NewPages Blog :: Magazines

“You . . . realise that many poems are well-enough written to be publishable – and yet they don’t excite. They do not cause the hair on the back of the neck to stand up. The editorial heart doesn’t stop, nor breath shorten. The language is inert, the subjects are boring. Poets can often seem to be working a narrow little seam of private experience.” I wish this weren’t the case on this side of the Atlantic, as well, but what Peter Sirr laments here of the state of poetry in Ireland is all too often true in the US, as well. But, thank goodness for this excerpt “This is Not an Editorial,” from Sirr’s essay in the bi-monthly newsletter, Poetry Ireland, and for the other marvelous excerpts of speeches and exquisite essays and poems in Irish Pages. The work here does excite, does take away one’s breath and renew one’s confidence in the state of the written word in English (and in Irish). This issue’s theme is “The Sea,” though the journal is not dogged in its approach to the theme. Continue reading “Irish Pages – 2009”

Always as a big as a doorstop, and often heart-stopping-ly good, Parnassus is a monumental-sized read. This year, I find especially worthwhile an essay with photos, “Seven Rhymes,” by Peter McCary; a grouping of essays and poems all dealing with music (work by Daniel Albright, John Foy, Dian Blakely, and Mathew Gurrewitsch); a memoir by Joy Ladin (who has published work previously in Parnassus as Jay Ladin; the transition from one to the other is the subject of her essay); an essay on Scottish poet Ian Hamilton Finlay by Devin Johnston; and a translation of the poem “Dunia” from the original Spanish by its author Otto-Raul González. Continue reading “Parnassus – 2009”

Guest Editor Grace Bauer was given the reins of this issue of Prairie Schooner. Influenced by the number of recent baby boomer milestones, including news reports about their first retirements and the golden anniversary of Barbie, Bauer decided to dedicate the volume to the generation. Not only have boomers produced a wide range of work, she notes, but they are, perhaps, the most-written-about generation of Americans. The choice is an apt one; baby boomers witnessed vast societal change. They are capable of writing about the times of both typewriters and computers. They bridge the gap between 45s and the ubiquitous iPod. Continue reading “Prairie Schooner – Fall 2009”

This issue begins with Catie Rosemurgy’s poem “Things That Didn’t Work.” Delicate. Restrained. Precise: “Picture frames. Targets. The psychological / boundaries described in books. / Any shape or line whatsoever.” And, fortunately, not a predictor of what lies ahead in Seneca Review. There are certainly pieces here that might not have worked in less capable hands. But the risks have paid off and the work is strong. In particular, I appreciated what Laura Brown-Lavoie accomplishes in “Bricklaying,” an essay that merges biblical language, fragments of fairy tales, poetry, political commentary, and the poet’s lyrical diction in prose-poem like paragraphs separated by sets of empty brackets. The piece is about (if it is fair to say that it is about anything) how we create, and while I’m not always sure I follow its logic, I want to see it through to the end. Continue reading “Seneca Review – Spring 2009”

This issue is guest edited by Leigh Buchanan Bienen, a senior lecturer at Northwestern University School of Law, and author of the collection of short stories The Left Handed Marriage. The issue is devoted entirely to theater-related essays and analysis, beginning with the editor’s essay, “Art, and the Art of Teaching,” which traces her own journey from literature to law to theater and back to fiction again and finally to a consideration of the teaching of art (in the largest definition of the word) in the context of the world’s dramatic – and unacceptably traumatic – realities: “If art is going to survive, people do have to stop killing one another, on the small and large scale, and beating up on one another, on the small and large scale, and learn to look at each other.” Finally, she equates the classroom and the theater, and by extension the space in which we perform our daily lives, too: “The real questions cannot be asked or answered alone, and they are asked most powerfully, when we listen knowing that others are listening with us at the same time, in a darkened space.” Continue reading “TriQuarterly – 2009”

The less legible meanings of sounds, the little reds
Not often realized, the lighter words
In the heavy drum of speech, the inner men
Behind the outer shields, the sheets of music
In the strokes of thunder, dead candles at the window
When day comes, fire-foams in the motions of the sea Continue reading “The Wallace Stevens Journal – Spring 2009”

