NewPages Blog :: Magazine Reviews

Sentence: a Journal of Prose Poetics, a publication of Firewheel Editions is, in my not-always-so-humble-opinion, one of the most exciting and satisfying journals being published today. Editor Brian Clements favors work that is provocative (but not ceaselessly edgy) and often inventive, but nonetheless solidly grounded. There is seldom anything superfluous or ostentatious; never anything crude; nothing designed to shock or surprise for the mere fact of surprising. The work tends to be highly original and idiosyncratic, but is rarely opaque, obscure, or impenetrable. Inventive forms and hybrid genres are created of carefully crafted language, respect for the integrity of meaning, and attention to the primacy of rhythm and the value of original, but plausible and impressive imagery. Continue reading “Sentence – 2009”

This issue is dedicated to Hayden Carruth who taught at Syracuse University where the journal is produced. “It has never been our intention,” say the editors’ notes, “to explicitly define ‘upstateness’ in so many words…but it does seem to be true, in a purely ostensive way…that our editors in each issue have helped communicate a vision of our region that is more vital than perhaps even those of us who live here would suspect.” Upstate is, in fact, they conclude “a state of mind.” Evoking that state of mind is the work in this issue of nearly two-dozen poets, nine fiction writers, a dozen nonfiction writers, a short drama, two dozen visual artists, a handful of book reviewers, and Mary Gaitskill, who is interviewed by Jennifer Pashley. Continue reading “Stone Canoe – Spring 2010”

Let me tangle Continue reading “West Wind Review – 2010”

This edition of Avery is lovely for its cleverness. While each piece is unique unto itself, together they make for a satisfying romp through today’s literati. Chelsey Johnson’s story, “Devices,” for example, offers a surreal picture of attempted perfection in “Once There Were an Artist and an Inventor”: “They are right up next to the sidewalk, and the inventor is always drawing the curtains shut and the artist is always opening them. The artist needs light. The inventor needs privacy. In other words, they are deeply in love. But both of them are a little bit more in love with the artist.” Lovely writing. Of the artist, Johnson writes that when she takes self-portraits, the effect is, “a look of assured surprise, a look somewhere between caught-off-guard and ready-for-my-close-up.” And, “If everything becomes like love, the artist starts to wonder, what is love?” Analogies emerge everywhere, but she realizes she has no idea what the things is itself is: “It is the negative space of a drawing, its form determined only by what interrupts it.” Continue reading “Avery – 2009”

Oh, how lovely! Produced and inspired by the power of wind (“The Bateau Press Office is run on the renewable energies of hydro and wind power”). Handsomely printed on a letterpress (a letterpress!). Small, square, a lithe 79 pages (poems, prose poems, reproductions of black and white woodcuts and drawings, and a two-page graphic story) that fit neatly in one hand. Unassuming, understated, unpretentious. And utterly gorgeous from cover to cover. I loved holding Bateau between my palms. I loved the work, poems that, for the most part, contain small lyrical mysteries and large telling silences. I loved discovering new writers with impressive credentials and stellar work, but who are not the same big name stars I encounter again and again. I loved the journal’s simplicity and elegance and quiet, self-assured lyricism. Continue reading “Bateau – 2010”

I always look forward to this large format annual with its glossy pages, beautiful artwork and photography, and well-composed and thoughtful works of fiction, nonfiction, and poetry. This issue also features a section titled “Siouxland,” which includes an interview with poet David Allan Evans, and reviews of books by Ted Kooser and Andrew Porter. Continue reading “The Briar Cliff Review – 2009”

Vibrantly produced, engaging, and fascinating for the sheer range of styles and tones in both the photography (amateur and professional) and literary selections, Camera Obscura must be terribly expensive to print – and the cover price of $18 suggests this is so. On the other hand, it’s less expensive than admission to many museums ($20 these days to get into MOMA), the magazine presents museum quality work, and you don’t have to wait in line for a ticket or battle the crowds in the galleries. Continue reading “Camera Obscura – Summer 2010”

A semi-annual from Appalachian State University in Boone, North Carolina, Cold Mountain Review features writers with substantial and impressive publication credits and accolades, but who are still, in many cases, at “emerging” stages (few, if any, books published). The work tends to favor people/characters/personalities over ideas or philosophies, including many family stories and profiles of individuals. This issue includes the work of two-dozen poets, three fiction writers, and one essayist. Continue reading “Cold Mountain Review – Fall 2009”

