’s stuff like that that makes me as an editor hopeful in each submission that arrives at my desk.” Benjamin Nugent will be taking over with issue 32.
The press release states that “With the change of editor, the magazine will continue to produce noteworthy and thought-provoking poetry, fiction, nonfiction, photography, etc., but will also take new steps towards better serving the future creative writing majors of the SNHU community. The literary magazine greatly focuses on showcasing their work as well as the work of other aspiring and established regional, national and International writers.”
In World Literature Today‘s March 2014 issue, Myrsini Gana contributes an excellent article on the idea of translating humor, through her experience with translating David Sedaris’s work. “Humor is a big deal,” she writes. “It’s not a question of knowing the words; there’s a whole world behind it. Every country’s—and in consequence every language’s—take on humor reveals its deeper character, is idiosyncratic, and operates well within a “closed circle.” Seen like this, a whole country can be like a group of friends—they have their own codes, their own jokes—and outsiders are just that: they don’t get it.”
“I could fill pages with examples explaining in detail how every instance calls for a different line of thought and a different solution. I wish I could say that every solution I have chosen is the optimal one, but there is no universal rule to dictate a translator’s decisions. That’s why no two translators will ever come up with the exact same translation.”
Also included in this section is a brief interview with David Sedaris: “It’s one thing to translate a joke, and another to translate timing, which is hwere a lot of my laughs come from. It’s especially difficult when the sentence structure is so very different in German, for instance, when the verb comes at the end of the sentence. In my last collection, one of the laughs was based on the way people in Toronto say “about.” The joke didn’t make sense in German, so the translator focused on another word in the sentence—”kiosk”—and moved my Canadian to French-speaking Quebec. It was a brilliant save, but nothing could salvage the ending of another essay. The laugh is based on the phrases ‘your trash’ and ‘you’re trash,’ and I don’t imagine it will work in anything but English.”
Subterrain’s Volume 7 Issue 66 features the winners of the Lush Triumphant Literary Awards Competition 2013.
Fiction Winner
Janet Trull: “Hot Town”
Poetry Winner
Connor Doyle: “Under City Suite”
Nonfiction Winner
Aaron Chan: “A Case of Jeff”
The rest of the issue includes fiction from Brock Peters, Martin West, Dina Lyuber, Gary Barwin, Sandra Alland, and Jordan Turner; poetry from Amber McMillan, Terry Trowbridge, klipschutz, and Jen Currin; and featured artist Brit Bachmann.
The front matter of Frank Montesonti’s Hope Tree asserts something interesting for an erasure formed from a how-to manual about pruning: “method / is unnecessary / to remove / the past season.” It is a fitting introduction to a book in which leniency and ruthlessness, and growth and death, are inexorably intertwined. Continue reading “Hope Tree”
Mirages: The Unexpurgated Diary of Anaïs Nin, 1939-1947 begins with Anaïs Nin and her husband, Hugo Guiler, escaping the war in Europe to relocate to New York City. On the first page, she is also concerned about whether her two lovers, Henry Miller and Gonzalo Moré, would come to New York with her. They did. Also on the first page, she writes: “I am still baffled by the mystery of how man has an independent life from woman, whereas I die when separated from my love.” Four hundred and forty pages and a dozen or more lovers later, she is still in the realm of needing love, experiencing loss, and longing for the one love that will make her whole. Her lovers are the content the narrative is hung upon, but not the most interesting. There is very little written outside her desire for love, finding love, being in love, leaving the lover, very little written about the art of the day or even about the city of New York or the world that was at war. The drama here is within the psyche of Anaïs Nin. Continue reading “Mirages”
Many readers associate Ron Padgett with the so-called second generation of the New York School of Poets. He did, after all, edit, with David Shapiro, the multi-generational spread An Anthology of New York Poets (1970), was at one time director of the Poetry Project at St. Mark’s Church in the Lower East Side, and has continued for decades to split his time living between homes in Vermont and Manhattan. He has also written intimate memoirs of, as well as edited works by, his friends, poet Ted Berrigan and artist Joe Brainard. And of course in the 1960s, the three collaborated on the infamously mischievous Bean Spasms, now a classic of collaboration from the era. Continue reading “Collected Poems”
In Norah Labiner’s Let the Dark Flower Blossom, the character Roman Stone, a writer, says, “A story is a map to the underworld and how you follow that map is, of course, entirely up to you.” This story is cut into different patterns of back-story and forward motion, and point of view shifts from first person to third, character to character. Stone, a celebrity novelist, has been murdered. The news is shocking but not really a surprise to the lovers, enemies, and friends who have revolved around him, seemingly helpless to get out of his orbit. What the reader learns about Stone comes from the retrospective memory of the others. He appears to be the monster in the center of the labyrinth. Continue reading “Let the Dark Flower Blossom”
