NewPages Blog :: Magazines

Chagrin River Review, now in its third issue, publishes fiction and poetry, leaning toward the more traditional styles, nothing extremely experimental or flashy, just good writing. Continue reading “Chagrin River Review – Fall 2013”

This issue of Lines + Stars is the perfect introduction to winter, as in some poems, the snow has already fallen and is already deep, and in others, it has only just begun. Many of the pieces are reminiscent of the holidays, with the sounds, smells, and tastes of the seasons. They all have vivid imagery that brings the poetry to life. See, for example, these lines from Dan Ferrara: “dancing red from ice and vodka, / juggling knives and strangling accordions.” And: Continue reading “Lines + Stars – Fall 2013”

With a url such as “readthebestwriting.com,” Ascent offers up some high expectations. While I’m not certain how to qualify any writing as “the best,” there is no argument that Ascent really does publish quality writing. Continue reading “Ascent – Oct/Nov 2013”

Each issue of 32 Poems is an intimate encounter that is made the perfect size with clever cover art that makes me want to carry it around everywhere. This issue of 32 Poems features cover art from Elliot Walker as well as a humorous back cover titled “32 Things We Really Should Apologize For” by Aaron Alford and Liz Anderson Alford. Literally, this issue of 32 Poems is a must read from front to back. Continue reading “32 Poems – Spring/Summer 2013”

Jelly Bucket is the literary magazine of the Bluegrass Writers Studio at Eastern Kentucky University. As previous reviewers have noted, this magazine welcomes a broad diversity of work in fiction, nonfiction, interviews, poetry (including translation), and art. Graphic design is bright and lively without sacrificing readability. Big pages and proportionally ample margins present writers and artists well. The quality of the work is a bit uneven, but overall, standards are high and there are some really fine works. Continue reading “Jelly Bucket – 2013”

Harvest time is my favorite time of year, so I was naturally drawn to this “Harvest” issue of Kindred. From the photographs to the stories and poems to the how-to pieces in this issue, Kindred not only brings the harvest season to life on the page, but also accomplishes its goals of bringing the sense of home and togetherness, fusing two themes of harvest and community. Continue reading “Kindred – Fall 2013”

In the most recent issue of New Ohio Review (NOR), the editors feature a series of “Translation Cruxes,” inspiring meditations on the method by which we are able to access voices from afar. The trick, of course, is that the journal is full of translations—maybe not in the nature of the subjunctive, but rather in the way feelings are translated. Continue reading “New Ohio Review – Fall 2013”

If surrealism is a vehicle for expressing the unsaid, then The Southeast Review smartly packages its fiction in a way that says a great deal through a scrim of restraint. In this way, the magazine honors the Southern vernacular tradition of saying something poignant innocuously. Continue reading “The Southeast Review – 2013”

Above the lintel of a passageway in Dublin’s Kilmainham Gaol is a quote from Dante that reads: “Abandon all hope all ye who enter here . . .” The struggle for Irish independence mirrors this bleakness, but that struggle also corresponded to a pantheon of literature that no occupation could suppress. In this issue of The Stinging Fly, a literary journal based in Dublin, the Irish spirit is robust enough to signal outward. Not only did the editors cull a magnificent, relentlessly balanced collection of short narratives, they did so through translation. Voices from Brazil, Morocco, Belgium, Italy, China, Rwanda, Poland, Ukraine, Greece, The Netherlands, Spain, Austria and Finland come through translated from their native tongues into a worldwide map of disciplined craft. Continue reading “The Stinging Fly – Summer 2013”

This “Wild” issue of Tin House is special in that it contains both cover art and a feature from Matt Kish’s illustrated version of Conrad’s classic Heart of Darkness. As usual, Tin House features great work from poets, fiction writers, essayists, and reviewers. It has everything from essays on Vegas brothels or snakes to a “Readable Feast” that ends with a recipe for barnacles. Fair warning though, with a cover this visually stunning, you may never be able to actually open it. Continue reading “Tin House – Fall 2013”

This issue of the Asian American Literary Review is packed with ambition. While many literary journals experiment with the elements and the appearance of language, this issue of AALR crosses the physical conventions of the idea of the literary journal. The contents, like the challenges to the physical form, provoke questions and emphasize ambiguities rather than entertain, which is perhaps fitting when the issue centers on “mixed race,” a sometimes questionable and often ambiguous term laden with history, exultation, and pain. Continue reading “The Asian American Literary Review – Fall 2013”

