Quite simply, I can’t stop looking at this cover image for the summer 2019 issue of Prism International. From the series “Other Other” by mixed media artist Gio Swaby.

Given the events of the past week, this cover image on the Summer 2019 issue of The Sonder Review pretty much sums up how my head feels. Richard Vyse is the artist of “Torn Night.”

“Frozen Flowers 3” by Nicoletta Poungias is featured on the Spring 2019 cover of Glassworks, a publication of the Master of Arts in Writing at Rowan University, located in Glassboro – go figure – New Jersey.

Alex “Queen of Double Eyes” Garant is the featured artist for issue 20 of Sequestrum: Journal of Literature and Art. Unique to Sequestrum is their mission “to be an affordable, sustainable home to quality literature. Rather than charge a set sticker price per issue, we offer a unique, pay-what-you-can subscription format.”

The Spring 2019 issue of Seneca Review features cover art by Edie Fake, whose “paintings start as self-portraits, and from there, they make a break for it, referencing elements of the trans and non-binary body through pattern, color and architectural metaphor.”

“Intersectionality Of My Sadness & Beauty” a 2017 acrylic and aerosol on wood by Jeff Slim is featured on the Spring/Summer 2019 issue cover of Hayden’s Ferry Review, themed “Magic.”

There’s something both innocent and haunting about this image, Binary Traces Young Girl  by Lia Cook, on the 2019 cover of West Marin Review.

“Bodies Worth Defending” is the theme of Water~Stone Review Volume 21, and is clearly expressed in this cover photograph by Kwon Healin.

“Solo #4” by Leah Kosh is featured on the Winter/Spring 2019 cover of Calyx: A Journal of Art and Literature by Women, which has been running uninterrupted since its inception in 1976. 

Armando Veve is the cover artist featured on the September 2019 issue of POETRY magazine. Poetry + tote bag lovers = you can get this same design on a tote bag with your subscription or renewal to POETRY. 

It’s actually the tag lines on the cover of Creative Nonfiction #71 that landed it here: “Let’s talk about SEX: 5 tips for better sex (writing); Make it last : the art of the long sentence; The eroticism of essaying.”

Catherine Mackey is the featured artists, both on the cover (Alcatraz Sink No. 1, oil and mixed media on wood panel), and with a full-color portfolio inside the Spring 2019 issue of The Gettysburg Review.

Sorry coulrophobics, and pretty much anyone creeped out by clowns, but this still from Kate Durbin’s portrayal of “the trickster figure of the clown and white box of the Facebook timeline” in her short film Unfriend Me Now! (2018) is just one of many images also included in the Summer 2019 issue of The Massachusetts Review.

Such an iconic image of summer on the cover of Parhelion #5. This photo by Anne Eastman is one of many featured in her portfolio in this issue. Read her artist’s statement to learn about her approach to photography, which includes evenings dancing as as “Little Miss Funshine” at the Fantasy Bikini Club in LA.

Court Green Summer 2019 made me laugh out loud: images of Elizabeth Taylor are used to link to each writer on the publication’s home page. Other publications commonly use the writers’ photos here, but Court Green’s spin on that is hilarious. Since moving from print to online, this use of themed circles has become their hallmark.

Toyin Ojih Odutola is the featured artist on the cover and inside the Summer 2019 issue of The Georgia Review. Odutola is “a visual artist consumed by the literary. Her drawings of figures are often cloaked in narrative allusions, and the build-up of marks on the page becomes a language which can be read.” The introduction and portfolio of her work can be seen here.

Rise, an archival ink jet print of a portrait of Lauren Schad of the Cheyenne River Lakota tribe by photographer Leah Rose is featured on the 13.1 2019 cover of basalt. Leah Rose is a Native American artist of the Keweenaw Bay Ojibwa tribe who writes, “Reconnecting with my Anishinaabe heritage has become my calling.” See more about her and her work here.

Editorial Assistant Danni Lynn McDonald is credited for the clever photo on the Spring 2019 Hiram Poetry Review cover: each reader holding a back issue of the publication to their face. Exactly how I found myself moments later, engrossed in my reading!

“White Cosmonaut” by Jeremy Geddes is featured on the cover of the newest issue of Bennington Review (#6), themed “Kissing the Future.” While in print, they offer selections that can be read online here.