Big names (Rae Armantrout, David Lehman, Alice Notley, Amy Gerstler, Sherman Alexie, Lyn Lifshin, Elaine Equi, Denise Levertov). Pretty big names (D.A. Powell, Jeanine Hall Gailey, Hadara Bar-Nadav, Matthew Thorburn, Amy Newman, Catherine Pierce, Adrian Blevins). Names to watch for (Kate Thorpe, Carly Sachs). And lots of ideas, big, pretty big, and worth listening for. This issue of Court Green offers exactly what we have come to expect of this provocative annual, including its entertaining Dossier, which this time focuses on the 1970’s. Continue reading “Court Green – 2010”

This magazine presents reading material nearly every day and a great variety of it. There is fiction, nonfiction, poetry, interviews, book reviews, observations of various sorts, and a selection of online stories from other online magazines. The magazine is a bit difficult to negotiate and archives are not easily accessible, but a monthly calendar is available and one simply clicks the day desired. Also, they do not label things well, and I often found myself unable to decipher what was fiction versus nonfiction. Continue reading “Dark Sky Magazine – May 2010”

Elder Mountain, published at Missouri State University-West Plains, will feature “manuscripts from all disciplinary perspectives (particularly anthropology, economics, folklore, geography, geology, history, literature, music, and political science), as well as interdisciplinary approaches; and high-quality short stories, poems, and works of creative nonfiction and visual art that explores the Ozarks.” Work must be “carefully wrought” and “free of common Ozark stereotypes.” This first issue includes the work of 8 poets, 3 fiction writers, 6 essayists, and 2 visual artists, one of whose photographs, a black and white image of house looking solitary and solid (by Barbara Williams) is reproduced on the back cover. Continue reading “Elder Mountain – Fall 2009”

The eighth issue of f-magazine: novels in progress and more – came forty two years after the first issue. The subtitle, “Story – Imagining: Departures and Arrivals,” gives a hint of what’s to be found inside. It is commendable to be so bold as to include so many excerpts of developing novels, with all their rough edges intact. For example, “Smoky Mountain National Park” from Where the Angels Are by Anne-Marie Oomen shows great promise. It touchingly juxtaposes a couple’s hike down the Appalachian Trail on the beginning of the second Gulf War, punching the narrator in the gut. She writes, “It is the last time I cry…Oh, let there be angels.” It is also heavy-handed, thinner on story and fatter on message, and very much inside the narrator’s mind. Still, it brings the reader along. Continue reading “F Magazine – 2009”

A great balance of prominent poets (Carl Phillips, Lawrence Raab, Kate Daniels, Jim Daniels, David Wagoner, John Burnside) and lesser knowns (Rhett Iseman Trull, Jessica Greenbaum, Luke Hankins, Martin Arnold). Editor Nathaniel Perry categorizes these poets’ work (“the poems that really began this thing, and they are still the boss of it”) as poems that “come to my door thundering and insistent, or quiet and strong, or sneaky and sidelong,” and I’d say all of these types make an appearance in this issue, along with two new features, book reviews and 4×4, in which four of the issue’s contributors answer the same four questions, resulting in “a hybrid between essay and interview.” Continue reading “The Hampden-Sydney Poetry Review – Winter 2009”

Jelly Bucket is a new journal produced by Eastern Kentucky University that gets its name, as editor Tasha Cotter explains in an introduction, from “archaic coalminer slang for lunch pail.” Cotter proclaims that the journal’s “only requirement is excellence.” Jelly Bucket’s aesthetic straddles these two aims interestingly, resulting in 185 pages of fiction, poetry and creative nonfiction that challenges the mind while feeding a reader’s base, human desires for story, wordplay and visual art. Continue reading “Jelly Bucket – 2009”

The Journal is published semi-annually by Ohio State University. A journal of “literature,” entries are not classified by genre, so it can be difficult to know if prose pieces are fiction or nonfiction (though I sometimes wonder if we really need to know the difference), but the journal would appear to include poetry, fiction, creative nonfiction, and reviews. The most immediately recognizable names this issue are Elton Glaser, Renee Ashley, Denise Duhamel (whose “Backwards and Forwards” was co-written with Amy Lemmon), Patricia Lockwood, Jesse Lee Kercheval, David Wagoner, and Nance Van Winckel, but most contributors are widely published, many in fine and prominent journals. Continue reading “The Journal – Autumn/Winter 2009”

