NewPages Blog

The debut issue of A Public Space is probably one of the most highly anticipated magazines in recent history. Brigid Hughes, the former editor of the Paris Review, tops the masthead and the contributors include literary heavyweights like Rick Moody, Kelly Link, Charles D’Ambrosio, recent Pulitzer winner Marilynne Robinson, and John Haskell—not to mention a rare interview with Haruki Murakami, a Japanese author who enjoys a cult-like following. And A Public Space does not disappoint. Continue reading “A Public Space – Spring 2006”

The Cincinnati Review is quite possibly one of the most gorgeous journals I’ve ever opened—with lovely cover art by Lynda Lowe, who has a color portfolio inside the magazine. Continue reading “The Cincinnati Review – Winter 2005”

After creating controversy with the (some say) pornographic cover of their summer issue, Fence is back with a fine selection of fiction, poetry, and art. Everything about the magazine radiates “coolness,” from the idiosyncratic (and slightly creepy) art of John Lurie, to the experimental poetry, and quirky fiction. Continue reading “Fence – Winter/Spring 2006”

Not to be confused with Poetry International out of San Diego State, The International Poetry Review is published by the Department of Romance Languages at the University of North Carolina at Greensboro. Continue reading “International Poetry Review – Spring 2005”

Land-Grant College Review, a beautifully produced magazine from New York City, offers a spectrum of strangeness. Continue reading “Land-Grant College Review – 2005”

I know that The Missouri Review changed its look and feel some time ago, so this may be old news to some of you—but The Missouri Review is bigger, more graphic, and strangely personality centered—large bios appear next to the work, complete with author photos, each on its own page—and beginning pages of stories start with shouting, inch-high fonts. Continue reading “The Missouri Review – Winter 2005”

This issue of Pleiades, with its cover depicting George Washington with his scalp on fire, contains a generous review section (nearly half the issue’s pages are devoted to reviews) and a few features, including multiple poems by Kevin Honold and Jap Hopler, with introductions by Cate Marvin and Louise Gluck, respectively. Kevin Honold had a long sectioned poem about the Iraq war, quite topical and all that, but my favorite of his was the brilliant “The Groves of Baal,” meant to echo the Biblical language of the book of Lamentations with an odd, colloquial voice chiming in the background: Continue reading “Pleiades – 2006”

This year’s bright pink issue of Rhino features, as usual, mostly poetry, with a satisfying section of poetry chapbook and book reviews in the back called “Rhino Reads.” This issue also features a section of poetry in translation. The poetry in Rhino typically flirts with experimentation, drawing in the reader by a thread of emotional energy, lyric power and sometimes, offbeat humor. Continue reading “Rhino – 2006”

This new upstart journal from my hometown of Seattle has already garnered national attention and deservedly so. Newcomers crowd the pages next to the occasional more well-known names like Lyn Lifshin and Joshua Marie Wilkinson, and the mix of poetry and prose, with interspersed black-and-white art work, is intense and surprising. Continue reading “the strange fruit – December 2005”

This issue of Witness focuses on “childhood in America,” a theme richly explored in an impressive selection of fiction, poetry, nonfiction, and photography. Much of the work concentrates on transformative moments in childhood—first experiences with death, desire, and discovering the limitations of adult figures—and sketching American landscapes: Maxine Kumin’s Philadelphia corset shop, Lawrence Raab’s nature camp, and the agonizingly familiar territory of high school. Continue reading “Witness – 2005”

The seventy-fifth issue of the all-West-Coast-all-the-time-journal ZYZZYVA begins with multi-page editor’s note discussing the careers of writers ZYZZYVA published for the first time, a very interesting follow-up attempt that illustrates more concern for new writers than most lit mag editors display. Continue reading “ZYZZYVA – Winter 2005”

If you have ever wondered why so many high school students graduate with an indifference to literature; if you have ever considered the impact of war literature on young people whose heroes are largely provided by electronic media; if you have pondered the best words for the dying and what it means to be profoundly changed by a relative stranger, then, by all means, find a quiet corner and put yourself in the good company of this issue’s authorial minds.  Continue reading “Ascent – Spring 2005”

