The Gettysburg Review Summer 2018 features artwork by William Fisk on the cover and inside with a full-color portfolio. The oil on canvas subjects come from "machines and other seemingly permanent objects of modern and post-modern industrial culture."
Rattle poetry magazine issue 61 features "Looking into the Future," a digital montage by Thomas Terceira. This work was created "by scanning Victorian engravings and combining and colorizing them in Photoshop. It is part of a series inspired by Max Ernst's surrealistic collages." See more of Terceira's work here.
Featuring fiction, nonfiction, poetry, art, photography, cross-genre, and reviews, Lime Hawk 12 cover art is Caotiche Comprensioni by Paolo Di Rosa. See more of his work here, where "the central theme running throughout his work is the human figure immersed in a non-place, externalising dreamlike and introspective projections; setting the stage for an intimate dialogue between feeling and reality."
There's something just quintessentially summer about the Cut Bank 88 cover, with artwork by David Miles Lusk, "Beach Snack." Indeed!
The Main Street Rag Summer 2018 cover continues the summer theme - at least for us here in Michigan, motorcycles are not year-round. Photo by Editor M. Scott Douglass.
And, perhaps a farewell to summer, this beautiful photograph on the cover of the summer 2018 issue of Able Muse: A Review of Poetry, Prose & Art, "Young Dragon's Flight" by Anja Osenberg, is just one of the works for this issue's featured art, "A Flight Theme."
I can't look a the cover of the September 2018 issue of Poetry Magazine without the intro riff to "All Along the Watchtower" by Jimi Hendrix cuing up in my head. Sweetly enough, the inside front cover features a tribute quote from Donald Hall (1928-2018): "The world is everything and that is the case. / Now stop your blubbering and wash your face." (Poetry, February 1979)
Keeping with colors, I love how Issue 20 of True Story: 6'3" Man with Doritos by Matthew Clark is actually the color the cheesy Doritos dust leaves stuck to your fingers long after eating them (illustration by Lucy Engelman). So, no problem munching on a bag while you read this issue!
The Missouri Review Summer 2018 cover features the unique photography of Libby Oliver from the Soft Shells series. Visit her website, and check out the Sidewalk Series - slightly disturbing but mostly funny as hell.
I love the fairy tale aura of Wes Lee's "Day 242" on the cover of 2018 issue of The Meadow from Truckee Meadows Community College, as well as the magazine's new logo design.
I'm a sucker for a good old-fashioned fisheye lens, and luckily, The MacGuffin's own nonfiction editor, Michael Dyke doubles as a photographer, providing this view of Belle Isle Aquarium, Detroit, Michigan for the Spring 2018 cover.
The Colorado Review cover photo by Brian Holland is luscious, and even more so when viewed full spread with the entire night-lit bridge in the background.
And a final splash of red and summer with "Picnic, Long Island, New York" by Ralph Gibson on the cover of the Summer 2018 issue of Michigan Quarterly Review.
Regular readers of The American Poetry Review will be exicted to see the new cover design starting with the July/August 2018 issue. We love it here at NewPages World Headquaters! Nicely done APR!
Diversity and the Arts is the theme of the Spring/Summer 2018 issue of Nimrod International Journal, featuring "Tree of Life," a gorgeous canvas, acrylic paint, composition leaf and embroidery piece by the Tulsa Girls Art School: "an afterschool, social service program that uses art as a vehicle to reach girls."
Each issue of 3Elements publishes works that respond to three words for that issue. The Summer 2018 issue words were Jazz, Cradle, Recluse. Gregg Chadwick's artwork "Jazz Life (Central Avenue)" is the featured cover image.
The cover image of River Teeth: A Journal of Nonfiction Narrative is, appropriately, a sunset photo by David FitzSimmons, ushering out nineteen years of publishing as the journal heads into their twentieth anniversary!
This week's covers are from some of the many Alternative Magazines we have listed at NewPages as a reminder of this useful resource for both reading and submitting writing.
Earth Island Journal combines investigative journalism and thought-provoking essays that make the subtle but profound connections between the environment and other contemporary issues. Writers guidelines here.
The focus of Feminist Studies 44.1 (2018) is life writing and new approaches to studying women’s autobiographies, including Elizabeth Gurley Flynn, Gertrude Stein, Kamal Das, Gayle Rubin and Judith Butler, as well as works by Estelle Carol, Alexandra Ketchum, Olga Zilberbourg, Corey Hickner-Johnson, Hiliary Chute, and Ashwini Tambe. Submissions guidelines here.
The Progressive is a journalistic voice for peace and social justice at home and abroad, steadfastly opposing militarism, the concentration of power in corporate hands, the disenfranchisement of the citizenry, poverty, and prejudice in all its guises. Writers guidelines here.
One of my favorites, Parabola is published quarterly by the Society for the Study of Myth and Tradition, a non-profit, non-denominational, educational organization. Each issue devotes 128 highly illustrated pages to a universal theme. Submission guidelines here.
The Humanist magazine applies humanism — a natural and democratic outlook informed by science, inspired by art, and motivated by compassion — to broad areas of social and personal concern in pursuit of alternative ideas. Writers guidelines here.
And we all need to retain our ability to laugh and bring humor into our days. The Funny Times helps us fulfill this need as America's longest-running ad-free monthly humor publication in a newspaper format.
Roland Petersen's "American Bathers, 2017" on the cover of Spring 2018 Catamaran captures the essence of summer; this publication belongs in every beach tote and travel bag to take along on your summer adventures!
The cover of the online Subprimal Poetry issue 11.0 is "Blissful Deletion" by Willow Margarita Schafer, about which the artist comments: "I wanted to try and visually depict what nothingness feels like on a human level: a sort of calm fragmentation that is very hard to shake."