The hallmark virtues of this issue of Cimarron Review are polished works that are immediately accessible yet amply reward closer inspection. Continue reading “Cimarron Review – Summer 2013”

The Gettysburg Review deserves its reputation for excellence and consistency. Editor Peter Stitt and his colleagues have put together another issue packed with work that examines the human condition from a number of geographical and emotional perspectives. Continue reading “The Gettysburg Review – Autumn 2013”

I’ve eyed Grasslimb for a couple issues now, drawn by its simple, clean tabloid-style design. Each issue has had only two sheets, center folded, for eight, 11×14 pages of reading. I like this ‘local newspaper’ style, and the heavyweight paper adds to the reading pleasure. Easy enough to hide behind on a bus ride, solid enough to stand up through bumps and turns. Continue reading “Grasslimb – July/August 2013”

This edition of Green Mountains Review draws us to its content as soon as we see the cover. The artwork is a compelling collage done by the featured and multi-talented artist, Lou Beach. As with Beach’s work, this issue is a collage of multiple works by or about the same authors, but what you notice is the collective quality of them all, that as a whole provides more than just surface entertainment. Continue reading “Green Mountains Review – 2013”

Indiana Review is not a nicey-nicey publication. A fair amount of the content, while high quality, exhibits an “edgy” quality, as in it won’t-put-one-to-sleep, or make one sigh. It won’t give warm-fuzzies, or make one feel like cuddling up in a big chair with hot chocolate. What it will do is remind one of the hazards of existence and the unsettling realities of life in a vivid and entertaining manner. Continue reading “Indiana Review – Summer 2013”

The MacGuffin, published by Schoolcraft College, is a treasure-trove of fiction, nonfiction, and poetry, especially short fiction. The style is fairly traditional, which makes it easy to read and digest, but never dull. There is so much good prose that it is worth reading for that alone. It does not separate fiction from nonfiction, and I find it difficult to identify for certain mostly which is which—once on the page, what is the difference between fiction and nonfiction? Is there such a thing as nonfiction when it is words on a page? Which is stranger, or harder to believe, or comes across as more meaningful, or contrived? Continue reading “The MacGuffin – Spring/Summer 2013”

The Main Street Rag is published quarterly out of Charlotte, North Carolina. This issue opens with an interview with photographer Bryce Lankard, whose photos grace the cover and are included within the pages of text. The interview is a contemplative discussion of art and its purposes from Lankard’s point of view. His photos after Hurricane Katrina serve two purposes, “one to address the public debate and a second to address the loss.” He goes on to say that he “wanted to show New Orleans as flawed yet beautiful” and “remind people of the city’s cultural uniqueness and how rich it had been in providing the fabric of America—so the rest of the country would not abandon New Orleans.” His NOLA photographs accomplish these objectives. His 9/11 photographs reveal where the photographer was when the planes hit the towers and show life moving at an accustomed pace even in those moments. Lynda C. Ward’s interview illustrates Lankard’s passion and approach to the world. Continue reading “Main Street Rag – Summer 2013”

It could be said that The Masters Review presents the same value proposition as do The Best New American Voices, The New Yorker’s “20 under 40” fiction showcase, and Poets & Writers listings of leading new poets. That value proposition is the culling of new talent from diverse sources, a way of framing a structure of gifted writers today under the strong light microscope of editorial review. Continue reading “The Masters Review – October 2013”

Neon hails from the UK where Editor Krishan Coupland accepts works from around the globe. Neon favors literary and slipstream short-form writing: “We err towards the dark, and like to experiment with language and form” with “a particular taste for the apocalyptic.” Dark and apocalyptic has never been my style, so it makes me wonder how I found such comfort in much of what I read here. Continue reading “Neon Magazine – 2013”

Because theNewerYork is a different breed of literary magazine entirely (“We are changing the publishing world,” the website states), it’s only fitting to go with an unconventional review, in this case, “An Imagined Instructional Editorial List (in Review)”: Continue reading “theNewerYork – 2013”