Part comic book, part ironic guidebook for today’s troubled yet repeatedly humorous world, the winter edition of Backwards City Review reveals the more playful side of the more reflective, more meditative literary journal; and yes, this is possible. While its contents won’t dazzle your minister—unless, of course, he’s not put off by a hearty double helping of sarcasm—this issue offers roughly 100 pages of quirky, if, at times, campy, quality writing, complete with a giant, purple, city-crushing, donut-eating robot on its cover. All the world an oddity. Let’s just say you know what you’re in for when you see the cover and your interest continues its meandering inside.  Continue reading “BackwardsCity Review – Winter 2006”

The second issue of Ballyhoo (meaning extravagant publicity—from the American, of course) brings together writers at all levels of their careers on the theme of “Songs and Cacophony.” The 8.5 x 11 black and white journal frames each story with a prominent black or white border. On the third anniversary of his mother’s death, Andrew Bomback’s narrator prank calls his ex to misquote the Beatles’ “I Will.” Continue reading “Ballyhoo Stories – Fall 2005”

I’ll admit it, at first I was intimidated. It was the periwinkle of the front and back covers that mollified my disease. Thing is, my hands aren’t familiar with the heft of a 125 page journal, especially one comprised entirely of poetry, especially one comprised mainly of long poems. On first flip-through they felled me, hard. A substantial journal dedicated entirely to poetry is a sad rarity these days. The Canary is a necessary and matchless one. Continue reading “The Canary – 2006”

You could sit down and read this issue 100-page issue of the Cimarron Review in a single afternoon, but I wouldn’t advise it. The contents of this handsome, deceptively thin journal demand a few long, thought-collecting breaks. The poems and stories here are all packed to bursting with emotion—big, messy, often ugly emotion. Continue reading “Cimarron Review – Winter 2006”

What gets translated? is more of a koan than a question. After all, where does meaning hide if not in words themselves? And what happens to meaning when words are transformed into another language? Something remains—but what, exactly? These are the kinds of questions that this small but important journal sets out to explore. Continue reading “Circumference – 2005”

Aching for a good, solid story? This issue has four outstanding ones. The voices are resonant, triumphantly free of cell phone repartee and brand-name shorthand. Treat yourself to a giggling weep at the fragile humanity in a story by Michael Poore: ”You can tell Marie’s brother has problems, like his mind is inside out. Continue reading “The Greensboro Review – Fall 2005”

Mizna, “the country’s first Arab American lit journal,” includes poems, cartoons, fiction, non-fiction, a play and art work. Continue reading “Mizna – 2005”

Reminiscent of The Paris Review or, to a lesser extent, Western Humanities Review or The New Yorker, New England Review asserts itself as a dense academic journal that takes itself as seriously as academia tends to take itself. And that’s pretty serious. The journal’s subscription tear-out reads, assuredly, “Look to NER for the challenges your taste requires.” After a billboard like that, false advertising is pretty much out of the question. Continue reading “New England Review – Winter 2006”

One Story publishes 18 journals a year of one story each. Impeccably edited, professionally dressed, the slender, 5”x7”, pocketable books are a brilliant addition to the lit scene. “The Arrival” (Issue 67) by Robin Romm is not another cancer story. Continue reading “One Story – 2006”

Started in response to the Gulf War and the editors’ dissatisfaction with the self-absorption of much of contemporary poetry, Borderlands calls for work that “shows an awareness of connection—historical, social, political and spiritual.” Many of the poems in this issue do demonstrate this awareness, though never didactically. Continue reading “Borderlands – Fall/Winter 2005”

Crab Creek Review strikes me as a fun assemblage of the middlebrow to digest: just the right balance of poetry and fiction so that neither genre obscures the other; light in some places, darker in others, but never resorting to noise. Sometimes, you can’t find clear answers. Continue reading “Crab Creek Review – 2005”

