is news, information, and guides to literary magazines, independent publishers, creative writing programs, alternative periodicals, indie bookstores, writing contests, and more.

Denise Hill

CNF Tiny Tweets

November 14, 2015
Written by
creative nonfictionIf you like six-word memoirs, you're going enjoy Creative Nonfiction's Tiny Truths - tweets on a given topic, which until November 15 is Weather. CNF is looking for "True stories—personal, historical, reported—about fog, drought, flooding, tornado-chasing, blizzards, hurricanes, hail the size of golfballs, or whatever's happening where you are... told within a single tweet. We're looking for tiny truths that will change the way we see the world around us. Or, you know, simply blow our hair back a bit or make us sweat." And because the tweet must include the tag #cnftweet, stories are actually limited to 130 characters.

For more on the craft of micro-essays, read The Square Root of Truth a virtual roundtable Q&A by "Fred," a collective of regular #cnftweet contributors (and named after one of the group’s members), discussing "what a successful cnftweet looks like, how seriously to take this form, and whether it can survive transplantation out of the ephemeral medium in which it germinated."
Written by
david lynn"Just what makes an essay literary ?" begins David H. Lynn's Editor's Notes in the Nov/Dec 2015 issue of Kenyon Review. "I’ve been challenged on that recently, not least because I’d like to extend the capaciousness of creative categories. These notes provide an early opportunity."

Included in his discussion were these comments:

  • Referencing Montaigne - "typically founded on memoir, reflection, or some other form of particular personal experience."
  • The writing can be "rich with the lyricism, the punch of fine fiction"; employ "rhythms, repetitions, and dramatically significant details."
  • "engages something external in the world and undertakes the research or journey necessary to bring the subject back to readers for reflection and meditation and greater knowledge."
  • Language: "Its rhythms, its diction, its metaphors are more than merely precise and effective—they exhibit a particular beauty of sound and sense and expression."
  • "The end here for the reader is pleasure. And literary writing strives always toward such feelings. We delight in, for example, le mot juste."
  • "the experience of fully engaging an essay’s tenor—the argument or subject or meaning—may sweep a reader toward a far deeper sense of fulfillment."
  • Reading the literary essay is "a process that catalyzes us into seeing in a new way, to grasping what may intuitively lie beyond language itself."
  • "readers themselves, engaged and moved by sharing in the transformative experience of the narrator, are not only enabled to see the world differently, they themselves are subtly but meaningfully transformed by the crucible of the literary."
Read the full edtiorial here.

Written by
colin winnetteThe Fall/Winter 2015 issue of University of Alambama's Black Warrior Review features the latest in their chapbook series: Loudermilk by Colin Winnette, author of Haints Stay (Two Dollar Radio, 2015), Coyote (Les Figues Press, 2015), Fondly (Atticus Books, 2013), Animal Collection (Spork Press, 2012) and Revelation (Mutable Sound, 2011).

Sewanee War Literature

November 23, 2015
Written by
sewaneeThe newest issue of The Sewanee Review (Fall 2015) focuses on war literature with Architecture of Death: War and the Literature of War. The feature includes fiction and poetry as well as essays by Richard Tillinghast on Nathan Bedford Forrest and Robert Lacy on the home front during WWII along with essays by George Bornstein, Gerald L. Smith, Christopher Thornton, and Robert G. Walker. Jeffrey Meyers' essay "Hemingway and Goya" can be read on The Sewanee Review website along with Ann Lohner's fiction "The Iron Trap."

Poetry About Art

November 18, 2015
Written by
world literature todayThe newest issue of World Literature Today features poetry written about art. As Assistant Director and Editor in Chief of the publication describes it, "In this issue’s cover feature devoted to poetry inspired by post-1950 visual art, thirteen international poets fashion word-pictures that attempt not only to verbalize a visual analogue but to liberate moments of stasis from the prison-house of space. With each poem, you’ll find reproductions of the art that inspired it, allowing readers to witness the acts of transposition first-hand.

"As their point of departure, the twenty poems included in the section describe mostly paintings—oil, acrylic, gouache, or watercolor on canvas, board, masonite, wood, paper, cardboard, etc.—but also faded black-and-white photos from a family album and etched gourds. Several of the painters who inspired the poets have work in major art museums—Salvador Dalí, Elizabeth Murray, Remedios Varo, among others—yet some of the artists are relatively unknown. The majority of the poems featured are translations from other languages—Arabic, French, and Spanish—and all are published here for the first time in English."
Written by
ParhamWithout much ado, James Smith has stepped into the role of Editor for the Southern Poetry Review. In issue 53.1, he writes of working with Editor Robert Parham [pictured]: "Over the past six to seven years, I have attended with pleasure to our daily work of the journal, the direct contact with poets, the layout of each issue. A steadying voice, Bob always stayed close to what we do. It is an honor now to hold the title of editor and to continue with the work (and play) of the poetry journal that Bob has long cherished."

