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Published May 23, 2014
While in other parts of the country Spring may have come earlier, in Michigan, our trees have only just started to bloom. So in honor of our first real week of Spring and warmer weather, here's all the covers this week that are both striking and Spring-filled.

Concho River Review's Spring 2014 cover couldn't be more inviting. The photograph is by Danny Meyer.

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The Aurorean's Spring/Summer 2014 issue features "Flowering Tree at Emily Dickinson's House" by Cynthia Brackett-Vincent.

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So Exit 7's cover isn't quite the aesthetic as the other two, but nothing sounds better now than a nice bike ride. The art is Simple by Jeff Cohen, and his piece Berlin with Bicycle is on the back cover.

Published May 09, 2014

The artwork on the latest issue of Phoebe is by Jaime Bennati, an artist who "makes the viewer question our relationship to things we keep and discard daily" by using materials often overlooked. The center of the issue features more of her work as well as a self-written how-to guide so you can try a piece of your own. Her included collection comes from using bus tickets that were discarded. "On average about 200,000 were discarded per day." As a person who makes jewelry out of discarded materials, I'm intensely interested in her work.

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The Fall 2013 issue of Kestrel features artwork by Julie Anne Struck titled A Story which is photo transfer, ink, collage, and colored pencil on panel. It's great to look at up close. Struck "has always touched upon and explored anything that illustrates her interest in dissolving boundaries and celebrating connections between fine art, design, writing, and other creative disciplines." More of her work is featured in full color inside the issue.

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Not only are the colors and the actual skill of this cover art for Ruminate fascinating, but Sarah Megan Jenkins's Jean Lafitte Swamp (acrylic and mixed media) feels like today in Michigan. The trees are gloomy, the world looks sad after a harsh, long winter, but the sun is coming up and there's hope on the horizon.
Published April 25, 2014
As you'll quickly be able to tell, this week it's all about color. It's been a dull and dreary winter, and I loved having a collection of colors filling my bins this week:

I saw this staring up at me from the top of my magazine pile, and I gravitated to it. Teen in Body Paint, Key West, Florida is a picture by Roger Sacha of a young man painted by Tony Gregory with body paint in 2005. You'll have to pick up an actual copy of Subtropics to get the full effect.

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The color on the cover of The London Magazine's new issue is fascinating as though it's a rainy day, there's still a rainbow of color. It's detail from Leonid Afremov's Rain of Fire, oil on canvas, 2007.

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This cover of Boulevard completes the list of colorful action as the lights dance of the bridge in the photograph. It's by Charles Gross and titled Crossing the Tuo River at Night.
Published April 18, 2014

Michigan Quarterly Review's Winter 2014 issue features quilt art by Rachel May. The issue contains a story from her along with more of her pieces. Although I don't see a link for it on their site yet, you will be able to see her story and art pieces in full color.

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Workers Write!'s 2014 issue, "More Tales from the Cubicle," features the side of, well, a cubicle. It's not fancy or flash, but it's perfect for this issue.

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The Laurel Review's latest issue is very simple, but oh-so-juicy. I selected for a cover of the week purely because seeing it instantly made my lips purse.
Published April 04, 2014
The Spring/Summer issue of Alaska Quarterly Review features an appropriate image for the weeks to come (at least I'm hoping for more rain and less snow): Yellow umbrellas, 2014 by Clark James Mishler.

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This cover of Room is a pastel on vellum by Cathy Daley. "Since the mid-1990s when I began the current body of work known as the dress series or dancing legs," she writes, "my drawings have been untitled. Because I was so depicting the body and gestures of the body I wanted the work to speak through the body and a title seemed limiting. The postures and gestures in the work create meaning for the viewer through cultural associations and subjectivities."

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The cover of Hunger Mountain's Winter 2013/2014 issue is by Lucinda Bliss with details from Atlas of American War Book 4: Hearts and Octopus with graphite and colored pencil on found paper.


Published March 28, 2014
I picked this cover of Witness not after having looked at it but after having read about it: "One of thousands of copper canisters preserving the cremated remains of patients who died at a state-run psychiatric hospital in Salem, Oregon, between the 1880s and the 1970s and whose ashes remain unclaimed by their families."

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The photograph on the cover of Big Muddy's latest issue makes you wonder why this kid has abandoned his (her?) bike, and where exactly is that ladder leading to? Bradley Phillips is the photographer.

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It was like love at first site with this cover of The Georgia Review. From the staff of music at the top, to the illustrations, to the text, measurements, and symbols sketched throughout, this design by MF Cardamone (Elvis with Sweetgum, 2010) is capturing. More work from this artist is inside, too.
Published March 21, 2014

Cover art for this issue of Salt Hill comes from Martin Klimas: Untitled (Miles Davis, "Pharaoh's Dance"). What can I say? The bright colors capture my attention.

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Alongside the QR code on this cover of North Dakota Quarterly is a quote from Marshall McLuhan: "We shape our tools and aftewards our tools shape us." This is the cover for the special issue "What is Digital Art?" guest edited by Timothy J. Pasch and Sharon Carson.

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There isn't a single part of this cover of The Stinging Fly that I don't love. The colors, the shapes, the photograph in the back. It's designed by Fergal Condon.
Published March 07, 2014

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."

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PMS poemmemoirstory's cover image is by In
Published February 28, 2014

I'm loving the brilliant colors of Birmingham Poetry Review's Spring 2014 cover: The Alchemy of Invention, 2013 by Nicola Mason, mixed-media on canvas.

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Simon says press red. Simon says press blue. Simon says admire the cover of The Literary Review. A fitting cover image for the themed issue "Artificial Intelligence." And in case you're wondering what the inscription is underneath, it says, "Nothing that matters is new or fake. Nothing can't be controlled with a joystick. Buttons are original thought. Peripherals are unpredictable. Synapses are mythic, like the words we live by."

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Initial thought as I looked at this, out loud, "Ooo I really love this cover of BPJ." A minute later upon closer look, "Oh gross, it's actually kind of creepy, I thought it was just feathers." Thirty seconds later: "I still really love it." Beloit Poetry Journal takes an interesting approach for the cover of the Spring issue: a dead bird's feet among crunchy, dead leaves. The photograph is titled "Raven Elegy" and is actually by Editor Lee Sharkey. Hauntingly beautiful.
Published February 21, 2014
Look quickly or from far away, and you'll imagine that this cover of The Southern Review features one of those energy-saving light bulb, but this is what you thought, I encourage you to look closer. The art is done with polyester resin and Philips circular fluorescent tube lighting by Bernardi Roig, titled Pierrot le fou.

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Under the Gum Tree's current issue cover is by Jane Ryder, "an artist whose chosen medium is paint, and the current inspiration for her gouache paintings can be found in the lakes, rivers, prairies and forests of south central Iowa."

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Willow Springs's Spring 2014 issue has beautiful colors. Joan Snyder's Cherry Fall, 1995 is made with oil, acrylic, herbs, and cloth on linen. 
 
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