North Dakota Quarterly is a sprawling academic journal—it has expanded by 50 pages since I reviewed it last year—but it knows how to put its enormity to good use. Thoughtful essays, reviews, and criticism are givens, but this issue gives opportunity to illuminate the fiction and poetry that tends to get overshadowed. The highlight is three short stories, three, by Robert Day. While two of them are fairly cosmopolitan, the other one, “The One-man Woodcutter Meets His Widowmaker,” decidedly belongs to the rugged West. Continue reading “North Dakota Quarterly – Fall 2005”

I don’t know if this magazine dropped out of the sky or sprung from the mud, but few have shown what Parthenon West Review has to offer: a fully-formed poetry magazine whose vision is frightening to behold. Coming in at under 200 pages, a weekend is too little time to get through this mammoth. If San Francisco is the city where West meets East, PWR takes advantage of the label, building on its Zen-influenced roots in modernism, imagism and the Beats, approaching the avant-garde without leaving contemporary conventions behind. This excerpt from Rusty Morrison is an exemplar: Continue reading “Parthenon West Review – Fall 2005”

Joshua Harmon’s lead-off essay is titled “Live Free (Or Die Trying).” Yes, it’s a skewed reference to New Hampshire, and to the political divide in the U.S. and the secessionist fantasies entertained by blue-staters. Yet Harmon, a self-described “Mass-hole” and shrewd observer of place (see AGNI No. 60), discovers that voting patterns are not so easily explained when he visits a region he knows well, Coos County, NH—an otherwise conservative area in the rural mountains that John Kerry won in 2004. Continue reading “Southwest Review – Fall 2005”

When I write a review, I try to organize it around the distinct pillars in the book that define the reading experience for me. With The Spoon River Poetry Review, that doesn’t work so well. There are as many writing styles as there are poets in this volume. Pillars here are like museum artifacts: free-standing, but still awesome to look at. Continue reading “Spoon River Poetry Review – Volume 30 Number 2”

Dark, dark, dark is much of the work in this issue, starting with the feature on artist Christin Couture, against whose eerie paintings the rest of the magazine’s contents seems to echo. Continue reading “The Massachusetts Review – Winter 2005/2006”

Brick, a Canadian journal of non-fiction and poetry, is a magazine in a class of its own. The contributors in the winter issue include prominent writers like Donna Tart, Oliver Sacks, David Sedaris, Geoff Dyer, and Fanny Howe. The issue begins with a quote from John Berger, the perfect writer to introduce this pioneering journal that relishes in investigating and pressing against the boundaries of literature. The nonfiction pieces are incredibly eclectic in style and subject, with essays on boxing, Dublin, highways, the novel True Grit, and Thom Gunn, in addition to a transcript of a speech made at the 2005 Griffin Poetry Awards ceremony—and interesting and often humorous meditation on the state of poetry—and letters from Norman Levine and William Faulkner. The previously unpublished letter from Faulkner to an aspiring writer is a standout; he prescribes Dostoevsky, Mann, and Hardy to the struggling artist and offers gems like “no writing that was worth doing was ever done in one day or one year, sometimes, oftentimes, not in one decade.” Continue reading “Brick – Winter 2005”

If ever you’ve gazed upon artworks born of the Surrealist movement with awe, you’ll readily absorb the concept that not to understand is, in itself, a way of understanding. Just as Surrealists aimed to circle like sharks the locus of aleatory explosion, the subconscious surfacing, spilling forth through the murky waters of convention, so, too, do the writers that comprise the Summer 2005 issue of Burnside Review. In theory, Surrealist art, like artwork of any era, concerns itself foremost with itself, then its audience. Artists aimed to tear at the piñata of despair to reveal the ripe and virile confetti within. This is where some of the work in this issue breaks down, and where some of it really takes off. Continue reading “Burnside Review – Summer 2005”

The spring issue of The Chattahoochee Review, a sleekly designed journal from Georgia Perimeter College, offers an excellent selection of fiction, poetry, nonfiction, book reviews, and art—in addition to a special feature on Brazilian poetry. The four outstanding short stories, two by notables William Gay (lauded by some circles as the next Faulkner) and George Singleton, center on down-on-their-luck characters and American domestic life gone awry. The poetry is equally impressive, in particular Chad Prevost’s stunning “Lyric of the Ever-Expanding Universe”: “You thought the dandelions stood / in one place, but come to find out they were / dancing across the wind like tumbleweeds / wheeling without the thought of gravity, / and what you thought was gravity / is only your body’s leaden weight / pinning down your dandelion soul.” Continue reading “The Chattahoochee Review – Spring 2005”

