NewPages Blog :: Magazines

Prole is proudly launching its inaugural voyage, and what a voyage. The message on page two states that this is “a journal of accessible poetry and prose to challenge and engage.” This journal is nothing if not challenging and engaging. Prole’s fiction and prose uses only artful story-telling, skillful-weaving, compact wording; no literary tricks, twists, surprise endings or jolts to deliver one deep into their vast little worlds. There are short stories with suspense and horror, such as “Book Covers” by Rebecca Hotchen and “Flower as Big as the Sky” by Matt Dennison. There are minute character studies such as “Shoes” by Dave Barrett and Bruce J. Berger’s “He had to Go.” And completing this tasty assortment are the odd and sad like “Stone and Wind” by Carl T. Abt, “Scarred” by Kevin Brown, and Stephen Ross’s “Clocks without Hands.” Continue reading “Prole – 2010”

Interviewed in this issue by Jim Porter, master of prose style Richard McCann defines voice as a function of rhythm (Ms. Woolf was right, of course!) and describes his process of walking around memorizing his own words as they come to him. I have never heard this process described before (which is, for what it’s worth, exactly the way I compose poetry) and I appreciated McCann’s candor. His interview is one of the highlights of the issue. Continue reading “Red Cedar Review – 2010”

The work in Smartish Pace is just what the journal’s title suggests, accomplished and sophisticated. The issue features many poets whose reputations are entirely in keeping with that categorization (Gerald Stern, Eamon Grennan, Carol Muske-Dukes, Terrance Hayes, Barbara Ras, Kim Stafford, William Logan, Sandra McPherson, Amjad Nasser of Egypt, Norman Dubie, and Michael Collier); and many others whose poems are no less accomplished or sophisticated (Steven Cushman, Terence Winch, Casey Thayer, Patrick Ryan Frank, and Katie Ford, among others).

Continue reading “Smartish Pace – 2010”

The bright, colorful, fun, full bleed cover with its octopus, crab, and turtle swimming from margin to margin says it all. It announces Number 57’s theme (“The Sea Issue”); the journal’s tone (delightful, playful, forward moving); and its voice (a little over the top, “Featuring the riveting poetry of Jeffrey McDaniel; the unputdownable fiction of Amelia Grey, and the dazzling nonfiction of Steven Church” the cover copy shouts). The journal is produced by graduate students in the Department of English at the University of Arizona in Tucson. Ah, but the faculty advisor is Ander Monson. Well, now I get it! Monson is the inventive and clever editor of the online journal diagram (and a lot of great stuff in print) and the publisher of hybrid and graphically oriented work at his New Michigan Press. His students are learning their lessons well. The journal is really inventive. Really fun. And, despite some excesses, really successful at what it does, beginning with the illustrated instructions on how to read the journal. Continue reading “Sonora Review – 2010”

Tiferet is an independent “multi-faith publication dedicated to promoting peace in the individual and in the world,” published six times annually (two print issues and four online issues). Issue 13 features five essays (most are excerpts from forthcoming or recently published books); three short stories; the work of a dozen poets; black and white photographs by Taoli-Ambika Talwar and a drawing by Israel Carlos Lomovasky. The large format is ideal for Talwar’s exceptional photographs, three images that couldn’t be more different from each other (a close-up of a blossom; a distanced view of a house in the woods; and a close-up of a wall of granite rock), except for the skill and creativity of their composition. Continue reading “Tiferet – 2010”

Upstreet is an award-winning publication that claims to have “the best new fiction, poetry and creative non-fiction available” to “offer a voice to prose writers and poets who might not find publication in more mainstream journals.” However “mainstream” might be defined, whether these pieces are off-beat, they are definitely striking and high-quality. Choosing which poems and short-stories to comment on is almost a random process; there is good variety, and the quality is consistent. The size of the journal is typical of any paperback; about two hundred pages, sporting a shiny black cover with the title printed in bold orange on the front. Continue reading “upstreet – 2010”

This is a brand spanking new lit mag with only two issues published, but one which shows considerable promise. The website is pleasant and easy to negotiate and there is a wide variety of material to choose from: fiction, nonfiction, poetry, paintings, comic art, photography, interviews, and reviews. I had so much fun I delved into their single archive to get a taste of everything. Continue reading “The Writing Disorder – Summer 2010”