Plain, and rooted in the plains: that’s what remained with me after I finished reading Paddlefish, the annual literary journal from Mount Marty College in Yankton, South Dakota. A photograph of a boundless golden field and blue skies spreads over the front and back covers; the book reviews visit the Nebraska landscape and snippets in South Dakotan history; the stories and poems touch on post-military and Native American life. Paddlefish is plain, too, in its subjects, sentiments, and language. The reader is often told exactly what the writer is thinking, a mode that may appeal to some but which, to others, may leave too little to the imagination. Continue reading “Paddlefish – 2013”

Travis Holland’s “Planet of Fear” is one of a number of brilliant stories in this all-fiction issue of Ploughshares, edited by Peter Ho Davies. Holland writes beautifully. Three strands make a rich, bright braid: the narrator’s work with an exceptional youth in a boys’ correction facility, his frustration with his dementia-disabled father, and his love for his smart but innocent five-year-old daughter. Scenes slide seamlessly from one of these strands to another, the tension level rising slowly, steadily, as the client is bullied, the father drifts further and further from his original professorial authority, and the daughter grows into her own. Each episode is wonderfully drawn. Of a “nature walk” through an unfinished housing development with the daughter, Holland writes: Continue reading “Ploughshares – Fall 2013”

The cover of this issue of Prairie Schooner greets the reader with an impressionist autumn scene painted by Faridun Zoda. The inviting image is appropriate; the editors have chosen work that compels the reader to take a step back and enjoy a moment of quiet contemplation. Continue reading “Prairie Schooner – Fall 2013”

Brian Nellist’s essay “People Don’t Read Scott Any More,” originally published in the Spring 1997 issue of The Reader, may have summed up a movement with an essential added value of literature: “the answer is experto crede, not ‘Trust the professional’, heaven forbid, but ‘have faith in the man who’s tried it.’” The idea represents a logical extension of trust in precedent—that we can look to literature as a forerunner to lives we haven’t lived and perhaps never will. We are all witnesses, but in a limited sense. Reading is the addenda to our lives. He adds at the end of the excerpt something else of vital importance to the enterprise of reading: Continue reading “The Reader – Summer 2013”

Willow Springs is a long-standing literary magazine, publishing works by well-known and up-and-coming writers alike for the past 30 years. The first thing that struck me when I began reading it was that there was not a specific theme noted anywhere or an editor’s note. While the magazine’s goal is to “engage its audience in an ongoing discussion of art, ideas, and what it means to be human,” this is a very general goal that can go in a number of directions. While it isn’t necessary to have a theme, the individual pieces themselves work together in a way to create themes in the reader’s mind; the one that stood out to me was of the things inside us—the hidden talents we aren’t aware of; the twisted desires we will never admit; the work of art we haven’t unlocked. Continue reading “Willow Springs – Fall 2013”

Psychopomp Magazine, a new online fiction quarterly, aims to publish work that “defies genre and isn’t afraid to go beyond the confines of traditional form.” Their first issue is a testament to that. Continue reading “Psychopomp Magazine – Fall 2013”

Reviewing Sixfold is an entirely different game due to the way submissions are selected. Instead of being voted on by a judge or editors of the magazine, submissions are voted on by other writers that submit, working their way up the ranks until the top 3 are selected for prizes and others are selected for inclusion into the issue. Continue reading “Sixfold – Fall 2013”

Starting off this issue of poetry magazine Chantarelle’s Notebook is a poem that easily reveals its insight, a trait found throughout the issue. LaMar Giles’s “Uninspired” pokes fun at current popular music, noting that “a sudden breeze / moves me more / than music nowadays.” It’s short, fun, and makes its point clear. Continue reading “Chantarelle’s Notebook – October 2013”

Executive Editor Ben Evans writes that he hopes readers will find, in Fogged Clarity, “something resonant here, something stirring and poignant . . .” The sole fiction piece, Benjamin Roesch’s “If You’re Listening to This,” resonates with me. It is a heartfelt look into Luke’s lifelong struggle to remember his father and feel his father’s love for him. Now married to Jasper, Luke donates his sperm to his ex-wife, who is also gay and wants to have a baby in France with her wife. What seemed at first a brainless act, becoming a biological father turns out to be a bigger deal for Luke than he would have guessed. Eager to tell his new daughter that he loves her and will always be there in the way his own father couldn’t, Luke runs into conflict when her mothers tell him that they don’t plan to tell their daughter who the donor is. It’s definitely a standout piece, right from the very beginning, which is definitely an attention getter: “Luke found himself in a small room with no windows. There was porn of all persuasions. There were tissues and baby wipes. There was Jergens almond scented lotion.” Continue reading “Fogged Clarity – September/October 2013”

foam:e, an Australian online poetry annual, is now in its tenth year. Because of its origin, I am lost on some of the details, references, and government issues, but overall, the issue was an enjoyable array of poetry, varying in topic, form, and tone. Continue reading “foam:e – April 2013”

