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.

It’s hard to get the full effect of the Fall 2017 The Georgia Review cover art, which features work by poet and photographer Rachel Eliza Griffiths printed on mirror metallic stock.  A portfolio of her work and essay, “What Has Changed,” is included in the issue, with an introduction by Jenny Gropp.

An untitled enamel on plywood by Mose ” Mose T” Tolliver attracts readers to the Fall 2017 issue of Field: Contemporary Poetry and Poetics.

Love love love Mary Jo Karimnia‘s work, which she describes in her Artist’s Statement, “I draw in the backgrounds and enhance certain areas with glass beads. Cropped purposefully to omit faces, the images – such as teenagers in costumes at cosplay conventions, dancers in Bolivia, and Catrina icons at a Day of the Dead festival – emphasize how costumes can allow us to explore alternative personae in an anonymous way, which helps us to learn about our past or to imagine a future in which the acceptance of eccentricities is the norm.” The Cincinnati Review Winter 2018 includes her work on the cover as well as a portfolio inside.

“Dying of the Already Dead” by Gloria Ceren is featured on the cover of the online fall 2017 issue of The Boiler along with additional works within the publication.

Billy Renkl’s “Watching the Sky #2” collage of antique British chromoolithographs is the cover art for v32 n2 of Zone 3 literary journal. Renkl says of his work, “Vintage and antique paper can be surprisingly beautiful, and I find the way that it carries its history with it moving.”

The front cover of Fall/Winter 2017 Poet Lore features a photograph of Coyote Bluffs, Arizona by Ariel Body of Live Laugh Design.

“Decompose #4” by Taylor Torres is featured on the cover of The Boiler, an online quaterly of poetry, fiction, and nonfiction from emerging and established authors, as well as artwork.
Thread is an online “intersectional feminist arts collective” publishing visual art, poetry, prose and creative nonfiction bimonthly.
The work of artist and activist John Sproul is featured on the cover of Superstition Review #19.

I have to admit to being slightly creeped out by The Malahat Review cover art “Fly Face” by Aurel Schmidt – but at the same time, I can’t bring myself to look away from the fine detail of this pencil and acrylic on paper.
Sandy Skoglund‘s “Fox Games” is the perfect image for The Missouri Review  Summer 2017 theme “Mischief Makers.”
I’m not sure if the cover images “Remote Lighthouse” by David Mark / “Delta Flyers” by Barry Jones was intentional – with the black and white lighthouse – given the special art feature in this Summer 2017 issue of Able Muse: A Zebra Theme – a photographic exhibit of zebra imagery from artists worldwide.

“Roaring Reading,” the July/August 2017 cover illustration by José Luis Merino, is a perfect compliment to the slim format of The Kenyon Review.
Another slim design, “Serenity Overflowing” by Chris Ogden is the cover photo for issue 12 of One, an online journal of poetry.
The cover of Ragazine.CC, a global online magazine of arts, information & entertainment, is a photo of the German duo Shari Vari, whose music is featured in this issue’s special section, “The Summer Seven: Listen to the Best Bands from Europe.”

I simply can’t resist this chicken on Issue 9 of True Story, Creative Nonfiction‘s monthly, pocket-size publication of longform nonfiction narrative.This month’s story is “Resurrection” by Rebeca Dunn-Krahn. I have no idea yet what a chicken has to do with it, but I plan to find out!
This Thema cover photo by Eleanor Leonne Bennett made me smile, but then as I read the theme for this issue, it made me laugh out loud: “Second Thoughts.” Yup. That’s the look.
Danny Ochoa’s artwork is featured on the summer 2017 cover of Writing Disorder, an online literary journal. More of his illustrations and comics are included in this issue as well.

Love this summery landscape photo by David FitzSimmons on the Spring 2017 cover of River Teeth: A Journal of Nonfiction Narrative.
A look back to fall, this macro focus on the cover of Cimarron Review #198 is “Ornamental” by Kathleen Galvin. This beautiful image decieves the trecherous nature of these “Sweet Gum Balls” that blanket the ground beneath their trees in the fall.
“Leaving Home Finding Home” is the Spring/Summer 2017 theme of Nimrod International Journal published out of The University of Tulsa. The photograph is “After Loss, The Photographer Collects Small Homes in the Hope of Finding Love” by Ashley Inguanta.

