ZYZZYVA 93 / San Francisco, CA
New England Review 32.3 / Middlebury, VT
DIAGRAM 11.4 / Tucson, AZ
Camera Obscura 3 / Addison, TX
Fiddleblack 2 / Peninsula, OH
Barrelhouse 9 / Washington, DC
Antioch Review Fall 2011 / Yellow Springs, OH
Birkensnake 4 / Providence, RI
Gigantic Sequins 2.2 / Philadelphia, PA
Paris Review 199 / Manhattan, NY
Bateau 4.2 / Northhampton, MA
6x6 24 / Brooklyn, NY
Travis Kurowski runs the Luna Park blog, among other things: traviskurowski.com.
Yesterday poet Jake Adam York passed away after suffering a stroke. I didn’t know him. Like many, though, I read his poetry in the magazines. (I also remember seeing him introduce Michael Chabon at the Denver AWP Conference two years ago.) I probably knew his work less than most in the literary world (if there
Little Star—the only little magazine I know that sends a printed galley out for review. Bless you, Ann.
But, unless you’re Harold Bloom or something, don’t bring a literary magazine—that would be stupid. Here’s the beginning paragraph from a recent The Economist blog post about the launch of The American Reader comparing lit mags to, well, shit you don’t want to be putting your hands on: Short literary fiction and critical essays are the
Daniel Roberts’s recently chose “12 of the Most Beautiful Literary Magazines Online” for Flavorwire. There are honestly some great picks here—Fiddleblack, Paper Darts, The Paris Review (of course)—but I can’t help notice that all the picks are doing pretty expected stuff when it comes to online reading. Not that that’s bad. Just to say, there’s
I recently returned from Asheville, North Carolina, a quiet urban landscape nestled in the Blue Ridge Mountains and home to some of the nation’s best breweries. I visited nearly all of them, and also flipped through the first issue of Black Mountain Review (1954-57) at the Black Mountain College Museum. That’s an Instagram of it above.
Gwen Allen’s comprehensive 2011 book about the 20th century American art magazine, Artists’ Magazines: An Alternative Space for Art, devotes a chapter to Phyllis Johnson’s game-changing 1965-71 mixed-media art magazine, Aspen. I first ran into the magazine five years ago at the “Summer of Love: Art of the Psychedelic Era” exhibition at the Whitney Museum, a
The Golden Gazette News offers up an interview with Patrick Scott Belk about The Pulp Magazines Project, his open-access all-fiction pulp magazine archive (1896-1946): During the 1930s—the decade which is generally considered the heyday, or the golden age, of pulp magazines—there were around 1,000 different pulp titles published. Some of these lasted for only a
When Michael Chabon guest edited Issue 10 of Timothy McSweeney’s Quarterly Concern a decade ago, he wrote that he was conducting a unique experiment “in the hope that some kind of matter-antimatter explosion would occur.” Alongside stories by a cast of familiar literary names, Chabon folded in a selection of work by authors more commonly found in the
Maybe it’s just me, but I find the editor commentaries on the sides of these Recommended Reading offerings nearly as interesting as the stories themselves. Here’s a bit from Benjamin Moser’s introduction for an excerpt from Clarice Lispector’s “Near to the Wild Heart”: “The whole book,” critics wrote, “is a miracle of balance, perfectly engineered,”
In my essay in the new issue of Creative Nonfiction I try to figure out what the difference is between publishing online and offline, and also just what my own hang-ups about such things are. (I also get into the origins of the Internet, my computer-savant brother, and some other things.) Here’s the start: 1997—a