“New Neighbors” was the call for the Spring 2019 issue of Thema, appropriately enough, since spring brings the squirrels out of their winter hidey holes. Cover photo by Kathleen Gunton.

Portraits of “lonely people, people with questions that cannot be answered, those who make terrible mistakes, people who do not love themselves and will not survive within their own stories” by poet and artist Melissa Cundieff are featured in the Spring 2019 American Literary Review online.

Chicken God  by Alexander Grigoriev – you simply can’t look away from this cover of Pembroke Magazine (#51).

Who doesn’t love a technicolor embroidered bat? Little Werewolves with Wings  by Danielle Clough captures our attention for Southern Humanities Review (52.1). 

The artwork of Toyin Ojih Odutola (What Her Daughter Sees ) is featured on the cover and with a full-color portfolio inside of the Spring 2019 issue of The Massachusetts Review.

Bright colors to welcome spring caught my eye this week, starting with the 2018 annual of Rathalla Review, just released this March 2019. 

Color isn’t essential to grab the viewer, as the cover of Ragazine.CC offers. Hiroshi Hayakawa is their spotlight for the March-April 2019 issue.

“Style Central” by Leah Dockrill, collage on canvas, is the featured image for the newest online Mud Season Review poetry issue.

I’m struck by patterns this week, starting with the unique pose in Xaviera Simmons‘ “Arie at the Wall” on the cover of Copper Nickel issue 28.

The cover photo, “A Couch with a View,” by Dallas Crow on the Fall 2018 issue of Cimarron Review is both subtle and inviting.

Less subtle and as equally intriguing is the cover art on issue 11.1 of Into the Void, “Stray” by Danielle Klebes.

This lovely cover of The Main Street Rag Winter 2019 just about sums it up for us here in Michigan.

Keeping with the winter theme, work by Justin Burks of Birdhouse Branding captivates viewers with this Winter 2019 cover of Carve.

It took me a moment to get this one on the Winter 2018 cover of The Missouri Review, but LOL when I did. “Comet’s Peeping Tom” comes from the Plastic Life  series by Vincent Bousserez.

David Graeme Baker’s oil on linen Escape Velocity  greets readers of the Autumn 2018 issue of The Gettsyburg Review with a full-color portfolio of his work inside. See more of Graeme’s work here.

Fortune, oil on canvas by Emilia Dubicki, is featured on the cover of the most recent issue of New England Review (v39 n4 2018). See more of Dubicki’s work here.

Issue 8 2018 of the West Coast Gold Man Review

Steven Shore’s: South of Klamath Falls, U.S. 97, Oregon, July 21, 1973, from Uncommon Places draws readers into the December 2018 issue of Plume, online contemporary poetry.

Kim Matthews Wheaton is the featured artist on the cover of High Desert Journal no. 27 and with a full portfolio of work available to view online in this issue.

Again with the Concho River Review (Fall/Winter 2018) because, again, the cover image is gorgeous, while at the same time, a reminder of the dangerous power of nature. Tim L. Vasquez of Untamed Photography is becoming the most regularly featured artist for this column, and rightly so.

The Nov-Dec 2018 issue of Ragazine.CC online features Mariana Yampolsky’s “Caress,” a photo from the TIME OF CHANGE November exhibit at Throckmorton Fine Art. Ragazine.CC published the essay from the show guide along with several photos and an interview with Gallerist and Collector Spencer Throckmorton by Graciela Kartofel. See it all here.

Art Editor Andrew Marshall is the photographer who captured this chilly but beautiful image on the cover of the December 2018 online issue of Junto Magazine.

The Spring/Summer 2018 issue of The Boiler online features this stunning photo from “Red Queen” by Olivia Evaldson. More of her work can be seen here.

Mary A. Johnson’s “Staurozoanastic Cavity” (2017) is featured on the cover of the Summer 2018 Cimarron Review. This unique work is composed of Emperor rice dye, logwood/bloodwood dyed paper, aerosol paint, inkjet prints on rice paper, rhinestones, aluminum shavings, acrylic medium, and pen, on paper. See more of her work here.