I have seen a lot of photographs of birds – who hasn’t? But, I have never seen one quite as striking as Ashley Sniezek’s “Sanctuary.” Both the photo and the impeccable reproduction are so sharply focused I feel as if the slender bird’s beak might reach out and peck me if I try to turn the page. But I must turn the page, because this photo is followed by an equally marvelous one, “In the Tomb of Ramose, Luxor, Egypt,” by Sue Lezon. Twelve photographers’ work is featured in this issue, including photos from national award winner Don Fike and student award winner K. Angeline Pittinger. These are some of the finest black and white photos I have encountered in a magazine, reproduced with such clarity they appear almost surreal. Continue reading “Alligator Juniper – 2009”

The editors of The Ampersand take a firm editorial stance from the get-go: “Give us God, give us god, give us the gritty, oily humanity, & make us laugh. If you can make us cry, do so. If you want to lament the loss of pets or parents, do not.” On the chance you need someone to draw you a picture, they follow this up with a chart, “The Ampersand Flow.” The flow chart reminds writers they must be “good enough” to be included in the journal and warns if you write about puppies, your work is sure to be rejected. Continue reading “The Ampersand – 2009”

This literary journal welcomes all genres: “We hope to provide a safe space for writers who’ve gone unappreciated because the industry has led them to believe they don’t fit some arbitrary format.” This latest issue is no exception, providing short stories, art, nonfiction, interviews, lyrics, poetry, a letter from the editor, a memorial – a little bit of everything. Continue reading “The BatteredSuitcase – Autumn 2009”

The poems at the center of Black Boot are often sweeping, elegiac narratives, told from the point of view of an apparently omniscient character or narrator who usually speaks in the first person or like they are writing sophisticated, honest diary entries. When you enter the bright lights of this journal, you will meet an amalgam of characters who, whether melancholy, happy or otherwise, are reflecting on something or someone integral to their past identities. Continue reading “The Black Boot – Winter 2009”

This issue of Calyx is presented beautifully, and its premise has more beauty still. Composed, as they tell you, of women’s art and literature alone, it breathes a carefully balanced delicacy. Perhaps it is because I am a woman, but I found every piece within Calyx’s covers to be somehow special. Continue reading “CALYX – Summer 2009”

This issue of Colorado Review includes many writers whose names are, deservedly, quite familiar, among them: Hadara Bar-Nadav, Peter Gizzi, Donald Morrill, Cole Swensen, There are many who have published widely and may soon be as well known as the others I’ve mentioned, among them: Andrew Joron, Stacy Kidd, Wayne Miller, Jacqueline Lyons, Ange Mlinko. And there are others with new books or books about to be published that I am eager to read, based on their contributions to this issue, among them: Robin Black,Ellen Wehle, Jennifer Moxley, Andrew Zawacki. What these writers share is an original eye and an original ear, which is to say, that in many ways, they are as different from each other as they could be. Continue reading “Colorado Review – Summer 2009”

“Consequence is a new literary magazine focusing on the culture of war in the twenty-first century,” writes editor George Kovach. While this first issue includes some previously published work, future issues will feature new writing by “witnesses and survivors, soldiers, scholars and writers compelled to speak the truth about war.” The inaugural issue includes the work of fifteen poets, an essay, two interviews (one with poet Brian Turner and one with “an Army wife and mother”), a memoir, and three visual artists, one of whom, Viet Le, also contributes several poems. Continue reading “Consequence – January 2009”

The Summer edition of The Fiddlehead was a great read. It’s filled with short stories and reviews, strictly speaking. I found myself at turns sad, scared, and empathetic. Still, I was perfectly calmed by the reading of all this pathos and dark energy. It’s almost as though I saw a bit of myself in each of these stories. In the Editor’s note, “Dark Was the Night, Bright Was the Diamond,” Mark Anthony Jarman writes that the reader will find, “stories moving through the stone lands of Ireland, France, and Spain, stories in cottage country, punk clubs, and on Napoleon’s Italian campaign,” and comments that the short story format has gotten short shrift these days, if the media are to be believed, but adds that the Pulitzer Prize for fiction went to Elizabeth Strout for her collection of said literary form. Jarman quotes, for his point, Steven Millhauser: “smallness is the realm of elegance and grace,” and Jarman adds, “the realm of perfection.” Continue reading “The Fiddlehead – Summer 2009”

