Willow Springs Issue 81 features this brightly colored image, originally a 13 x 13 silkscreen. The "inside cover" replicates this image, but with "Spokane Garbage Goat" replacing the issue number. I had no idea what this was, so promptly headed to Google, where I learned of the iconic status of said goat. Absolutely delightful, as is artist Chris Bovey's work, more of which can be found at Vintage Prints.
Keeping with vibrant colors, The Fiddlehead Winter 2018 (# 274) issue features Monika Wright's "With Powerful Intention" acrylic on canvas. In her artist's statement, Wright comments, "With organic shapes, fluid light, lines and circles, I am employing universal symbols of unity, wholeness and infinity connected by lines, representing the boundaries which separate us, but which also highlights our shared path." See more of her work here.
The Florida Review Editor and Directory Lisa Roney in the 41.2/2017 issue Editor's Note writes in a recurring thread about the U.S. prison culture, her early experiences knowing young people who went in and out of jail, and - of all things - changing the publication's submission policy to accept traditional postal submissions from those without Internet access, "whatever the circumstances might be." This, of course, would open submissions to our nation's incarcerated population who are not allowed access to the Internet.
About the Special Section on Prison, Roney writes, "we include writing by prisoners, as well as their family members and friends. It is the presence of this Triumvirate (victims, prisoners, family and loved ones) that testifies to the widespread tragedy that violence, addiction, and poverty and their results have become in this country - and our constant sense that there must be some better way. Writing, of course, is one of those better ways."
Winners and finalists for the 2017 Able Muse Write Prize for Poetry and Fiction are featured in the Winter 2017 issue of Able Muse: A Review of Poetry, Prose & Art.
Write Prize for Fiction
Final Judge: Jill Alexander Essbaum
Winner: "Target" by Leslie Jill Patterson
Write Prize for Poetry
Final Judge: Annie Finch
Winner: "Fall Rewinding" by D. R. Goodman [pictured]
Finalists: Ann M. Thompson; Scott Ruescher; Rob Wright
For a full list of honorable mentions and short list selections, visit the Able Muse 2017 Write Prize announcement page.
The Winter/Spring 2018 issue of Gulf Coast features the winners of their 2017 Gulf Coast Prizes contest:
Judged by Cate Marvin
"The Weather Underground" by sam sax
Judged by Diane Roberts
"The Peacock and the Bell Captain" by Spencer Wise
Judged by Chinelo Okparanta
"That Boy Could Run" by Rudy Ruiz [pictured]
For a full list of honorable mentions and biographical information on each writer and judge, visit the Gulf Coast Prize page.
I was relieved to see it wasn't just me who heard the Bee Gees in my head when I saw the cover of Bennington Review Issue Four themed "Staying Alive." Editor Michael Dumanis opens the "Note from the Editor" with these two lines from the 1977's classic, "Life goin' nowhere, somebody help me / Somebody help me, yeah, I'm stayin' alive."
Dumanis explains, "As we were reading the poems, stories, and essays submitted to Bennington Review in 2017 for this, our fourth issue, we noticed a word that come up with remarkable regularity - the verb 'survive' in all its various permutations. In Issue Four, it occurs - frequently as a directive, occasionally as the noun 'survivor' - twenty-eight times. The word 'living' can be found twenty-one times, an the word 'alive' shows up an additional twelve."
A "tonal shift" from their previous issue, themed "Threat," Dumanis notes that "something has shifted in the cultural landscape. An acceptance of threat has bred a series of reactions - resistance, perseverance, even a measure of optimism . . . there's now a restored sense of agency."
Readers can find works by Patrick Williams, Erin L. McCoy, Marco Wilkinson, Ian Stansel, A. Molotkov and many more, with several contributors' works available to read online.
Stayin' alive? I'm all for it.
In addition to its regular content of 'extremely brief' (under 750 words) nonfiction, Brevity's regular feature of Craft Essays in its first issue of 2018 features Chelsey Dyrsdale's "Transforming an Essay Collection into a Memoir," Annelise Jolley's "Capturing the Numinous: Mary Karr's Sacred Carnality," and Felicia Rose Chavez's [pictured] "The Mental Load: Honoring Your Story Over Your To-Do List." All of Brevity's content is available online for free. No reason not to stop on by.
BY TED KOOSER, U.S. POET LAUREATE
I'm writing this column on a very cold day, and it's nice to be inside with a board game to play, but better yet, for me at least, to be inside with a poem about a board game. This Monopoly game by Connie Wanek is from her book Rival Gardens: New and Selected Poems from the University of Nebraska Press.
We used to play, long before we bought real houses.
A roll of the dice could send a girl to jail.
The money was pink, blue, gold, as well as green,
and we could own a whole railroad
or speculate in hotels where others dreaded staying:
the cost was extortionary.
At last one person would own everything,
every teaspoon in the dining car, every spike
driven into the planks by immigrants,
every crooked mayor.
But then, with only the clothes on our backs,
we ran outside, laughing.
We do not accept unsolicited manuscripts. American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska, Lincoln. Poem copyright ©2016 by Connie Wanek, “Monopoly,” from Rival Gardens: New and Selected Poems (Univ. of Nebraska Press, 2016). Poem reprinted by permission of Connie Wanek and the publisher. Introduction copyright ©2017 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.
In "The Godfather Speaks," 3QR: The Three Quarter Review interviewed Lee Gutkind on the two-decade anniversary of the controversial Vanity Fair article, in which critic James Wolcott “accused creative nonfiction writers, of memoir in particular, of ‘navel gazing’ . . . lambast[ing] the form itself as: a ‘sickly transfusion, whereby the weakling personal voice of sensitive fiction is inserted into the beery carcass of nonfiction.‘" Wolcott labeled Gutkind as “The Godfather behind creative nonfiction.”
Gutkind reflects on what could have been devastating to some in their careers: “The Godfather label—the positive aspects of it—stuck. From that point on, emboldened, I was much more in an offensive rather than a defensive mode when it came to creative nonfiction.” And for this, we are all grateful to The Godfather.