Nancy Scott is equally well known for her collage as she is her poetry. Schoolcraft College’s The MacGuffin Fall 2018 issue showcases her “Still Life with Books.” See more of her work here.

It seems ‘collage’ is this week’s theme, finishing out with “House” by Star Black on the cover of Gargoyle 68.

The Fiddlehead Summer 2018 poetry issue features, appropriately, “Waning Summer Light, 2017,” oil on canvas by Sonya Mahnic.

Kodiak, Alaska-based photographer and writer Marion Owen‘s photo on the Summer/Fall 2018 issue of Alaska Quarterly Review is a stunning capture of the Pacific blood star on a bed of kelp.

 Which transitions nicely to the Fall 2018 cover of Copper Nickel, with Milk & Honey pigment print on 100% rag paper by Kristen Hatgi Sink. Inside, this issue features fourteen poets from Ireland and the UK.

The Gettysburg Review Summer 2018 features artwork by William Fisk on the cover and inside with a full-color portfolio. The oil on canvas subjects come from “machines and other seemingly permanent objects of modern and post-modern industrial culture.”

Rattle poetry magazine issue 61 features “Looking into the Future,” a digital montage by Thomas Terceira. This work was created “by scanning Victorian engravings and combining and colorizing them in Photoshop. It is part of a series inspired by Max Ernst’s surrealistic collages.” See more of Terceira’s work here.

Featuring fiction, nonfiction, poetry, art, photography, cross-genre, and reviews, Lime Hawk 12 cover art is Caotiche Comprensioni  by Paolo Di Rosa. See more of his work here, where “the central theme running throughout his work is the human figure immersed in a non-place, externalising dreamlike and introspective projections; setting the stage for an intimate dialogue between feeling and reality.”

There’s something just quintessentially summer about the Cut Bank 88 cover, with artwork by David Miles Lusk, “Beach Snack.” Indeed!

The Main Street Rag Summer 2018 cover continues the summer theme – at least for us here in Michigan, motorcycles are not year-round. Photo by Editor M. Scott Douglass.

And, perhaps a farewell to summer, this beautiful photograph on the cover of the summer 2018 issue of Able Muse: A Review of Poetry, Prose & Art, “Young Dragon’s Flight” by Anja Osenberg, is just one of the works for this issue’s featured art, “A Flight Theme.”

I can’t look a the cover of the September 2018 issue of Poetry Magazine without the intro riff to “All Along the Watchtower” by Jimi Hendrix cuing up in my head. Sweetly enough, the inside front cover features a tribute quote from Donald Hall (1928-2018): “The world is everything and that is the case. / Now stop your blubbering and wash your face.” (Poetry, February 1979)

Keeping with colors, I love how Issue 20 of True Story: 6’3″ Man with Doritos by Matthew Clark is actually the color the cheesy Doritos dust leaves stuck to your fingers long after eating them (illustration by Lucy Engelman). So, no problem munching on a bag while you read this issue!

The Missouri Review Summer 2018 cover features the unique photography of Libby Oliver from the Soft Shells series. Visit her website, and check out the Sidewalk Series – slightly disturbing but mostly funny as hell.

“Regret” by Shary Boyle featured on the cover of The Malahat Review is a unique porcelain sculpture, china paint, horse and synthetic hair, and velvet (2015). See more of Boyle’s work here.

I love the fairy tale aura of Wes Lee’s “Day 242” on the cover of 2018 issue of The Meadow from Truckee Meadows Community College, as well as the magazine’s new logo design.

I’m a sucker for a good old-fashioned fisheye lens, and luckily, The MacGuffin‘s own nonfiction editor, Michael Dyke doubles as a photographer, providing this view of Belle Isle Aquarium, Detroit, Michigan for the Spring 2018 cover.

Poet, teacher and visual artist Truong Tran’s works are featured in the Spring 2018 issue of The Georgia Review. In addition to a full color portfolio inside, “Lost Poem #3” is featured on the cover.

The Colorado Review cover photo by Brian Holland is luscious, and even more so when viewed full spread with the entire night-lit bridge in the background.

And a final splash of red and summer with “Picnic, Long Island, New York” by Ralph Gibson on the cover of the Summer 2018 issue of Michigan Quarterly Review.