The aims of Bone Bouquet’s editors have been abundantly achieved in this issue. The writers represented are women experimenting with imagery and poetic forms while at the same time exploring social agendas, dilemmas, and personal experience. Most of the selected poems subvert language and present readers with vocabulary and symbolism that confounds all expectations, expressing voices that are not often found in literary magazines. Continue reading “Bone Bouquet – Spring 2013”

The writers in this issue of The Conium Review have a talent for keeping things moving: tension, mystery, good old-fashioned action pulled off with clarity and skill, and the occasional bombshell of a metaphor. I found myself constantly itching to find out what was going to happen next, which is a feeling that literary magazines should induce more often in their readers. Continue reading “The Conium Review – Fall 2013”

It was a surprise to find Dunes Review on the shelf at NewPages. As it happens, I have Volume 1 Number 1 of this publication—dating back to 1997. The mastheads confirm this is one in the same: Founding Editor Anne-Marie Oomen still figures prominently as a submissions reader. Hers is a name that sounds of “home” to me. Home being northern lower Michigan, the launch site of this journal, now published by the Michigan Writers with the Glen Arbor Arts Association and the Beach Bards. Dunes Review has always been and remains Pure Michigan—at least behind the scenes. As for content, that is geographically open. Continue reading “Dunes Review – Winter/Spring 2013”

In his comic strip in this issue of ecotone, Jeff Koterba tells readers that people move through life “never imagining that we carry the bonds of home, wherever we go.” This idea is a connecting thread, in keeping with the theme of home that Editor David Gessner tells us has been “with us from the beginning.” He also writes that “Human beings are animals,” and “we are living in a time of deep danger and uncertainty,” and “making a home in this uncertain world has never been harder than it is now.” Readers of this issue will be certain of these truths as they are uncovered and rediscovered by writers of fiction, nonfiction, and poetry in this spring offering from the magazine whose title means “a place of danger or opportunity.” This issue brings it all back home for the editors, writers, and fortunate readers. Continue reading “Ecotone – Spring 2013”

The Intentional is a new magazine that aims to “capture the twenty-something experience and explore innovations that might augment quality of life for millennials.” After reading Kate Jenkins’s editor note in the first issue, I, as a twenty-something myself, knew that this would be a magazine worth reading, and I was right; I read this second issue cover to cover, start to finish, all in one sitting. Continue reading “The Intentional – Fall 2013”

Ninth Letter, entering its tenth year with this issue, is published by the University of Illinois, with faculty directing a large corps of students in presenting work from established and emerging writers. The magazine has a reputation for being ambitious, brash, lively and visually challenging, and this issue lives up to the reputation. You may not find everything to your liking, but Ninth Letter will reward the time you spend finding out. Continue reading “Ninth Letter – Spring/Summer 2013”

This issue of Ruminate is titled “not forgotten” and contains stories and poems of memories and of preserving them. Editor Brianna Van Dyke writes, “it is not our memories that give us solace, but rather the promise that we are not forgotten, that with tender mercy the morning sun rises upon us. I try remembering, try holding it all—the hard truths and the good truths, together.” Continue reading “Ruminate – Summer 2013”

Perhaps it should come as no surprise that reading a collection of lyric essays can require more concentration, more effort, than reading a collection of short stories or personal essays, and that is true of the pieces in this issue of Seneca Review. This intense hybrid genre, a form of many forms, gives rise to responses like responses to poetry—visceral, shocked, troubled, enraptured—partly because it is filled with images, juxtapositions, and gaps, yes, but partly because it depends on the frontal lobe too, the facts and footnotes of argument and persuasion, at the same time it claims the personal, the fragile and emotional. Continue reading “Seneca Review – Spring 2013”