The Feral Issue. That’s right feral. In other words: animal studies. Guest editor Heather Steffen introduces this special feature section by explaining that animal studies has assumed increasing prominence over the last decade, but that our preoccupation with non-human animals is probably as old as the first human. As for this feral issue of the magazine, “if it has a leaning, it is to build a cultural materialist account of animals in our world…a cluster of essays that look at animals in literature, theory, the military, law, cultural history, and food production.” The work varies widely from personal accounts of relationships to animals and their larger implications, as in John Fried’s “This Treatment Isn’t in Any Way Cruel,” to analysis of the writing of Kenneth Burke by the guest editor, to an interview with vegan eco-feminist writer Carol J. Adams. A wide range of views and perspectives through essays, poems, short fiction, interviews, and reviews of animal studies publications is presented and offer the reader an excellent introduction to this growing field. Continue reading “the minnesota review – Fall 2009/Spring 2010”

Each piece in this second foray of Paul Revere’s Horse seems to encompass both denial and truth. Inasmuch as this not a remarkable combination, in the deft hands of these writers, denial, and the sometimes painful desire to find the truth, take on whole different meanings, each perfectly tailored to fit the writer’s needs. Continue reading “Paul Revere’s Horse – Fall/Winter 2009”

An especially appealing issue, often playful but not merely for the sake of fun; attuned to poetry lovers’ interest in language, but not merely to invent or experiment; inventive, but not merely to impress; clever, but not merely to show off; serious, but not merely gloomy or solemn; well crafted, but not stodgy or overly formal; surprising, but not merely startling or crass or shocking. Continue reading “Rhino – 2009”

This thirty-fifth anniversary issue features poetry from several dozen poets with largely, though not exclusively, narrative tendencies, two essays, six works of short fiction, and three illustrators. Stephen Dunn, Maxine Kumin, Molly Peacock, and Charles Harper Webb are the headliners, joined by such other familiar, it not household names, as Leslie Adrienne Miller and Sarah Kennedy. Bret Gottschall’s charcoal on paper drawings are stunning (“I am interested in the allure and mystery of beauty in the nape of a woman’s neck or the light that, reflect off breasts, illuminates the lonely underside of a chin. In the right light and surroundings, we are all beautiful in one way or another.”). The issue is, overall, extremely pleasing, creating a sense of satisfied, contented reading, a story to sink your teeth into (whether in verse or prose). Continue reading “River Styx – 2010”

Sou’wester is a journal produced by the Department of English at Southern Illinois University nearing its 50^th year of publication. New poetry editor, highly acclaimed poet Adrian Matejka, expects to choose poems “appreciated for their varied timbres, dictions, structures, and strategies” and to continue the journal’s tradition of cultivating “a dialogue between the diverse aesthetics in contemporary poetry.” I think it is safe to say that he’s off to a good start with this issue. The work of a dozen and a half poets is accompanied by nine short stories and one essay. They reflect Matejka’s desire to present a variety of modes, styles, and approaches, as well as varying levels of publishing experience. Continue reading “Sou’wester – Fall 2009”

If poetry is the food of love, then Spinning Jenny is a five-star restaurant. Whether you’re in the mood for sweet or savory, their menu has it all. This modern delicacy features eighty-plus pages of delicious poems, with a center insert of eight pieces of unconventional art. It’s straightforward. You open Spinning Jenny up. You flip through the first few pages of copyright and staff information, and voila! One page lists the titles of the poems. The rest is love. Or food. Something like that. Continue reading “Spinning Jenny – 2010”

Always handsome and beautifully printed, this year’s edition features, for the first time, visual art from the nineteenth century reproduced from the Tampa Book Arts Studio Library, and it’s glorious. Oil paintings, illustrations, drawings, a color letterpress print, the cover of a blank writing book, and engravings in a broad range of styles. The Tampa Review’s large format provides an appropriate platform for these works, and they are carefully selected to be appropriate in their placement alongside the literary works. Continue reading “Tampa Review – 2010”

Big skies. Big mountains. Big bears. Whitefish Review is an ambitious magazine that operates out of Whitefish, Montana, a place of natural beauty and wonder, harsh winters, and glorious summers. The magazine’s mission is to give its readers a hearty dose of mountain culture and an appreciation of the natural world. Whitefish Review publishes emerging and established writers, as well as art, essays, interviews, and book excerpts, and the work featured in its pages is mostly concerned with nature and our place in it. Montana is a place of stark beauty, and Whitefish Review seeks to explore and emulate this type of beauty. It is both rustic and thoughtful. Continue reading “Whitefish Review – Winter 2009-2010”