Regular readers of The American Poetry Review will be exicted to see the new cover design starting with the July/August 2018 issue. We love it here at NewPages World Headquaters! Nicely done APR!

Diversity and the Arts is the theme of the Spring/Summer 2018 issue of Nimrod International Journal, featuring “Tree of Life,” a gorgeous canvas, acrylic paint, composition leaf and embroidery piece by the Tulsa Girls Art School: “an afterschool, social service program that uses art as a vehicle to reach girls.” 

“Cedar Waxwing,” a photo by AJ Reinhart, draws readers to this Spring 2018 issue of The Louisville Review. Check out more of his nature photography and artwork here.

Each issue of 3Elements publishes works that respond to three words for that issue. The Summer 2018 issue words were Jazz, Cradle, Recluse. Gregg Chadwick’s artwork “Jazz Life (Central Avenue)” is the featured cover image.

The cover image of River Teeth: A Journal of Nonfiction Narrative is, appropriately, a sunset photo by David FitzSimmons, ushering out nineteen years of publishing as the journal heads into their twentieth anniversary!

“Lotus III” by Colette Brésilla is the unique oil on canvas art for the cover of the Spring/Summer 2018 issue of Salamander (#46).

Roland Petersen‘s “American Bathers, 2017” on the cover of Spring 2018 Catamaran captures the essence of summer; this publication belongs in every beach tote and travel bag to take along on your summer adventures!

Ragazine.CC May/June 2018 celebrates the work of Alison McCauley with photographs from her Cannes Film Festival collection as well as an interview by Jean-Paul Gavard-Perret.

“Becoming” by Steven DaLuz is the ethereal artwork featured on the cover of the newest issue of One, an online magazine of poetry.

Happy Anniversary to Pembroke Magazine celebrating its 50th issue with this lovely acrylic on canvas, “Couple” by Mahirwan Mamtani.

The cover of the online Subprimal Poetry issue 11.0 is “Blissful Deletion” by Willow Margarita Schafer, about which the artist comments: “I wanted to try and visually depict what nothingness feels like on a human level: a sort of calm fragmentation that is very hard to shake.”

Untamed Photography by Tim L. Vasquez is becoming a regular here with his stunning cover images, this time on the Spring/Summer 2018 issue of Concho River Review.

“Percy Lightfoot, Star Pupil, Trent School, 2017” by Amy Johnquest is featured on the cover of The Masachusetts Review Spring 2018 issue in addition to a full-color portfolio of her work inside.

Hanging Loose 109 features a full-color art portfolio by Elizabeth Hershon as well as “Dreams” on the cover.

Into the Void issue 8.2 (2018) is one that required a double take with “Blindness: Study #0” by Pedro Aires, “A young architect from Portugal interested in experiementing with mulitiple creative processes.”

The Gettysburg Review Spring 2018 features the fun funky mixed media collage of Margaret Rizzio both on the cover and a full-color internal portfolio. 

I love this Glimmer Train #102 cover image of fresh fruits. Though not the kind of tropical fruit we see here in Michigan, this makes me look forward to summer farmers markets. Cover art: “I Miss My Mother” by Jane Zwinger.

The bright sunshine adds to the summery feel of “White Door Bird” by Toni La Ree Bennett, a photo that spans both the front and back covers of the Winter 2018 Cimarron Review.

Monolith by Jeanne Borofsky on the cover of Volume 29 Number 1 2018 welcomes readers to the party celebrating New England Review‘s forty years of publication.

Kourtney Roy‘s pouting princess portrait entitled “Mythology” from autopotraits I is an intriguing cover choice for Hotel Amerika‘s Spring 2018 issue.

Croatian-born artist Moondrusannah’s artwork, featured in the online 8.1 issue of New Delta Review, is from her Illustrated Dreams Diary, of which she says, “Any clue to What Girls Really Dream About? I’m just starting to find that out myself, and I like what I see.”

Thema‘s cover photo for their Spring 2018 issue is “Question the Answer” by Kathleen Gunton, appropriately fitting for the theme: “Is There a Word for That?” Perhaps not a word, but a beautiful image instead. Upcoming themes in search of submissions: “Where’s the food truck?” (July 1) and “The critter in the attic” (November 1).