Edited by Megan Sexton and David Bottoms, this issue of Five Points explores literature as well as audio inspired by the theme “Belfast Imagined.” Work includes an interview with novelist Glen Patterson (which is also available on the journal’s website); photography comprising a series entitled “Flash Points”; a companion 19-track, 78+ minute CD; two essays; fiction; and poetry by Medbh McGuckian, Ciarán Carson, Leontia Flynn, Howard Wright, and Alan Gillis, whose poem “Down Through the Dark and Emptying Streets” begins the issue: Continue reading “Five Points – 2010”

I’m warning you from the get-go: I will never be able to do this volume justice in a one itty-bitty little review. This is one big, bold, brilliant effort. From Brian Dettmer’s “New Books of Knowledge,” full bleed front and back cover art, to Halina Duraj’s essay, “The Company She Keeps,” the last piece in the magazine, this is surely one of Hayden’s Ferry Review’s most exciting issues ever. Continue reading “Hayden’s Ferry Review – Spring/Summer 2010”

A terrific redesign to kick off the journal’s 40^th year. I love the new look and feel (decidedly less stodgy; easier to hold and read; appealing new shape, beautiful cover and page layouts). Prose – seven stories and five essays – is what held my attention most vividly in this volume, beginning with Elizabeth Benjamin’s beautifully composed prose in “Scarce Lit Sea” (“A year after he said see you soon out the window of his truck, he returned to me, in the night as he had always come, either by water, his boat striking the sharp brown rocks, or on foot, whistling bird calls from the trail.”). Stories by Karl Harshbarger, Whitney Ray, Sarah Colvert, Amma Gautier, Ben Fountain, and Kirsten Clodfelter couldn’t be more different from Benjamin’s, or from each other, but all are solid and satisfying in different ways and for different reasons, making the short fiction in this issue especially appealing. Continue reading “The Iowa Review – Spring 2010”

Curiosity got the better of me. Once I’d read the title, “Je Suis un Ananas” (I am a Pineapple) in the TOC, I had to turn to Libby Cudmore’s essay right away. I got doubly rewarded for my impatience. First, with Cudmore’s short, insightful response to “new media” (YouTube, Facebook) efforts to encourage a revisionist approach to childhood memories; and then by Colleen Pilgrim’s exquisite black and white photo, “Bog Trail,” which I had not expected on the facing page. The quality of Pilgrim’s photo sent me straight back to the TOC to look for other photos, and I was happy to find another of Pilgrim’s photo, and stunning images by Patrick Mog and Robert McGovern. Continue reading “The MacGuffin – Spring/Summer 2010”

In this era of short attention spans, multi-tasking, split screen viewing, fast food, speed dial, and the quick fix, I admire Northwest Review’s daring: this issue features three very long short stories (Charlie Smith’s “We’re Passing Through a Paradise” is nearly 50 pages) and a lengthy essay by poet Eavan Boland (just under 20 pages). The work of 15 poets rounds out the issue. Continue reading “Northwest Review – 2010”

A glossy, four-color magazine produced quarterly in Arkansas, featuring magazine journalism, fiction, a dining column, news of the south, and the annual “Best of the South” selection. This year’s “Best of the South” turns “best-of” lists upside down with quirky “Odes to” places, trips, events, people, experiences, books, activities, nature highlights, sports, commercial establishments, food and drink, the visual arts, famous personalities, moods and moments by writers, artists, and actress Sharon Stone. Beth Ann Fennelly expounds on “Ten Sexy Books” (writers as distinctly different from each other as Tennessee Williams, Zora Neale Houston, and Ellen Gilchrist make the list). Maud Newton writes about the Biltmore Hotel in Florida. Barrah Hannah’s ode is advice to a young writer advising that he/she treasure loneliness. William Giraldi celebrates body builders in Louisiana. Continue reading “Oxford American – 2010”

This is the “short story” issue, fifteen short works (2-4 pages) many of which read more like memoirs or personal essays than fiction, and they may be (genres are not identified). They are direct in their intention to be “reflections of Jewish thought.” Half have titles that announce their Jewish-ness in one way or another (“Post-Abrahamic,” “Tekiah Gedola: The Strongest Call,” “Mamala,” “Zaydie the Courageous,” “A True Hillel and Shamai Story,” “Yom Kippur,” “Israel Journey, ’94 Heart”), and all have overtly Jewish themes of one type or another: one’s relationship to Israel; the portrait of a grandparent as an example of Jewish life as it used to be; differences in Jewish practice or belief between parents and children; the experience of Holocaust Survivors; memories of synagogue services; relationships with Christian neighbors; coping with aging parents; the changing nature of Jewish families. Continue reading “Poetica Magazine – Spring 2010”