The 20th anniversary issue of Free Lunch is so chock full of delicious goodies for the main course, that dare I say there won’t be much room left for dessert, as the cover attempts so successfully to convey. To continue with the food metaphors and analogies, this journal is comparable to a three-course dinner. It is well balanced with poets of great renowned interspersed with poets of lesser acclaim, and poets somewhere in the middle who balance the plate out just right. The poems in this issue are joyful, ironic affirmations of poetry combining a great lyrical acuity with a strong sense of narrative. Continue reading “Free Lunch – Spring 2009”

This lovely little literary magazine doesn’t look like it could hold as much purely spectacular writing as it does, but don’t be fooled by its 50 pages. This speakeasy means business. Composed primarily of poems, with one short story, the editors have chosen wonderful explorations of emotions, both joyful and sorrowful, both reminiscent and forward-looking. Continue reading “Plain Spoke – Spring 2009”

“What’s this?” Martin Riker, associate editor of Dalkey Archive Press, asks Warren Motte, Professor of French and Comparative Literature at the University of Colorado, Boulder, and world renowned critic of contemporary French literature. This first question, in an interview titled “Work and Play,” is a reference to a journal Motte hands Riker when they meet for the interview. The answer (“Something I thought you might be interested in”) turns out be an article about Motte’s quarter-century obsession with mirror scenes in literature. Motte estimates he’s identified (and catalogued on index cards) between 10,000-20,000 of these. His fascination with mirror scenes is, well, fascinating. Continue reading “Puerto del Sol – Summer 2009”

This edition of roger is amazing for its depth, its breadth, and its… fabulousness. I smiled through every page, and was truly sad when I was done, though I know that I will go back to it again and again, and it will be as old novels, dog-eared pages indicating that it has been loved. Continue reading “roger – Spring 2008”

I wonder what Abraham Lincoln (yes, that Abraham Lincoln), whose poems with their broad metaphoric strokes and plain, but competent rhymes conclude this issue (“And here’s an object more of dread, / Than ought the grave contains – / A human-form, with reason fled, / While wretched life remains.”), would make of Martha Carlson-Bradley’s objects: “Locked in the past, insistent, / someone knocks on the door/midmorning – // as metal trays in the freezer / trap their half-formed ice / and sanitary napkins hide, / wrapped like mummies / in the trash.” Continue reading “Spoon River Poetry Review – Winter/Spring 2009”

In their submission guidelines, the editors of this crime and noir website are aggressively specific about what they are looking for: “Please have crime, violence, murder, mayhem and chaos. Or a monkey.” But they don’t like serial killer stories or tales with hitmen because both have been overused. (I didn’t know that. You learn something every day.) And they would like the writer to think outside of the box. Continue reading “Thuglit – July/August 2009”

Versal is true to its etymology. The word is related to the Latin vertere (to turn). This work will turn heads and turn your expectations upside down and inside out. You can turn some of the phrases over and over in your mind as you ponder their meanings. The work turns away from convention. There are surprising twists and turns. If you’re not into inventiveness or writing that is deliberately edgy and unusual (odd even), you may want to walk away. If this kind of work excites you, you’ll find something to interest you at every turn. Every time you turn the page, you encounter a unique turn of phrase. Continue reading “Versal – 2009”

An unpretentious magazine like Weave might be overlooked for its small, chapbook style format, but to pass this issue by would be a mistake of literary consequence. Subtitled “Writing •Art • Diversity • Community,” the editors of Weave could not have thought of anything better than these words, for they are all to be found within the magazine’s covers. Continue reading “Weave Magazine – 2009”

“A literary journal from the Hudson to the Sound” (that’s the Hudson River and the Long Island Sound in New York, where Westchester County is located. These suburban communities make up one of the wealthiest counties in the country, bordering one of the poorest). The annual invites submissions from writers living, working, or studying in Westchester. I hadn’t heard of any of this year’s contributors, but it’s clearly my own limitation, not their lack of credentials. About half of the issue’s writers have published a great deal, including poet Llyn Clague of Hastings-on-Hudson whose fourth book is just out; Kevin Kegan of White Plains whose published five novels; David Hellerstein of Larchmont, a physician and writer whose essay collection will be published by Kent State University Press; poet Joe Landau of New Rochelle, whose third book is due out this year; Boria Sax, author of numerous volumes; poet Rachel M. Simon, whose Theory of Orange won the Transcontinental Prize from Pavement Saw Press; and Mark Wisniewski, whose fiction has appeared in such prestigious journals as Poetry, TriQuarterly Review, and Southern Review and appeared in Best American Short Stories 2008. Continue reading “The Westchester Review – 2009”

As a reviewer who regularly decries the sloppy and disorganized presentation standards of many emerging and established online literary magazines, it is refreshing to find one which states openly: “A good online magazine is accessible, intelligently designed, and carefully organized.” They go on to say: “Above all other technical considerations, the writing selected to appear in 42opus deserves a respectful presentation; we strive toward this goal through design that is contemporary, uncluttered, and professional.” Well, bravo, and I am happy to report that they succeed in this endeavor.