Poet David Kirby also offered "David Parham: An Appreciation" which appears alongside Smith's comment. Kirby writes: "I read once that pioneer anthropologist Franz Boas told his students that evertything is material, even one's own boredom, that we should never think we've seen something twice, because we haven't. In that sense, Robert Parham is not only a poet and teacher, as all of Southern Poetry Review's editors have been, but something of an anthropologist as well, that is, an observer first and foremost and then an illuminator of the small things that shape our lives and thus turn out to be much bigger than we think. [ . . .] Here and elsewhere, Parham echoes something that Mark Strand said, which is that we are lucky simply to be here at all, and because we are, we're obliged to pay attention, to respond to the world, to witness."

Parham will contiue on as Editor Emeritus, and he is honored (and likewise honors the publication and its readers) with several of his poems in this issue.

Nimrod 37th Awards Issue

November 10, 2015
Written by
nimrod 37The Fall/Winter 2015 issue of Nimrod International includes the following winners, honorable mentions, finalists and semi-finalists of the 37th Nimrod Literary Awards.

Nimrod Literary Awards: The Pablo Neruda Prize in Poetry

Heather Altfeld, CA, “Two Pockets” and other poems

Leila Chatti, NC, “Momon Eats an Apple in Summer” and other poems

Grant Gerald Miller, OR, “Skin” and other poems
Berwyn Moore, PA, “Interferon” and other poems
Emily Van Kley, WA, “Varsity Athletics” and other poems

Nimrod Literary Awards: The Katherine Anne Porter Prize in Fiction

J. Duncan Wiley, NE, “Inclusions”

Emily Wortman-Wunder, CO, “Burning”

Stephanie Carpenter, MI, “The Sweeper”
Kristina Gorcheva-Newberry, VA, “The Heart of Things”

Written by
rain taxiBased in Minneapolis, Minnesota, Rain Taxi champions literary culture through the publication of reviews, interviews, and essays, publishing a chapbook series, and by hosting live literary events in the twin cities. Rain Taxi exists for readers and writers, literary publishers of all shapes and sizes, booksellers, educators, and kindred spirits who want books to flourish.

The print publication is distributed in over 250 locations nationwide (mostly independent bookstores) and is also available by subscription. An accompanying online edition, with completely different material, is posted each quarter as well. Together, the two publications offer readers a broad look at the noteworthy writing and art being published today.

Rain Taxi is run by a dedicated staff including Editor Eric Lorberer, published poet, essayist, critic and speaker/advocate for independent publishing and literary culture; Art Director and Business Manager Kelly Everding, UMass M.F.A. and author of the poetry chapbook Strappado for the Devil (Etherdome Press, 2004); and Editorial Assistant Alex Brubaker, B.A. Millersville University whose interests include 20th Century Eastern European Literature, David Foster Wallace, and the American Transcendentalists.

[Text from the Rain Taxi website.]
Written by
american book reviewFounded in 1977, the American Book Review is a nonprofit, internationally distributed publication that appears six times a year. ABR specializes in reviews of frequently neglected published works of fiction, poetry, and literary and cultural criticism from small, regional, university, ethnic, avant-garde, and women's presses. ABR as a literary journal aims to project the sense of engagement that writers themselves feel about what is being published. It is edited and produced by writers for writers and the general public.

Recent issues have focused on American World Literature, Human Rights, Prison Writing, Comics, Critical Lives, The Color of Children's Literature, Multilingual Literature, The Sixties at Fifty, Machine Writing, Letters, Sex Writing, Literary Activism, Metamodernism, Lost & Found, Post-Apocalyptic Literature, and Arab-American Literature.

American Book Review is produced by University of Houston-Victoria under the editorship of Dr. Jeffrey R. Di Leo, Editor and Publisher of ABR, and UHV Dean of the School of Arts & Sciences.

[Text from the ABR website.]

Written by
field 93According to the editors of FIELD Magazine, the publication's "association with Russell Edson goes all the way back to FIELD #7 (Fall 1972), which featured five of his prose poems, among them 'An Old Man's Son':
There was an old man who had a kite for a son, which he would let up into the air attached to a string, when he had need to be alone.
...And would watch this high bloom of himself, as something distant that will be close again...
"Those weren't the only prose poems in that issue; we also had one by W. S. Merwin, two by Jean Valentine, and four by Erica Pedretti . . . But everyone knew that if you wanted to talk about the prose poem in contemporary poetry, you began and ended with the strange, commanding genius of Edson."

Featured in FIELD #93 (Fall 2015), Russell Edson: A FIELD Symposium includes John Gallaher ("So Are We to Laugh or What"), Dennis Schmitz ("Edson's Animals"), Lee Upton ("Counting Russell Edson"), Charles Simic ("Easy as Pie"), B. K. Fischer ("Some Strange Conjunction"), and Jon Loomis ("Consider the Ostrich").

We welcome any/all Feedback.