CALYX was established by four women in 1976 to explore the creative genius that women contribute to literature and art. The publication prints three issues per volume in the winter and summer. It presents a wide range of poetry, short stories, artwork, and book reviews. Its mission is to “nurture women’s creativity by publishing fine literature and art by women.” CALYX is known for discovering and publishing new writers and artists or those early in their careers; among them Julia Alvarez, Molly Gloss, and Eleanor Wilner. The publication delivers high quality work to all audiences. By 2005, CALYX had published over 3,800 writers and artists. Continue reading “CALYX – Winter 2010”

Nonfiction guru Lee Gutkind describes the new incarnation of Creative Nonfiction (big, bold, red!) in a style befitting any charismatic leader: Continue reading “Creative Nonfiction – Spring 2010”

Eclipse is an annual of poetry and fiction published by Glendale Community College in California. I did not find many names with which I was familiar in the TOC (the exceptions being Richard Robbins and Lyn Lifshin), but the writers featured here have solid and even impressive credentials nonetheless (Poetry East, Mid-American Poetry Review, Hayden’s Ferry Review, The Bitter Oleander, Hunger Mountain, Atlanta Review, Ploughshares, Field, Boston Review, The Antioch Review, Kalliope, Black Warrior Review, Beloit Poetry Journal, Glimmer Train, Sixteen Rivers Press, White Pine Press). And what’s more important, I appreciated most of the work, and I liked a lot of it (which are, and happily so, not the same thing). Continue reading “Eclipse – Fall 2009”

Fact-Simile, a young, independent literary journal published out of Colorado, looks more like an unremarkable neighborhood newsletter than a magazine dedicated to “push[ing] the envelope of polite society.” In fact, next to other widely circulated contemporary journals, it appears downright prosaic – an aesthetic yawn. But its homespun look belies its content. Fact-Simile offers interviews with authors, reviews of plays and short stories, and a healthy sampling of poetry representing all genres. It is professionally edited and well composed. Continue reading “Fact-Simile – Autumn 2009”

The rainstorm that thrashed its way across the Northeast in March was just delivering its final punishing blows to the tri-state region when I read Christine Tobin’s “Exhale,” winner of the The Greensboro Review’s Amon Liner Poetry Prize. She captures well the anxiety before and sense of strangeness and near disassociation during a storm of great magnitude, and then the return to routine, in this case one that is symbolic of the death and destruction of the everyday, the cycle of life with or without storms, the return to normalcy as a return to a cycle of expected devastation on some level: Continue reading “The Greensboro Review – Fall 2009”

In memory of the poet Ai, whose work appears in this issue (and which I had not happened upon in a long, long time) and who died just this past March of cancer, let me begin this review with an excerpt from what is likely to be the last poem of hers I’ll see in a current issue of a magazine, “I’m the Only One Here”: Continue reading “Gulf Coast – Winter/Spring 2010”

I’m always pleased when a Table of Contents includes some of my favorite, but lesser known writers, in this case Mark Conway and Christina Davis. Both are moderately well established (impressive publication credentials), but not entirely familiar names even to avid poetry readers (like Jane Hirshfield or Kim Addonizio, both of whom appear in this issue, as well). Conway’s work is always beautifully crafted, tender, moving, and memorable. While his work often narrates a personal or family story (which interests me less, admittedly, than work of a more metaphysical nature), he always reaches beyond the daily images for something larger and fuller. He has just one poem here, “Scholar of the Sorrows,” but it is representative of his work and I am happy to find him in this prestigious location. Continue reading “Harvard Review – 2009”

Harold Fromm’s essay “Michael Phelps, Domenico Scarlatti, and Scott Ross,” encapsulates the issue’s most dominant and captivating aspects, the strangely rewarding juxtaposition of the popular and the esoteric; entertainment and sport with the arts; the ordinary and the arch; gold medals (Phelps) and gold standards (Scott Ross). Continue reading “The Hudson Review – Winter 2010”

I can’t really think of any topic more important right now than this issue’s theme, “the dynamics of wealth and poverty.” Editor Ann Neelon reminds us that the theme, in and of itself, assumes an awful lot: “The assumption is that there IS a dynamics of wealth and poverty – i.e. as opposed to a rigid inherited class structure” (I’m inclined to believe the latter is more accurate), and she is, with good reason, concerned about the disturbing statistics in the region where the magazine is published: “Kentucky is the fifth-poorest state: 23 percent of the poor are children, 30 percent are African American, 27 percent are Hispanic and 30 percent have less than a high school education.” She wonders where all the money has gone. And she is convinced, nonetheless, that the poetry, fiction, and nonfiction in this issue “will help us to…redefine ourselves in the wake of our incursion into near-apocalyptic economic territory.” I hope she is right, but if she is not, it won’t be for lack of originality, creativity, or insights. Continue reading “New Madrid – Winter 2010”