Continue reading “42opus – 2009”

This is a difficult review to write for two reasons: 1) Much of the content found in this quarterly defies easy description and interpretation; 2) They are closing their operation as of October 1. Nonetheless, it is such a well organized and interesting website, a somewhat belated review is better than no review at all. Continue reading “Farrago’s Wainscot – July 2009”

Never on the fence, this journal is persistently – almost relentlessly – inventive, provocative, and unconventional. Not shocking. Not wildly unreadable. But certainly dogged in its desire to startle me out of complacency. “You find a little sick cognition,” begins “Gay Trade,” a poem by Sean Kilpatrick. “Lately my hand is an alligator,” opens James Gendron’s prose poem, “Number One Country.” And here is the beginning of “How to Make Something Funny of Something Serious into a Funny Joke and Then Back Again into Something Serious,” a short story by Colin Bassett: Continue reading “Fence – Spring/Summer 2009”

“Not reading books is escapism,” insists editor in chief, Troy Ehlers. Reading is an “engagement,” a chance to “contemplate and process.” Minnetonka Review offers eight short stories, the work of two nonfiction writers, and poems from close to two dozen poets to help us think about how we relate to the world, including a section of Editor’s Prize winners with poetry by Rhonda C. Poynter and prose by Tim Keppel. Continue reading “Minnetonka Review – Summer 2009”

Pank Magazine seems to delight in thoughts born of the abstract. The unassuming cover art sets the tone and establishes the journal’s aesthetic. The brush-painted invitation/confession “to anyone I have ever met:” precedes poems and short fiction that meditate on the serendipity that can be found in the life of a contemplative, literary person. Continue reading “PANK – 2009”

Post Road has everything. The sixteenth issue contains short stories, flash fiction, poetry, nonfiction, criticism, portions of a play, an interview, excerpts from journals, literary recommendations and full color artwork. Continue reading “Post Road – 2008”

If you’re a poetry reader, you’ll recognize many names here (John Balaban, Nicholas Samaras, Sydney Lea, Gloria Vando) and be pleased to see their new work. And you’ll be pleased, too, with the quality of the work presented by poets whose names you may not necessarily recognize (Shannon Ward, Patrick Hicks, Caleb Beissert) and then most especially with the fine reviews by Phebe Davidson, Peter Makuck, and Richard Simpson. Continue reading “Tar River Poetry – Spring 2009”

Tin House is celebrating its tenth anniversary, but it is the reader who receives the birthday present. The editors celebrate “art that provokes intense emotion,” presenting both psychologically potent stories and poems and interviews that invite the reader to reflect upon their own understanding of art. The top-notch graphic design, with full-bleed photograph pages before each story, makes the stories that much more inviting. Continue reading “Tin House – Summer 2009”

Guest editor Jimmy Santiago Baca writes that work submitted for the issue “resounded with emotional and spiritual conviction.” With forms, styles, and subject matter befitting a TOC that includes four-dozen writers, these convictions are expressed in nearly 300 pages of poems that include family narratives, lyric explorations of the natural world, and inventive forms that explore the limits of language. The poetry is well accompanied by prose selections, which include excerpts of novels, and brief essays on creativity and the pedagogy of creative writing. Continue reading “Yellow Medicine Review – Spring 2009”

A promising premier beginning with fascinating cover art – a “threadwork portfolio” by Lisa Solomon whose threadwork images appear throughout the journal – Marvin Bell’s moving “dedication poem” (“The Book of the Dead Man (Arroyo)”) featuring Bell’s signature anaphoric lines; a terrific interview with novelist Eric Miles Williamson, a graduate of the California State University system where Arroyo is published; five strong stories; and contributions from ten poets, including more work by Bell. Continue reading “Arroyo Literary Review – Spring 2009”