This cover photo “Fête de la Rose” by Rebekah West introduces readers to Cargo, an online nonfiction journal featuring work with strong narrative and interior journey, such as immersion reportage, memoir, and personal essay as well as photography and visual art.
Tim L. Vasquez of Ziva-Gato Impressions contributed this gorgeous photo for the cover of Concho Review Review: Literature from Texas and Beyond, Spring/Summer 2017.
Recognizing “the exciting literary, artistic, and scholarly work that is currently produced along the Wasatch and beyond” is the focus of the Spring/Summer 2017 issue of Weber: The Contemporary West. Pam Bowman’s “Becoming” is constructed of cotton rope and string, vinyl, steel, wood, paint, caulking cotton, and shown as installed in a 25′ x 35′ gallery space, 2013.

Field Contemporary Poetry and Poetics Issue 96/Spring 2017 from Oberlin College Press features the unique “Self Portrait in Single-breasted Suit with Hare” by Sam Taylor-Wood (2001).
This work by Jody Hewgill on the cover of Kenyon Review draws readers in to the featured poetry theme for this May/June 2017 issue, “Nature’s Nature.”
The dramatic “Suffering” by Virginia Vilchis is the cover art for the Summer 2017 of Into the Void Arts and Literature from Dublin, Ireland – available in print and digital copy.

Erin McIntosh is the featured artist in this 70th anniversary issue of The Georgia Review, with one of her works from Geometric Series on the cover and several more inside along with an introduction about the artist and her work.
“Forgetten” by Jane Zwinger on the Spring/Summer 2017 issue of Glimmer Train is a welcome symbol of spring that reflects the blossoming trees lining our city streets this April.
The cover of Ruminate Spring 2017 features an untitled piece from the 2017 Kalos Visual Art Prize Winner Lucas Moneypenny. More of his work as well as that from Second Place winner Chakila L. Hoskins and Honorable Mention Carolyn Mount is included in the issue.

The cover photograph for the Spring 2017 issue of Thema by VHoward fits this issue’s theme perfectly: “Take the zucchini and run.” And also gave me a jolt of hope for summer’s soon arrival!
The Spring 2017 cover photo of Willow Springs is by Polish-born photographer Marta Berens from her ongoing series Suiti – documenting the culture of the people of Alsunga, Latvia.
While the ship in the bottle is the focal point of Justin Burks’s image on the Winter 2017 issue of Carve, it was actually the Kit-Cat Clock that drew me in. Burks is a graduate of the Art Institute of Dallas and founder of Birdhouse Branding, a creative agency that helps develop and design brands, websites and illustrations for individuals and organizations.

“Calmly on Fire,” a found photograph and collage on paper by Lorna Simpson, makes it difficult for readers to look away from Hotel Amerika Winter 2017.
Published in Ireland, this spring 2017 issue of Into the Void cover features “Two Boys in the Woods” by Refael Salem.
Unusual beauty seems to be my theme this week, finishing off with “Red Heart Boat” by Andy Levine on the cover of the online Animal: A Beast of a Literary Magazine.

“This iteration of the Sewanee Review [Winter 2017], designed by Peter Mendelsund and Oliver Munday, signifies the first substantial redesign this magazine has undergone since Allen Tate’s commissioning of legendary printer P.J. Conkwright in autumn, 1944,” writes Managing Editor Robert Walker. He thanks the designers “for their beautiful, idiosyncratic vision, which so seamlessly incorporates the old into the new.” NewPages agrees.
The Gettysburg Review Spring 2017 whimsical cover is a detail of “The Young Owl” by Kevin Sloan.
“Stress Test” by Eugenia Loli is the eye-catching cover art on The Missouri Review v39 n4 (2016)

The Boiler winter 2017 online quarterly of poetry, fiction, and nonfiction features this stunning scene “Horses in Winter” photograph by Ellumyne.
Chagrin River Review online journal of fiction and poetry is edited by faculty at Lakeland Community College, outside of Cleveland, Ohio. The cover photo for their December 2016 issue, with its unique road reflections, is by Michael Kinkopf.
I’m pretty sure that’s a cockroach orchestra portrayed on the cover of Cleaver online lit mag #16: “The Maestro” by Orlando Saverino-Loeb.