This issue’s cover is a riveting photo of Japanese-Americans at a Los Angeles rail station on their way (forcibly) to internment camps in 1942. In fact, the photo is so beautifully composed and so striking, it’s hard to open the cover and leave it behind. But, it would be a shame not to, the issue’s simply terrific. “Poetry…survives war’s upheavals and seeks to leave an enduring record…rebuilding has always been part of poetry’s promises,” assert Poet Lore’s editors. Much of the work here certainly deserves to endure. Continue reading “Poet Lore – Spring/Summer 2010”

With this issue, the journal moves from its home at the Attic Writers Workshop in Portland, Oregon to the Written Arts Program at Everett Community College on the Puget Sound. Editor Kevin Craft says the journal will remain true to its “capacity to be of one place and reflective of many,” and he describes the journal’s editorial approach: Continue reading “Poetry Northwest – Spring/Summer 2010”

Sometimes other diversions provide resonance to my reading. Last week I watched SMILE, a Michael Ritchie film that I’d seen several times back when watching old movies meant late night broadcast stations, not TCM. I remember how hip I thought that movie was, because it acknowledged that beauty and charm were just as much part of women’s competitive framework as doing well in track or basketball. Knowing what I do now about life, women (and women’s pictures), I was naive. I was also in the first generation of girls that went to school after Title IX was enacted in US schools. Equal opportunities in athletics, back then, seemed a new, honest and honorable route to personal achievement. Continue reading “Room – 2010”

Full disclosure: I read this issue and am writing this review while recuperating from surgery to repair a fractured hip. So, this issue’s focus on the corporeal (Special Double Issue: The Lyric Body) is of particular interest. Of the body, editors Stephen Kuusisto and Ralph James Savarese say they present “a form for engagement” that “is always political…and always lyrical, whether we see it that way or not.” If lyrical means poetically inspired, and political means engaged with the world, then I would say their choices for the issue are, indeed, lyrical and political. And they’re also quite wonderful. Continue reading “Seneca Review – Spring 2010”

Tipton Poetry Journal is a small, stapled, chapbook-like (in appearance) publication featuring “poetry from Indiana and around the world.” This issue’s 44 pages include the work of three-dozen poets. While I was not familiar with these poets, all have substantial publication credits in a wide variety of journals and several have authored full-length collections and/or novels. Continue reading “Tipton Poetry Journal – Spring 2010”

Guest editor Amy Hempel selected the work of 21 writers for the issue’s special “Innovative Fiction” focus. She looked for work that was “new,” but also new to the author (poets writing fiction; fiction writers experimenting with memoir forms). And she sought work “that was visceral and visual, that joins nerve and insight, that is darkly funny, that does not back away from compassion…and that amplifies the possibilities of what a story can be.” Continue reading “Alaska Quarterly Review – Spring/Summer 2010”

The inaugural issue of The Asian American Literary Review – whose mission is to form “a space for writers who consider the designation ‘Asian American’ a fruitful starting point for artistic vision and community” – features an interview with Karen Tei Yamashita; three book reviews; poetry; and prose that often concerns individuals confronted by personal shortcomings. Continue reading “The Asian American Literary Review – Spring 2010”

Published by Minnesota State University at Mankato, Blue Earth Review is a stellar compilation of poetry, fiction, and nonfiction. This happy threesome is fresh and enjoyable. There’s no niche. No artwork other than the cover. No crazy long commentaries by editors. Therefore, why go on and on about this journal’s vision? No reason as far as I can see. Let’s jump right in. Continue reading “Blue Earth Review – Spring 2010”

This issue is dedicated – in a trend that is becoming increasingly (happily) noticeable in literary magazines of all kinds – to translation, and reflects the editors’ efforts to “sharpen Bombay Gin’s focus.” The Translation Portfolio includes versions from the Navajo of Frank Mitchell’s “17 Horse Songs” by Jerome Rothenberg and an accompanying essay; an interview with Zhang Er, followed by poems of hers translated from the Chinese; an interview with Chilean poet Cecilia Vicuña, followed by her work; as well as poems, ancient and contemporary, translated from Japanese, Finnish, and French. Continue reading “Bombay Gin – 2010”

