The prose and poetry in this issue helped out editorial team find beauty and peace both through the pandemic and through Hurricane Ida. We hope you love them as deeply as we do. Fiction by Nicole VanderLinden, Mike Itaya, Heather Monley, Banzelman Guret, and Lucy Zhang; poetry by Ashley Crout, Jacob Griffin Hall, Amanda Gaines, Maari Carter, Maegan Gonzales, Bernardo Wade, Athena Nassar, Joanna Fuhrman, and Elizabeth Bergstrom; and nonfiction by Dan Leach and Sofía Aguilar. Find this issue’s interviews at the New Orleans Review website.
In Fall of 2020, literary magazine New Orleans Review released its first-ever issue devoted entirely to poetry and prose by queer writers. The issue also featured interviews with four artists from the LGBTQAI2+ community. Editor Lindsay Sproul, the first queer editor of the journal, states in the Editor’s Note: “As editor, I will continue to seek out the work of queer writers, and to hold intersectionality and advocacy at the center of our journal.”
Contributors in the Fall 2020 issue include Cassidy Wells, Jordan Lassiter, Lisa Ahima, Kimberly Pollard, Jason Villemez, Kate Milliken, Buzz Mauro, Corinne Manning, Rita Mookerjee, Kathleen Balma, Ava Dadvand, Zach Linge, Steven Cordova, Danley Romero, Eleanor Garran, and Jennifer Steil.
Read this issue and consider submitting work to future issues. For the month of February, Black History Month, black writers can submit their work for free.
Find out more about the new online version of New Orleans Review. Contributors: Danley Romero, Kaylie Saidin, Britton Hanson, Maria Kuznetsova, Apryl Lee, Diana Valenzuela, Anna Claire Hodge, Ryan Burgess, Rage Hezekiah, Julia Cohen and Lisa Nikolidakis. Cover by Ashley Longshore.
The Editor’s Note in New Orleans Review Issue 43 (Themed: “This Hustle Is Not Your Grandpa’s African Lit”) contained the following announcement:
“Since its founding in 1968, New Orleans Review has had the pleasure of including in its pages the work of hundreds of writers, poets, essayists, critics, celebrities, and artists from around the world. We take particular delight in having published numerous ‘first-time-in-print’ authors as well as offering eclectic volumes on a range of topics and forms – from Alexander Pope’s ‘The Rape of the Lock’ to Post-Structuralism, from Spanish-language film to Czech writing in translation, and from Science Fiction to a set of seven chapbooks enclosed in a slipcase. As the journal enters its 50th year, this special issue on contemporary writing from Africa celebrates our final printed volume. Both honoring its past and embracing its future, New Orleans Review will continue to publish new work in an expanded digital venue, which will also include free access to all 50 years of print issues.”
Volumes 40.1 & 40.2 / 2014 of the New Orleans Review are amazing, gorgeous, so super cool and no doubt will be THE collectible edition of the year! As a fan of the unique and quality ephemeral, I nearly swooned when I pulled this out of the stacks – a box set of individual chapbooks in honor of “New Orleans Review’s 45-year history of publishing innovative work from around the world.”
The seven books include: Because You’re Mine by Cassie Condrey, the 2013 Walker Percy Prize in Short Fiction selected by Christine Wiltz; Starbaby Blooms A Tuber Rose by Tessa Fontaine; A is for Afterimage by Christine Hamm; Literature for Nonhumans by Gabriel Gudding; Two Stories by Luis de Lión (tr. Silvia Juarez-Gomez & Nathan C Henne); Circus Freaks by Ana María Shua (tr. Steven J. Stewart); and Wastoid by Mathias Svalina.
The publication can be purchased via the publication’s website – but hurry. Their issues often sell out, and I imagine this one won’t last.
Do dimensions matter? Most literary journals are considerably taller than they are wide, often in the 6 by 9-inch range. The New Orleans Review is a compact 5-3/4 by 6-3/4 inches. For this reader, the size has a focusing effect that magnifies the significance of the words, for better or worse. Also as a result of size there are only seven offerings therein, perhaps a budgetary decision, but in any case one that channels attention towards the text. Two short stories, conventional in structure but not in their degree of excellence, contend with five pieces that variously blur the lines between poetry, prose poems, fiction, and essay. Continue reading “New Orleans Review – 2014”
I’ve always viewed the New Orleans Review as one of the silverbacks of the modern literary journal scene. Despite the obvious setbacks in dealing with Hurricane Katrina’s aftermath, it still surges ahead as one of the leading reviews with a promise of great work by great writers—those well-known, and those not. Some have said it is better than ever. This current issue does not disappoint, especially with Jacob M. Appel’s story “Prisoners of the Multiverse,” winner of the 2011 Walker Percy Fiction Contest. Not wanting to ruin the story for future readers, I will quote Nancy Lemann, judge for this year’s prize, in her introduction to the piece: Appel’s story “preserves the mystery” of a thing of beauty and delivers “what I seek in literature: inspiration, hope, and possibility.” Continue reading “New Orleans Review – 2011”
You may not know her name . . . yet, but Nicky Beer, author of this issue’s poetry feature, has won a fellowship from the NEA, a Ruth Lilly Fellowship from the Poetry Foundation, a Bread Loaf scholarship, and the Discovery/Nation Award, so, clearly, somebody’s paying attention. But that’s not why you’ll want to get to know her. You’ll want to take notice because her poem “Mako” begins “Motion took on a form / and stayed.” Because to her “all night long” means “twenty to forty minutes.” Because her poem “Hummingbird, 1:30 AM” asks us to “Consider what a thought would do / if it could abandon the body entirely.” And because she turns sharks and octopi into creatures of poetic intrigue and interest in language that is tense and indulgent, without being showy. Continue reading “New Orleans Review – 2009”
Fiction, verse, prose poems, book reviews, and black-and-white photography burst from the nearly 200 pages of this journal, which has been published since 1968 by Loyola University New Orleans. If by looking at this journal we were to gauge the events in the Big Easy, Hurricane Katarina would have been a whisper. Among the poems are works by David Welch, Haine Easton, and Arielle Greenberg. The editors have pointed to two poetry features that focus on the works of Endi Hartigan and Molly Lou Freeman. In such selections as “Owl,” “Icestorm,” and “Avalanches,” Hardigan considers the intersections of natural forces. Continue reading “New Orleans Review – Number 32, 2006”
“The peculiar virtue of New Orleans…may be that of the Little Way, a talent for everyday life rather than the heroic deed,” Walker Percy wrote in 1968, in an essay first published in Harper’s and reprinted in this issue of the New Orleans Review, which includes work solely by writers with deep connections to New Orleans. Continue reading “New Orleans Review – Number 31, 2006”