Aimee Bungard is the featured artist in the Winter 2017 issue of The Carolina Quarterly, with “Eyeris” on the cover and a portfolio of her work inside, in a style which she describes as “ecological expressionist.”
Mud Season Review publishes one story, one portfolio of poems, one essay or piece of narrative nonfiction, and visual art online monthly. The newest issue features artwork by Talal Alyan, who “renders loss into concise and vivid images that feel like an assault on the soul.”
Posit online publishes “finely crafted, innovative, contemporary literature and visual art. Our tastes are broad, but we lean towards the experimental.” And the cover art of issue #12 is proof positive, featuring Steve DeFrank’s “Big Hairy Mess.”

Lawrence Paul Yuxweluptun ‘s “Christy Clark and the Kinder Morgan Go-Go Girls” draws readers to the Winter 2016 cover of The Malahat Review, with guest editors Philip Kevin Paul (poetry), Richard Van Camp (fiction), Leanne Betasamosake Simpson (CNF) making selections for the theme “Indigenous Perspectives.”
I was mesmerized by Ann Manuel’s “Blur I” on the Winter 2017 cover of The Fiddlehead, Atlantic Canada’s International Literary Journal.
And just one more splash of color to brighten a winter’s day: “Gouache on Newspaper” by Elizabeth Doran on the cover of Suffolk University’s Salamander #43.

The Writing Disorder online quarterly literary journal continues to publish some of the most provocative artwork from emerging artists. Paintings by Cameron Bliss are featured on the Winter 2016-17 cover as well as within the issue.
“My Beating Heart” by Rossitza Todorova welcomes readers to Superstition Review‘s issue 18, a fully accessible online literary magazine produced by creative writing and web design students at Arizona State University.

This week’s theme for covers seems to be ‘the fantastical from the literal.’ Philippe Pirrip‘s “Curved Plan” is featured on the cover of Zone 3 Fall 2016. Pripp describes his artistic approach as “a visual play of identities” and “a resistance to conform to literal figurations of what is and what has been depicted as being queer.”
Of the cover of Winter/Spring 2017 The Southampton Revi Editor-in-Chief Lou Ann Walker comments: “Because this issue’s theme is the muse, all of the art in this issue was chosen for its emphasis on story and the fantastical places imagination can go. Take, for example, the cover, ‘Stopping by Woods,’ created by Corinne Geertsen. How did that ballerina in her tutu come to be juxtaposed with that extraterrestrial spaceship?” Indeed.
The Chattahoochee Review Fall2016/Winter2017 cover art “War Bonnets: Never Out of Style for Long” by Lucy Julia Hale is representative of her artistic approach, which she describes: “I am drawn to see deeply into paper artifacts / mass-produced photographic images of our interiors and exteriors – / where we have lived.”

The most recent issue of Concho River Review: Literature from Texas and Beyond features a photograph by Tim L. Vasquez, Ziva-Gato Impressions, that provides me with a ray of warmth during just the start of our coldest months of winter here in the north.
With cover art by Ric Best, the color scheme of issue 19 of Skidrow Penthouse is another kind of warming image – one that invites readers into what Editors Stephanie Dickinson and Rob Cook consider “our best issue yet.”
The reproduction can’t quite seem to do justice to the vibrancy of the blue, red, and orange hues on the Fall 2016 cover art of Crazyhorse. “City” by W. Case Jernigan provides a unique perspective, as does the content of this publication. A full list of contents for the current issue can be found here.

Issue #9 of the monthly online journal The Woven Tale Press features the steel scupture “Facing the Elements Blindfolded” by Ruud Schrijvershof, with addtional images of his works included inside the publication. The Woven Tale Press is a fine arts and literary magazine with the mission to grow Web traffic to noteworthy writers, photographers, and artists.
“Lion” by Cesar Valtierra draws readers in to Issue 6 of The Sounder Review, an online and print jounral of art, short fiction, and creative nonfiction. Based in Upstate New York, TSR “strives to question, redefine, and challenge conventional viewpoints; to usurp the definition of reality and truth.”

“to pursue the unattainable” (2011; mixed media on paper; 22″ x 30″) from Carol Collicut’s  Marcus Aurelius Series is featured on the autumn 2016 cover of The Fiddlehead: Atlantic Canada’s International Literary Journal and looks similar to a form of asemic writing.
Published out of Dublin, Ireland, this second issue of Into the Void Arts and Literature features “In the Dream I’m Falling” by Zach Moroney on its cover.
NewPages will always favor any lit mag cover that features the Detroit Tigers “D” on its cover. Though the black and white rendition of “An Ode to Farad #1” by Jamea Richmond-Edwards doesn’t quite do it justice, readers can find the full-color image inside The Southeast Review v.34 n.2, as well as and interview with the artist by Jessica Reidy.

