The Missouri Review v40 n4, 2017 features intriguing cover art by Su Blackwell entitled "Heroines of Literature," a finely crafted paper sculpture. More of Blackwell's work can be viewed on her website.
According to Editor and Founder Robert Stapleton, Booth 11 is a "stunning collection of contemporary femal writers. The issue includes new fiction, nonfiction, poetry comics, lists, and interviews by such esteemed authors as Emily St. John Mandel, Joyce Carol Oates, Marya Hornbacher, Elizabeth Strout, Krista Christensen, Aubrey Hirsch, Brenda Shaughnessy, and so many more. This full-color literary journal offers a powerful argument for the strength of female authors working in American letters." Beginning it all: cover art by Tara McPherson.
The cover image by Lucy Engelman made me open Issue 15 of Creative Nonfiction's monthly publication, True Story, the opening paragraph of "This Is My Oldest Story" by Emily Brisse made me drop everything and just read. It begins: "In May of 1992, a little before the end of fourth grade, my best friend Kristy and I and a few others from our street - Ryan, Tim, Tom, maybe Naomi - hopped on our bikes and started riding. Most of us had younger brothers, and we left them at home. We didn't tell our parents we were going. They thought we were in the basement of Tim's house, playing Tetris, and although their anxiousness had relaxed by inches over the past two and a half years, we knew that any request to bike farther than the outlined boundary of our street would receive a firm no. So we just went."
Willow Springs Issue 81 features this brightly colored image, originally a 13 x 13 silkscreen. The "inside cover" replicates this image, but with "Spokane Garbage Goat" replacing the issue number. I had no idea what this was, so promptly headed to Google, where I learned of the iconic status of said goat. Absolutely delightful, as is artist Chris Bovey's work, more of which can be found at Vintage Prints.
Keeping with vibrant colors, The Fiddlehead Winter 2018 (# 274) issue features Monika Wright's "With Powerful Intention" acrylic on canvas. In her artist's statement, Wright comments, "With organic shapes, fluid light, lines and circles, I am employing universal symbols of unity, wholeness and infinity connected by lines, representing the boundaries which separate us, but which also highlights our shared path." See more of her work here.
Published by the Department of English and the School of Humanities and Social Sciences at the College of Charleston, the cover image of Crazyhorse Fall 2017 is "Blue Hole," a digital photograph by Shane Brown.
Annelisa Leinbach's vibrant art is featured on the home screen as well as in a portfolio for the Winter 2017 issue of The Writing Disorder online literary magazine.
"The Cowards" by French photographer Iva Iova on the cover of Into the Void #6 is from her series, The Remains , of which she writes, "The last decade held a concentration of questionable political and social events. [. . . ] A population raised and educated to be Deaf, Cowards and Heartless."
Kikki Ghezzi's oil on linen entitled "Snow Flake" is featured on the cover of Salamander #45 with a full-color portfolio of more of her works inside the issue. She writes, "My paintings are increments of time and increments of marks and strokes in a meditative moment. They are the time of a walk, the time of process. The kind of 'glow”' time in my paintings is infinite in both directions, outward in accumulated, immeasurable brush strokes and inward towards a glow point."
Oil on canvas "21 August 2017" by Lynn Boggess invites readers into the December issue One online poetry magazine, which features a "Second Look" section in which writers discuss poems they admire. This issue's Second Look is Patrick Kavanagh discussing The Great Hunger.
One of the cover images, "Lotus Buddha" by Christine DeCamp, for the online publication Leaping Clear is reflective of its mission, to promote "accomplished artists whose work is informed by dedicated meditative and contemplative practices." There is more from DeCamp and other visual artists and writers in the Fall 2017 issue.
The cover image of the fall 2017 issue of River Teeth: A Journal of Nonfiction Narrative is a gorgeous waterfall photo from White Mountains, N.H. by David FitzSimmons.
Tim L. Vasquez of Untamed Photography offers a seemingly surreal image for the cover of the fall/winter 2017 Concho River Review.
It's hard to get the full effect of the Fall 2017 The Georgia Review cover art, which features work by poet and photographer Rachel Eliza Griffiths printed on mirror metallic stock. A portfolio of her work and essay, "What Has Changed," is included in the issue, with an introduction by Jenny Gropp.
An untitled enamel on plywood by Mose " Mose T" Tolliver attracts readers to the Fall 2017 issue of Field: Contemporary Poetry and Poetics.
Love love love Mary Jo Karimnia's work, which she describes in her Artist's Statement, "I draw in the backgrounds and enhance certain areas with glass beads. Cropped purposefully to omit faces, the images - such as teenagers in costumes at cosplay conventions, dancers in Bolivia, and Catrina icons at a Day of the Dead festival - emphasize how costumes can allow us to explore alternative personae in an anonymous way, which helps us to learn about our past or to imagine a future in which the acceptance of eccentricities is the norm." The Cincinnati Review Winter 2018 includes her work on the cover as well as a portfolio inside.
Billy Renkl's "Watching the Sky #2" collage of antique British chromoolithographs is the cover art for v32 n2 of Zone 3 literary journal. Renkl says of his work, "Vintage and antique paper can be surprisingly beautiful, and I find the way that it carries its history with it moving."
Photographs by street photographer J. Ray Paradiso are featured on the cover screen for the online Foliate Oak Literary Magazine.
Catherine Heard's work can be found on the cover of Hamilton Arts & Letters Magazine 10.1 as well as featured in an online portfolio. Her work "work interrogates the histories of science, medicine and the museum. Simultaneously attractive and repulsive, her works delve into primal anxieties about the body."
Halloween, detail by Bo Bartlett, is seasonally appropriate for the Autumn 2017 cover of The Gettysburg Review. More of Bartlett's work is also featured in a full-color portfolio inside the publication.
"Finding Home: Family & Connections" is the theme of Bellvue Literary Review's Fall 2017 issue, with cover art and internal portfolio by father and son Paul and John Paul Caponigro.
The Massachusetts Review "back-to-school" fall 2017 issue features "He Who Is as if Death Were Not," an archival pigment print on German etching paper from Ayana V Jackson's series To Kill or Allow to Live in the issue.
"The Spaces Between" by Laura Berger is featured on the cover of the online issue of Fugue (52). Managed and edited by graduate students in the English and Creative Writing Programs at University of Idaho, Fugue features poetry, plays, fiction, essays, visual-text hybrids, and interviews.
Do I pick EVERY Kenyon Review cover? Maybe, but when covers make me laugh or do a double take, that's worth sharing. The artist is Milan, Italy-based Emiliano Ponzi.