I have always loved Brick, a handsome, polished, semi-annual from Toronto. The journal typically features some of the finest, and most influential, writers and from across the Americas and around the world (this issue’s stars include Michael Ondaatje, Eduardo Galeano, Edmund White, Dionne Brand, Francisco Goldman, Jim Harrison, Jack Spicer, and Juan Cruz for example); what I’d call “pure and original finds” (a brief essay on Harold Pinter by acclaimed Canadian filmmaker Patricia Rozema, along with a marvelous photo of her and Pinter; and the posthumously published “Three Wishes” by Pannonica de Koenigswarter, fascinating black and white photos of and fragments from bebop and jazz musicians); and terrific graphics (some great photos in this issue). Continue reading “Brick – Summer 2009”

This literary review was founded in 2004 and offers literary reviews, author interviews, essays, and publishing news. They also present articles on a variety of topics including art, science, politics, and history. Basically, there is something here for almost everyone. Below are a few juicy tidbits to be sampled in their pages: Continue reading “California Literary Review – Summer 2009”

This summer’s edition to Canteen’s canon is filled to the brim with amusing essays, thought-provoking poems, and a couple of fictional, yet introspective short stories. One such story is Justin Taylor’s “In My Heart I Am Already Gone.” Its protagonist, Kyle, is a cousin of some sort to the family with whom he spends Wednesday nights. His Uncle Danny, in referring to his medically sound, but mentally unhinged cat, says: “This was a long time coming.” He is, of course, talking of rubbing out, or knocking off, the poor, poor Buckles. Danny has asked Kyle to ‘take care of it’. Kyle, as naturally as Holden Caulfield without the sarcasm might, muses that Continue reading “Canteen – 2009”

The reader is welcomed to this issue of Crazyhorse with the editor’s modest reminder of the stories and poems published by the journal that were selected for the Best American Series, including the Poetry, Short Stories and Nonrequired Reading volumes. Continue reading “Crazyhorse – Spring 2009”

If you love a good story – and who doesn’t? – you must read Glimmer Train. It never, and I do mean never, disappoints. This issue includes exquisite stories by Carmiel Banaksy, Hubert Ahn, Cynthia Gregory, Johnny Townsen, Marc Basch (first time in print!), Lindsey Crittenden, Diana Spechler, Scott Schrader, Mary Morrissy, and Kuyangyan Huang, as well as a critical essay by Sara Whyatt on the theater of Raisedon Baya and Chris Mlalazi, and an interview with David Leavitt, conducted by Kevin Rabalais. Continue reading “Glimmer Train Stories – Summer 2009”

Wow! The only thing that would do this astoundingly exciting issue justice is to write a transgenre review. What would that look or sound like? It could be structured as dictionary entries like Jim Elledge’s “Mercy,” “Quarantine,” and “Xyloid.” Or perhaps an eight-page piece broken into segments of single phrases and sentences of no more than three text-lines each, alternating between font styles (regular and bold, serif and sans serif, different point sizes) like Lance Olsen’s “Head of Flames,” which begins: “Look: I am standing inside the color yellow.” (If only my review could have an opening this simultaneously luxurious and spare.) Continue reading “Hotel Amerika – Spring 2009”

Published by Manhattanville College (Purchase, NY), this issue of Inkwell contains stories and poems that the editor has chosen because they “help us embrace new worlds.” Most of the works indeed strive toward character-based abstraction. The fiction, thankfully, remains grounded in concrete narrative. Continue reading “Inkwell – Spring 2009”

Okay, I’ll admit it: I had no idea what ‘juked’ meant. So I consulted my trusty OED, only to find that the word is a football term: sort of. It means, in essence, to fake someone out; pull them offside (this is where the football thing comes in). At any rate, I found that the stories and poems contained within Juked’s pages are, in fact, of the sort that employ a bit of skullduggery. Continue reading “Juked – Winter 2008/2009”

This is, by far, the most diverse literary magazine I’ve ever encountered. On the Labletter’s introductory pages are art images, followed by fiction, photography, a feature on an improvisational acting company, which includes a scene from their improv play based on Greek tragedy. Finally, under a heading as broad as Gallery, there are photos, art of both two-dimensional and three-dimensional sort, more fiction, and a few poems. That the magazine comes with an equally diverse CD is as astonishing as reading the print edition is. Continue reading “The Labletter – 2009”

Modern Haiku received 308 entries from 79 poets in 5 countries for its 2009 Spiess Contest! Haiku (and senryu, essentially haiku with human images, rather than images drawn exclusively from nature) appears to be as popular as ever.