This whimsical “Dinosaur Feeding Frenzy” by Robert C. Jackson on the cover of Vol. V of The New Guard is an oil on linen, three panels sized 48″ x 36″ or 48″ x 108″. The issue itself is a contest winners frenzy, featuring winners, finalists and semifinalists of the The New Guard Vol. V Knightville Poetry Contest and the Machigonne Fiction Contest.
I couldn’t look away from this child’s searching expression on the fall 2016 cover of Catamaran. “Via Mal Contenti” by Bo Bartlett is an oil on linen (82 x 56; 2006) is as haunting as Founder and Editor in Chief Catherine Segurson’s closing words in her editor’s letter: “. . . please remember to vote this November, because we are responsible for the world our children will inherit.”

Jorge Mayet’s De Mis Vivos y Mis Muertos (2008, electrical wire, paper, acrylics, fabric) is featured on the cover of the poetry journal Field‘s fall 2016 issue. Inside, readers can find a symposium on the work of C.D. Wright, with essays by Jenny Goodman, Laura Kasischke, Pamela Alexander, Sharon Olds, Kazim Ali, and Stephen Burt.
This fall 2016 cover of River Teeth: A Journal of Nonfiction Narrative features the photography of David FitzSimmons, “Sweet Gum and Moon, Ashland, Ohio.”
In keeping with what seems to be a ‘tree’ theme, this acrylic on panel by Eric Green, entitled “Pole,” is just sample of the kinds of stark yet lush images included in his full-color portfolio inside The Gettysburg Review, winter 2016.

I think Black Warrior Review covers make the pick every issue, with Luanne Redeye’s (Self)Image on the Fall/Winter 2016 cover just another example of why. More from her “Genre Paintings 2011 – ” series can be found inside the publication, as well as here on her website.
The cover of The Massachusetts Review (v57 n3) features Nina Chanel Abney’s What, 2015 (unique ultrachrome pigmented print, acrylic, spray paint on canvas). More of her work is also featured in the publication and can be viewed in her online portfolio here.
The cover of the seventh issue of Subprimal Poetry Art features Three Shadows by Kate Viola, who says the painting was “inspired by the haunting arias often found in operas.” Subprimal Poetry Art is a open access online publication of words with music, words alone, and artwork.

The Raleigh Review Fall 2016 issue features “Red Madonna” by Geri Digiorno on its cover, an appropriate welcome to its contents, which Editor Rob Greene comments: “Many of us enter the arts as a way to heal . . [the arts] is about real people trying to make a better world. We hope the work in this volume guides you a better understanding of humankind.”
“Jenna’s First” by William Paul Thomas adorns the cover of The Carolina Quarterly Fall 2016, with a full-color portfolio of his work within. “I paint representations of disembodied heads of people in my social circle and sometimes scrawl text directly over their likenesses,” Thomas writes in his Artist’s Statement. “As it relates to my portraits, whatever the viewer derives from looking is the correct interpretation. I embrace symbolic ambiguity while clinging to observational specificity.”
“My work explores narratives that recognize the urgency and conflict in our continuing attempts to connect to the world around us,” writes Hanna Dansie in her Artist’s Statement. Her work is featured both on the cover of the Spring/Summer 2016 Hayden’s Ferry Review and with several internal pages as well.

Lalitamba, which means Divine Mother, calls itself a “journal of international writings for liberation” and was inspired by a pilgrimage through India. Each issue, the cover is meditaion on the publication’s focus and inspiraiton. [No photo credit.]
Michigan Quarterly Review Summer 2016 cover photo is a rich perspective on the beauty of summer. “A Patch of Green” photo by MIchael Owen, 2014.
Cynthia Low’s artwork appears both on the cover and is featured inside Subprimal Poetry Art, an online journal. See the full print and Low’s commentary here.

Still Life with Apple by David Harrison is a rich oil on canvas acquired for the Spring 2016 issue of Crazyhorse, which also includes the winners of their Crazy-shorts! Short-Short Fiction Contest.
I liked this slightly dizzying photo on the cover of Big Muddy: A Journal of the Mississippi River Valley. Credit goes to German photographer Sarah Katharina Kayß, whose work provides unique perspectives on architecture.
I want to believe it is the Blue Bird of Happiness that adorns the Spring 2016 cover of Colorado Review [no photo credit given].