This hefty issue of Carpe Articulum begins with an account of David Hoffman’s Pulitzer Prize winning nonfiction book, The Dead Hand: The Untold Story of the Cold War Arms Race and Its Dangerous Legacy, from the author, himself a writer for the Washington Post, and an interviewer. There are so many secrets detailed in this issue that one can imagine just how explosive the book itself is. As Ted Hoffman relates, both from the book and from his interviewee, Continue reading “Carpe Articulum – Summer 2010”

This lit mag has a manifesto: “We worry about the state of modern literature. We worry that it’s too realist, monolithic, corporate, print-bound and locked in its own bubble…We think literature is a place to safely explore controversial and unpleasant topics and unfamiliar points of view.” Online magazine websites are vastly different in structure, and I found this one a bit difficult to negotiate in the beginning, but there are many gems to be discovered. Continue reading “Fringe – Spring 2010”

Gargoyle is a fat annual published in Arlington, Virginia. At nearly four hundred pages, this large volume of work is surprisingly consistent in tone, which, for the most part, tends toward the sardonic and distanced, rich in contemporary imagery, with edgy and provocative openings, and social, political, and cultural implications to varying degrees. This issue presents the work of nearly 70 poets, 5 nonfiction writers, two and a half dozen fiction writers, and two photographers, whose black and white photos include landscapes and close-ups of animals. Continue reading “Gargoyle – 2009”

As a woman entering an age in life when motherhood is a main area of interest and concern, I was excited and intrigued by the idea of a magazine titled get born and dedicated to “the uncensored voice of motherhood.” The title of this magazine alone is reminiscent of certain phrases like get lost and get bent. I must say, I was very hopeful. Continue reading “get born – Spring 2010”

In this issue of Glimmer Train, there is an interview with Andrew Porter by Trevor Gore. Porter is the author of The Theory of Light and Matter, a collection of short stories, recently published by Vintage/Knopf that won the 2007 Flannery O’Connor Award in Short Fiction. He’s also won far too many accolades for me to mention here, except to say that he’s a graduate of the Iowa Writer’s Workshop, which put him up a notch in my view. Continue reading “Glimmer Train Stories – Summer 2010”

Literal is a bilingual journal published three times a year in Houston, Texas. It’s a large-format, glossy, visually impressive publication of political reflection, artwork, fiction, scholarly essays, book reviews, interviews, poetry, and commentary. The current issue is dedicated to the intellectual as a “contemporary pensive figure.” The exploration begins with the cover photo of a sculpture by Mexican artist Victor Rodríguez, “White Head, 2005,” the head of a man lying on its side, eyes closed. The artist is interviewed (in Spanish) by Tanya Huntington Hyde in the magazine. Continue reading “Literal – Spring 2010”

This issue begins with a simple question, but Susan Nisenbaum Becker’s “What If?” is a complex amalgamation of blessings that might just change everything, but that ends with a rather sobering wondering. For instance, she writes, Continue reading “Lumina – 2010”

Why I adored this issue of the New Quarterly: Continue reading “The New Quarterly – Spring 2010”

Small and unassuming, The Orange Coast Review, an annual put out by Orange Coast College, is visually dazzling, for the cover art to the glossy midsection gallery. Including far more artwork than most journals, the 2009 issue features the work of fifteen different artists, several contributing multiple works. The most arresting pieces include Barbara Higgins’s photographs of mod-clad mannequins at a glitzy Laundromat, Jonathan Fletcher’s series of pin-hole photos, distorted, elongated features of his subjects all the more striking in black and white, and Frank Martinangeli’s etchings, which give the viewer the feeling they are viewing two worlds simultaneously. Continue reading “The Orange Coast Review – 2009”

Though lamentably thin for an annual journal, Oyez Review still provides the reader with tremendous value and represents a pleasant afternoon of reading. Considered as a whole, the editors selected fiction, poetry, nonfiction and art with a European feel. The work traffics in easily accessible themes, but refuses to offer easy, unfulfilling answers to important questions. Continue reading “Oyez Review – Spring 2010”

This issue of Quiddity is simply delightful. Beginning with Fani Papageorgiou’s poem “The Welder,” it goes about its business of entertaining the masses of literary fandom: Continue reading “Quiddity – Spring/Summer 2010”

Almost nothing can excite me more on the cover of a magazine than these five words “a novella by Andrea Barrett.” Barrett is a terrific storyteller and a master of the form. Novellas are hard to find (so few journals publish them). And Salmagundi is always great, so finding the combination Barrett/novella/Salmagundi signals good reading ahead. And both Barrett and the journal deliver. Continue reading “Salmagundi – Spring/Summer 2010”

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”