Continue reading “Modern Haiku – Summer 2009”

Nimrod is a journal that has a long tradition of publishing the finest works to come out of the contemporary Mexico scene. Following that custom is the Spring/Summer 2009 issue, the third issue in Nimrod’s history to be devoted to Mexican writers. This issue is difficult to discuss succinctly – the writers are numerous (well over 50 contributors are included here) and their work is enormous (everything from borders to migration to the meaning of change is covered) – but let’s give it the old college try. Continue reading “Nimrod International Journal – Spring/Summer 2009”

This “international/translation issue” features the work of poets from Bangladesh, Sweden, India, Cyprus, Scotland, France, London, Greece, the Philippines, Switzerland, Turkey, South Africa, Scotland, Italy, Germany, Canada, and the United States (most of these are poems with an “international” component of some kind). As several poems appear in languages other than English with English translations and translators’ credits, my assumption is that the others – no matter their country of origin – were written in English. (An editor’s note would help readers know for certain when they are reading originals and when they are reading translations.) Many of the contributors are natives of one country, but residents of another. The issue presents a laudable compendium of international writers, many of whose work is otherwise unavailable to readers in the States. The editorial vision is generous and eclectic, allowing for work that encompasses a variety of poetic styles, modes, and themes; most of the translations are polished, competent, and fluid. Continue reading “Off the Coast – Spring 2009”

This double issue of the journal begins with an essay by Ralph Waldo Emerson, titled simply “The Poet,” the magazine’s “Past Masters” feature. And Emerson begins with a definition of those who are “esteemed umpires of taste”: “often persons who have acquired some knowledge of admired pictures or sculptures, and have an inclination for whatever is elegant; but if you inquire whether or not they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual.” First, I am struck by the lovely internal rhymes (acquired, admired, inquire). Then I am simply worried that reviewers are self-proclaimed “umpires of taste.” Finally, I am convinced that the “beautiful souls” are the poets who have contributed to Poetry East where, for the most part, the poems are “personal,” heartfelt, earnest, sincere, and, for lack of a better term, accessible (as in approachable, read with apparent ease). Continue reading “Poetry East – Spring 2009”

In more than a decade of writing reviews, I don’t think I have ever said this before – read this journal for the editorial remarks. I’m serious. Here’s editor Sean Bernard in an interview with poet Neil Aitken, winner of the 2008 Philip Levine Prize for Poetry: “How does being Canadian (ed. Note: Neil is Canadian) give you a poetic advantage compared to being a wine swilling urban American?” Oh, did I mention that his interview with Aitken is one of the best magazine interviews I’ve read in a long time, maybe ever? Here are the editor’s comments preceding an excerpt from a novel-in-progress: “This is an episode from a novel-in-progress and it is fairly self-contained: Prism readers will be reassured to learn that the boy survives.” Here is the editor responding to Aitken after a particularly fascinating and unusual answer to one of his questions: “I don’t believe that for a minute.” Here is the editor from the notes that precede the “Canon Interview,” an imaginary conversation with a dead author (Jane Austen this issue): “On a recent full moon night, we were driving our editorial van through the Inland Empire.” Our editorial van! Continue reading “Prism Review – 2009”

This is a delightful combination of poetry and short fiction, both in English, and in such languages as Urdu and Portuguese, with English translations on the faced pages. This is a wonderful device, and I found it to be irresistible. Seeing literature in its original form only enhances the translations of it. Could I, I wondered, learn a bit of Urdu this way? Only time will tell on that one, but it’s high time that Quiddity gets a shout-out from the review community. Continue reading “Quiddity – Spring/Summer 2009”

In the Artist’s Statement that precedes her lithographs, etchings, and acrylic and charcoal drawings, Bosnian immigrant Tanja Softi? writes: “The visual vocabulary of my drawings and paintings suggests a displaced existence: fragmented memories, adaptation, revival, and transformation…I have the arguable privilege of having lived more than one life.” This issue of The Southern Review, a particularly fine one, seems to offer every reader a version of this same opportunity to step, briefly, but deeply into another’s life, and to watch words and lives revived and transformed. Not necessarily changed, or improved, or repaired, but altered by their evolution as artistic artifacts and by our encounter with them, Continue reading “The Southern Review – Spring 2009”