Benjamin Duke’s Home Again, Home Again fills the front and back covers of the Spring 2016 (#10) issue of 3 Elements Literary Review, an online publication that challenges writers and readers alike with issues themed with three elements. Spring’s elements are Measure, Cleave, and Sliver.
Taking the old and making it new again is this spring issue of the online Apple Valley Review, which features cover artwork: “Cabin in the Woods, North Conway, New Hampshire,” 1848, oil on canvas by Thomas Cole.
Six Million is the photograph by Conor MacNeill on the cover of Winter 2016 Michigan Quarterly Review. It was taken in Berlin at the Denkmal für die ermordeten Juden Europas – the Memorial to the Murdered Jews of Europe, and is companion to the opening essay by Philip Beidler, “This Way to the Führerbunker: Gertrud-Kolmar-Straße, Berlin, Mitte.”

G. Davis Cathcart is the artist behind this sugar-crazed untitled work of a young man/boy enjoying his morning dose of Sugar Pops on the Winter 2016 cover of The MacGuffin.
Another comic cover on Green Mountains Review (v29 n1) is an illustration by Tim Mayer from OldGuy: Superhero. Selections of both poetry and images from the illustrated chapbook by William Trowbridge are featured within the issue.

“Ill Met by Moonlight” is the theme of Hamilton Arts & Letters Magazine issue 8.2, which features a collage of works from artists featured in the issue, including “Steve” by Lisa Wöhrle from the portfolio “Then and Now: The (Young) Contemporaries.”
“Crow Chief” by Geri Digiorno is also a collage which invites readers in to the spring 2016 issue of Raleigh Review Literary & Arts Magazine. The publication’s new, larger format provides a spacious canvas for this work.
It helps to see the full spread on this cover art for the spring issue of Arroyo Literary Magazine: “Fiori Bacio (Lovers)” by ALE + ALE.

Field: Contemporary Poetry and Poetics Spring 2016 issue features a strking image – no photo credit given – which shows I’m not always drawn to splashy color covers. You can read some sample poems from the issue here.

Literary Juice is an online bi-monthly of all genres of prose, poetry, and art. As the editors note: “Lately, we’ve done away with all artistrict boundaries.” This issue’s cover photo is “We Almost Rejected the Barn But No One Wants To Be Trolled by Cows” by A. Riding.

“Sad Cactus” by Netherlands photo artist Stanislaw Lewkowicz is featured on the cover of the online Hermeneutic Chaos March 2016 issue. Lewkowicz’s mezmerizing image is the perfect match for Hermeneutic Chaos, which editors consider a collection of “beautifully crafted narrative mindscapes that move us with their linguistic, emotional expanse and powerful imagery.”

The Writing Disorder Spring 2016 WAXenVINE Photography
The Beautiful Images of Scott Irvine & Kim Meinelt
WAXENVINE is the collective vision of husband and wife team Scott Irvine and Kim Meinelt. Their work centers around themes of light, shadow, texture and beauty. They are drawn to finding the unusual within the mundane and beauty in unexpected places. Their process often involves blending multiple images together – resulting in a haunting dreamscape that transcends reality and the singular image.

Terrain.org: A Journal of the Built + Natural Environment features some stunning photography on its site that accompanies each written work. Header photo of goshawk in flight by Vladimir Hodac, courtesy Shutterstock.

I’m a sucker for rich, gorgeous, thick layers of color, and this cover image on Weber 32.1 absolutely satisfies. This “Untitled #1” is a mixed media by Ginger Wallace, whose work is also featured on a ten-page spread inside.
Kenyon Review Editor David H. Lynn tells readers, “Don’t be fooled by the playful beauty of our covers . . . the changes that have come to Kenyon Review over the past year are more than skin deep.” Indeed, while now managing their own electronic versions, writers will be pleased to know the publication has equalized its pay scale between online and print contributors. The cover by artist and illustrator Jon McNaught drew me in to read the rest.
Still Points Arts Quarterly is the beautiful, lavish, journal of arts and literature published by Shanti Arts, which was founded in 2011 by Christine Brooks Cote to celebrate art, nature, and spirit. “Night Flight” by Charlotte Lees is featured on the front cover, while a portfolio of her sculptures is featured inside.