If you’re looking for one-stop shopping of the smartest poetry, fiction, non-fiction, reviews, and interviews there’s only one place to go: Gulf Coast. Let’s start with poetry. Work from Paul Muldoon, Barbara Ras, Denise Duhamel, James Shea, Robyn Art, Trent Busch, and Len Roberts, among others, that is playful, gorgeous, and challenging. Continue reading “Gulf Coast – Winter/Spring 2006”

Margie’s slogan is “strong medicine.” If you’re looking for a shot of poetry, this is the place. In this fat volume you’ll find over 400 pages of poetry by over 100 poets. Continue reading “MARGIE – 2005”

This issue of Natural Bridge, a beautiful journal produced by the University of Missouri-St. Louis, is guest edited by Ruth Ellen Kocher and explores the theme “fragment and sequence.” The roster of contributors includes both established writers like Denise Duhamel and Timothy Liu and lesser known authors. The locales are exotic and varied—Iraq, Bombay, Mexico, Romania—and much of the fiction involves domestic life. Continue reading “Natural Bridge – 2005”

New York Quarterly has emerged as not only a fine journal of poetry, but a publication that explores the state of contemporary poetry, the elements of craft, and the poet’s life. The latest edition begins with a craft interview, a regular feature in NYQ, with W.D. Snodgrass, followed by three of his poems. Continue reading “The New York Quarterly – 2005”

“Nothing original can ever be said about a trip to Paris; in some ways, that is its saving grace.” Kate Peterson may be right, in her installment-style story “Eighteen Conjugations of Cambridge,” which delights and ultimately stirs the dirty waters of nostalgia to a point that parallels “The lights in paintings […] afterglows: just-extinguished candles, early morning streetlamps, or dying stars.” Continue reading “Phoebe – Fall 2005”

Congratulations to Co-Editors and proud parents Tanner Higgin and Christopher Vieau on the birth of their child, The Means. The Means, a Michigan native, at once temperamental and charming, incubated for a full two years, paralleling the gestation period of an elephant. In concert with the already unraveling mammalian theme, Higgin writes, in his Editor’s Note, “This first issue contains a virtual Noah’s ark of writers […] absolutely necessary in our rebellion against the literary establishment.” Their complaint? Scarcity of literary journals willing to publish the risqué and the silly, which is exactly what they set out to do. The Means’s debut issue presents readers with seductive ideas in newfangled form. Rebecca Brown’s hyper-experimental essay “The Reading of Water: Subjective Surging Based on Graham Swift’s Waterland” simultaneously annoys and dazzles readers with its meandering style. But Brown ultimately comments steeply, I think, and not un-clearly, on time and its relevance—or irrelevance—to narrative. C.L. Bledsoe’s is-it-a-poem “What To Do In Case of a Locked Door” reads like a set of fold-out directions, making sense even without those tiny useless diagrams. As much sense as preparatory advice for a locked door situation can make. Both pieces are delightful endeavors, and they aren’t on their own. Admittedly, The Means is a new kid on the block, a strange new kid, both in approach and tenor, in a subdivision of more traditionally ‘serious’ journals. In a recent interview, Kim Addonizio commented on this strange new-ish approach to poetry: “earnestness […] to get at that from a different way, irony through humor, some kind of movement sideways.” The Means line dances its way to the dignity it already knows it deserves.
[The Means, P.O. Box 183246, Shelby Township, MI 48318. Single issue $8.]

In bookstores, the quirky and curious Carousel is filed under Literary or Visual Art. This international journal offers poems, cartoons, drawings, cartoon-like drawings, a few ads, mixed media, boobs, prose poems, a naked woman embracing a polar bear, charcoal watercolors, macabre big-faced drawings on graph paper, a list of phobias and more. Continue reading “Carousel – Fall/Winter 2005-6”