You’re idling in rush-hour traffic. Bored, and sick of hearing the same droning pop song for the fifty-seventh time, you flip through the radio stations and happen upon a song you’ve never heard before. The beat is good; the lyrics are fresh. You’re really in the groove. Bouncing head, tapping fingers, all that. You wait for the end of the song, desperate to discover the identity of the mastermind behind the creation. But the DJ cuts straight to commercial, and like me, you aren’t technologically savvy enough to own a robot-like phone that tells you what the name of the song is or who sings it. You’re stumped and annoyed, and you spend the next week humming the song to all your friends to see if they’ve heard it, too. Continue reading “Saltgrass – 2009”

Saranac Review is an annual featuring work by American and Canadian writers published at the State University of New York in Plattsburgh. The terrific cover art is by Ric Haynes, oil paintings from a series called the “The Floral Wars” composed of combinations of “flower set ups” and toy figurines. His short essay, “The Floral Wars: Beauty and Brutality,” (with studies/drawings of the individual figures) is a highlight of the issue. The artist’s approachable style, both in the essay and the visual works, is representative of the journal as a whole, which features work that tends toward the “accessible” and casual in tone and diction. Continue reading “Saranac Review – 2010”

There is no announced theme in this issue (which marks the journal’s 75^th anniversary), but do you perceive a pattern? Here are the opening lines of the issue from “In the Village of Missing Children” by Rigoberto Gonzalez: Continue reading “The Southern Review – Winter 2010”

This special issue of Subtropics features over thirty translations from France, Japan, Russia, Spain, Romania, Argentina, Mexico, and other countries that interpret a variety of crossings. “Hazaran,” by nobel laureate J.M.G. Le Clézio, introduces a mysterious handyman and storyteller who leads his neighbors when they learn that the government plans to evict them from Frenchman’s Dyke, a shantytown populated by migrants. The story concludes with an exodus as one character, Alia, glances back at the darkened shore. Translation can inspire feelings of displacement, but at its best, becomes appreciable as confident work rather than as a shadow of the original. Continue reading “Subtropics – Winter/Spring 2010”

Albanian poet Luljeta Lleshanaku’s poem, “After the Evening Movie,” ably translated by Shpresa Qatipi and Henry Israeli, is not part of the issue’s “portfolio” segment (“Captured: Writing About Film and Photograph”), but part of what editor Amber Withycombe defines as the issue’s “adventurous general work.” But, it’s clearly no accident that a poem about the movies opens this volume of what has been for as long as I can remember, in my view, one of this country’s most underappreciated literary magazines. Continue reading “Witness – 2010”

This issue’s theme is “Celebrity Houses. Celebrity Politics,” framed by an essay of the same name by Daniel Harris, who has written widely on popular culture. Harris explores the blurred lines between celebrity as a Hollywood-esque phenomenon and celebrity in political life (stars who become spokespersons for “causes,” politicians who flaunt their looks, wealth, and social lives as if they were stars of stage and screen). He considers the relationships between Republican ideology and our fascination (obsession) with the Hollywood elite, a link that is falsely depicted as antagonistic – and more dangerous than it at first appears. Continue reading “The Antioch Review – Winter 2010”

Copper Nickel 12 isn’t a theme issue, but a theme of sorts emerges nonetheless, or at least an organizing principle that is highly appealing and largely successful – how do we relate to the things, the stuff, the variety and quantity of forms and objects around us, human and non-human. It begins with the gloriously evocative cover photograph by Chris Morris from his series “Forgotten History.” Six additional photos in the series appear in the issue, along with the photographer’s remarks. The photos document abandoned homesteads in the area where Morris grew up, and capture the decay (which he does beautifully) and the photographer’s sense of “personal connection” to these “spaces.” Each is a vast landscape of what is missing and yet still exists, highlighted by an outdated or antiquated object (the rotary phone on the magazine’s cover). Continue reading “Copper Nickel – 2009”

I look forward to Event’s nonfiction contest issue every year, and it’s always worth the wait. In addition to the three winning essays, this issue includes the work of ten poets (who couldn’t be more different from each other); three fiction contributors; and a number of reviews. Contest judge John Burns, executive editor of Vancouver Magazine, describes his winning selections, quite accurately it seems to me, as works that “speak truths privately experienced, publicly recounted…told with creativity, absolutely, but also, we trust, with fidelity.” We can’t, of course, know if this is true, but these writers (Eufemia Fantetti, Katherine Fawcett, and Ayelet Tsabari) make me believe that it is so, which amounts to the same thing. Continue reading “Event – 2009”