 The cover and internal art portfolio of Georgia Review‘s Winter 2017 issue features a very different kind of garden life by sculptor Toshihiko Mitsuya: Aluminum. “Far from static,” Mitsuya says of his medium, “it takes on the feelings of its surroundings – the wind, the light an the hands that touch it.As a material, aluminum starts in a huge factory and ends in something precious yet transitive: the installation reclaims an industrial material back to nature.”

As unique as the vision through the cylindrical optic toy, Kaleidoscope is a publication “exploring the experiene of disability through literature and the arts.” Kristin Gehrmann’s “The Vial Keeper” reflects the Winter/Spring 2018 theme: Life’s Unpredicatbiilty. Now available open access online, readers unfamilar with this journal should defnitely check it out.

Gerald Plain’s photo “Spider Rock, Canyon DeChelly, Arizona” dizzying perspective draws readers into the newest issue of The Louisville Review (#82, Fall 2017). Inside, The Children’s Corner features high school sophomore Haemaru Chung’s poem “Waking Up.”

Looking forward to summer, I enjoy this cover image (also a bit dizzying) on issue four of Cherry Tree national literary journal published out of Washington College: “Children Running in Backlight (Dozza, Italy)” by Claudio Cricca.

The Art of Miss Fluff is featured in the Winter 2017-2018 issue of The Writing Disorder, and online quarterly of new and emerging writers and artists. Fluff is “an enchanting design brand created by artist, Claudette Barjoud.”

The Spring 2018 issue of Raleigh Review Literary and Arts Magazine features “Eve,” a lush collage by Geri Digiorno.

“Summer Rain” by Kristina Gehrmann on the Spring 2018 cover of Rattle poetry journal brightened my day, as did the special section inside the publication, “Tribute to Immigrant Poets,” which includes works by 18 poets who “no longer reside in their country of birth.”

“Challenging Transitions” is the theme of most recent issue of The Antioch Review. Like the theme, David Battle’s cover image could be broadly interpreted but also directly reflective of Robert S. Fogarty’s Editorial, “The Brooklyn Bridge and Other Transitions.”

The Missouri Review v40 n4, 2017 features intriguing cover art by Su Blackwell entitled “Heroines of Literature,” a finely crafted paper sculpture. More of Blackwell’s work can be viewed on her website.

According to Editor and Founder Robert Stapleton, Booth 11 is a “stunning collection of contemporary femal writers. The issue includes new fiction, nonfiction, poetry comics, lists, and interviews by such esteemed authors as Emily St. John Mandel, Joyce Carol Oates, Marya Hornbacher, Elizabeth Strout, Krista Christensen, Aubrey Hirsch, Brenda Shaughnessy, and so many more. This full-color literary journal offers a powerful argument for the strength of female authors working in American letters.” Beginning it all: cover art by Tara McPherson.

The cover image by Lucy Engelman made me open Issue 15 of Creative Nonfiction’s monthly publication, True Story,  the opening paragraph of “This Is My Oldest Story”  by Emily Brisse made me drop everything and just read. It begins: “In May of 1992, a little before the end of fourth grade, my best friend Kristy and I and a few others from our street – Ryan, Tim, Tom, maybe Naomi – hopped on our bikes and started riding. Most of us had younger brothers, and we left them at home. We didn’t tell our parents we were going. They thought we were in the basement of Tim’s house, playing Tetris, and although their anxiousness had relaxed by inches over the past two and a half years, we knew that any request to bike farther than the outlined boundary of our street would receive a firm no. So we just went.”

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.

Rebecca Berlin’s marker on paper “Circles That You Find” brightens the cover of the Spring 2018 (#26) issue of Copper Nickel. See more of her work at Rebecca Berlin Art.

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.

One of the cover images, “Lotus Buddha” by Christine DeCamp, for the online publication Leaping Clear is reflective of its mission, to promote “accomplished artists whose work is informed by dedicated meditative and contemplative practices.” There is more from DeCamp and other visual artists and writers in the Fall 2017 issue.

The cover image of the fall 2017 issue of River Teeth: A Journal of Nonfiction Narrative is a gorgeous waterfall photo from White Mountains, N.H. by David FitzSimmons.

Tim L. Vasquez of Untamed Photography offers a seemingly surreal image for the cover of the fall/winter 2017 Concho River Review.