The mission statement of The Southern Literary Journal is to publish “articles on the literature and culture of the American South and especially encourages global and hemispheric comparative scholarship linking the American South and its literatures and cultures to other Souths.” This issue features both articles and reviews that present fresh and compelling ideas to the strong body of comparative scholarship that already exists on the literature and culture of the American South. Articles range from analyzing Gone with the Wind to the trauma of lost sovereignty within the South to the analyzing of Ellison’s Invisible Man as a “public jazz dance” in which each individual chapter on a grand scale represents the movements of syncopated communities. Continue reading “The Southern Literary Journal – Spring 2013”

The theme of this issue of The Virginia Quarterly Review is “People and Place.” The featured writers are Ann Beattie, Catherine E. McKinley, Garret Keizer, and Tess Taylor, but all of the 25 contributors are impressive and well worth reading and re-reading. Continue reading “The Virginia Quarterly Review – Summer 2013”

Two strains run through this issue of West Branch: personal interiority and power. Most of the poems, with nonlinear narratives, seemingly unrelated images, and a variety of traditional and more unorthodox forms, are concerned with the former. It’s harder for these private and original forms to reach the reader, and so I find myself more interested in the latter theme explored in this issue: what happens when people become aware of their relative weakness in the world they live in. Continue reading “West Branch – Fall/Winter 2013”

I find that in a lot of online and digital journals, editors are sticking to shorter pieces, grabbing readers’ attention for a short while, and then letting them go about their day—not surprising in the age of text messages and tweets. But while that is certainly well warranted and effective, it is certainly refreshing to see a journal like Gulf Stream that isn’t afraid to publish pieces that take more than 5 minutes to read. Continue reading “Gulf Stream – May 2013”

In this issue, a lot of the pieces seem to deal with a void, something missing. Take “Absence” by Sarah Clayville: “You only wake for silence. The absence of a baby’s cry, the silence of my womb no more capable of speaking up to you than I am.” And “Eating Now” by Andy Cochran: “I consider telling him how I woke up hearing her voice. How it faded. How losing her voice felt like losing her all over again.” And Marchell Dyon’s poem: “Sometimes I wish I could be as vacant from emotions as the moon. / To be just another spirit free to wander.” Continue reading “Toasted Cheese – September 2013”

As part of SpringGun Press, SpringGun Journal has just transitioned from a biannual publication to an annual one with this issue. I hope that they still get decent readership, because the writers—at least in this issue I know—deserve it. Without given much to go on about editorial taste, you really have to read the journal to discover how it feels. While I wouldn’t necessarily categorize it as themed, it does seem to ask, “Where are we going? What’s next? And how do we get there?” Continue reading “SpringGun – 2013”

Unfortunately, this is the last issue of NAP. As they said on their Facebook page in June, “Nap wants you to know that quitters never win so don’t be like NAP and don’t be a quitter.” But their last issue is certainly not filled with quitter writers. Continue reading “NAP – July 2013”

A brand new litmag, Sassafras Literary Magazine, may be in its third issue, but it has really only been publishing for a month. Putting out an issue every other Monday, Sassafras surprises me in that it has so much material in an issue, but kudos to them—or I should say “to her,” as it’s a one-woman show. There’s a selection of poetry, fiction, nonfiction, and artwork, viewable online (in which they each open as new pages) or easier to read as a downloadable PDF. Continue reading “Sassafras Literary Magazine – September 2013”

In its first run, Middle Gray Magazine is providing a venue to display artists’ and writers’ works. The layout creates a collaboration between pieces and relies on the artwork to influence the mood of the entire journal. It succeeds in giving each artist his or her space with a longer bio and description of the work where appropriate. It’s a small collection of surprising and exciting work. Continue reading “Middle Gray Magazine – 2013”

Unsplendid is an online journal that publishes poetry with form, but that form can be rather loose. With forms ranging from sonnets and sestinas to those that are made up for the sake of the poem, Unsplendid’s poems are sure to tackle language, using rhymes and repetition to further the ideas. Continue reading “Unsplendid – Summer 2013”

Gone Lawn is a journal that aims to publish “innovative, nontraditional and/or daring works, both narrative and poetic, that walk the difficult landscapes and break up the safe ones, works which incite surprising and unexpected feelings and thoughts.” Read one piece, heck, just look at the art in the issue, and you’ll see they are succeeding in their goals. Continue reading “Gone Lawn – Autumn 2013”