The Green Mountains Review, published by Johnson State College in Vermont, is a haven of poetry, fiction, essays and book reviews of substantial quality. A literary magazine with an impressive history, the GMR is known for publishing the likes of Julia Alvarez, Galway Kinnell, Mark Doty, Mary Oliver, Billy Collins, Robert Bly, and Joy Harjo over its twenty-plus years of showcasing both established and up-and-coming writers. Continue reading “Green Mountains Review – Winter 2009”

This tenth anniversary issue opens with founding editor Mitch Wieland’s summary, among other remarks, of one marker of his journal’s success: from the first nine issues, nine stories or poems were reprinted in major awards anthologies (best ofs, etc.), another 15 stories were short-listed for these prizes. The Editor’s Note is followed by tributes from more 19 writers to the late Carol Houck Smith, editor at W.W. Norton & Company for 60 years. Maxine Kumin writes that Houck Smith was “everything an editor should be: compassionate, demanding, supportive, and seldom wrong.” Joan Silber remembers that she “loved her writers and she loved her city.” Charles Baxter praises Houck Smith’s worldliness, something he considers essential in a “fine editor.” Continue reading “The Idaho Review – 2009”

Spalding University (where the journal is published) guest faculty editors Kathleen Driskell, Kirby Gann, Charlie Schulman, Luke Wallin, and guest editor Betsy Wood, a Spalding University MFA Program alum, have selected the work of 22 poets, four fiction writers, an equal number of nonfiction writers, two playwrights, and five young writers (for the “Children’s Corner”) for this issue. There is much solid, competently composed work here from writers who publish widely and consistently in fine journals. Continue reading “The Louisville Review – Fall 2009”

Mantis editor Bronwen Tate describes the issue’s contents as “exciting” in her Editor’s Note. An understatement if I have ever read one. The journal is, in fact, exhilarating, captivating, inspiring, and highly original. In addition to new poems from Clayton Eshelman, Adam Clay, Sina Queyras, and Gretchen E. Henderson, this issue features translations – in discrete, handsomely collected groupings, all beautifully translated – of the work of Italian poet Alda Merini, German poet Veronka Reichl, and poet Andrei Sen-Senkov (originally from Tajikistan, now a resident of Moscow), and a special section “Remembering Celan”; a fascinating series of 10 interviews by Elizabeth Bradfield and Kate Schapira “Temporarily at Home: Poets on Travel and Writing”; and smart reviews of books I might not know had been published, were it not for Mantis. The magazine is produced with a kind of subtle elegance and graphic flair seldom encountered and is impressive and polished from the selection of contents to their careful and appealing presentation. Continue reading “Mantis – Summer 2009”

This is simply the best online literary magazine in the country today. New stories are provided every week from a stellar list of writers, and a wide variety of material is presented on a rotating basis – fiction, nonfiction, poetry, interviews, cartoons, book reviews, and other features. And now they have taken the evolutionary step of becoming the first lit mag on Amazon’s Kindle. As I have stated before, if you wish to see the future of online publishing, read this magazine. Continue reading “Narrative Magazine – Spring 2010”

The 2010 edition of New Millennium features a reprint of a profile/interview with the late John Updike by the magazine’s editor, Don Williams, originally published in 1996; a Poetry Suite of work by 51 poets and the short-short fiction, fiction, nonfiction, “Special Obama Awards,” and poetry winners in the magazine’s highly popular contests. Award-winning works are accompanied by author photos and statements. For the most part, prose contributions favor casual and natural voices, credible and authentic dialogue, well rounded plots, logical and familiar narrative impulses, and preoccupations that may be shared familiarly by many readers. Continue reading “New Millennium Writings – 2010”

“Make it good. Do what you have to do to make it good.” That’s jack-of-all-genres (poetry, fiction, nonfiction, teaching, publishing) Ander Monson’s perfect answer to interviewer Shaelyn Smith’s question about process. And it describes the work in Issue 3. The interview with Monson is terrific. Anne Carson and Bob Currie’s “Wildly Constant” is wildly fascinating with its blurred text, revision-like elements (cross outs, arrows, notes) and Carson’s signature economy, those compact little lines that contain whole worlds. Continue reading “Oleander Review – Fall 2009”