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Submerging fiction, nonfiction, poetry

A VELVET GIANT fiction, nonfiction, poetry, cross-genre

Missouri Review Books fiction, anthologies

“. . . poetry is no more or less important now than it ever has been,” writes Professor and Editor Daniel Donaghy in the inaugural issue of Here: a poetry journal. Published out of Eastern Connecticut State University, Here engages student readers and editors for its submissions process, and seeks “diverse, wide-ranging, and powerful responses in poetry to the essential and endless questions related to ‘being here’ that are implied by the journal’s title.” After reading this first issue, there is no doubt that Here has established a place for itself.

Having traveled down south on numerous occasions, I have found there is much to love about North Carolina. Lou Lit Review adds to that adoration, a new international journal of fiction and poetry published at Louisburg College. While a slim inaugural installment, with solid mentorship from the editors of Raleigh Review, Lou Lit has established itself with resounding force. As Co-editors Tampathia Evans and Tommy Jenkins express in the Editors’ Note: “Lou Lit is still ‘becoming’ and we are not quite sure what we are as of yet. What we do know is that we will continue to publish writers whose work represents the complexity of the human condition and makes us want to read on.” Absolutely.

Each issue of True Story shines a spotlight on one nonfiction piece by one writer. As one of my favorite print magazines, I always look forward to finding out which each new issue's story will be. This year's issues have, among other stories, featured a neighborhood coming together to search for a missing woman with dementia ("Search Party" by Stewart Lawrence Sinclair), and a camp counselor reflecting on his treatment of a particular camper in the wake of a sex abuse scandal involving the camp where he was once a camper himself (“Unmolested” by Michael Lowenthal). Readers never really know what to expect with each issue, part of the beauty of the little, pocket-sized magazine.

Before I get into discussion of interesting pieces, I want to stop for a moment and draw attention to The Florida Review’s commitment to the education of budding artists. In the Fall 2017 issue, The Florida Review gives a generous note about editorial interns, both graduate and undergraduate, who are “involved in reviewing and discussing submissions in a way that helps the senior editorial staff stay sharp and articulate [their] own reasons for [their] choices.” In addition, on the journal’s website, they outline their educational mission which helps interns to “thrive as writers and to appreciate the intense and collaborative nature of publications.” As a recent graduate, I greatly appreciate and support The Florida Review’s commitment to education which contributes to the literary world.

The image that greets readers at Split Rock Review’s Spring 2018 issue is a photograph of forest that takes up the entire computer screen. Leaves blanket the floor and climb up trees, a perfect visual companion for mid-summer reading. It’s the pieces that resonate with this image of nature that spoke to me the loudest this issue, fully immersing myself in the greens of summer.

Orson's Review fiction, nonfiction, poetry, art, photography