Mosaic Art & Literary Journal fiction, nonfiction, poetry, art
Steel House Review fiction, nonfiction, poetry
Semicolon fiction, nonfiction, poetry
The Mochila Review fiction, nonfiction, poetry, art
I always look forward to seeing what Plume Poetry is going to bring to the table with their Featured Selection each monthly issue. This month, they bring readers five poets under the age of thirty-five: Caroline Chavatel, E.G. Cunningham, Emma DePanise, Ella Flores, and Kimberly Grey. John A. Nieves briefly interviews the five as introduction to their respective two poems.
The latest issue of Southern Humanities Review features a set of four flash fictions by Judith Ortiz Cofer, a good sampling of the rest of the writing inside the issue: “My Mother Comes Back from the Dead,” “Eleven,” “Thirteen,” and “Sen-Sen.” Themes of family, self, and gender appear repeatedly in these four, posthumously published pieces, bound together by a common voice. I imagined the same narrator speaking throughout the pieces.
In her editor’s note to Runestone Journal Volume 4, Gretchen Marquette writes about the value of literature and its role in helping us better understand ourselves. Recent research has shown how fiction improves our understanding of the world around us as well as make sense of our own predicaments. Marquette goes on to express this as the power of all literature, and thus the responsibility of writers old and new to “show us the way forward in our private moments of despair.”
Works that ask: What is this? is what Leaping Clear values in its submissions. Artists and writers whose works are influenced by their involvement in meditative and contemplative practices will find a home here, as will readers who appreciate having a more interactive experience with what they read. Past issues included essay, fiction, music, video and photography, but this “Solstice” issue is focused solely on poetry and visual poetry.
The cover of SLICE Issue 23 is a confluence of great design choices, from the gorgeous, slightly menacing artwork of Teagan White to the title itself, which sits, top-trimmed, like a visual onomatopoeia. The cover is glossy, the text is bright and easy to read, and the issue is slim but still substantial. The magazine exudes a contagious confidence, a sense that this, here, is everything a lit mag should be.