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
Thoughts on literary magazines and the like.
Read the new essay from Portland’s Lidia Yuknavitch at The Rumpus—“Explicit Violence.” Read it now. Here’s the start: In a bar, with friends, listening to a man I’ve admired for years saying this: “Enough with the sob stories, ladies. We get it. If I hear one more story about some fucked up sad violent shit that happened
“Rejoice.” –Donald Barthelme, from The Dead Father INDEX first-person second-person third-person long-thin twitter-sized square with many paragraph breaks with rhetorical questions long by a famous person by an unknown person *
Poets & Prose: Gerard Manley Hopkins and Fiction Theory Robert Olen Butler’s 459 word “A Short Short Theory,” from the Spring 2009 issue of Narrative, reads like half a conversation. Butler does not present the responses, the doubts, the nods. He initiates critical inquiry into flash fiction by displacing that very title and replacing it
Not long ago I emailed an editor to say I was disappointed in the quality of the essays for their failure to address issues that had some relevance beyond the writers’ own world. I said I’d been subscribing to the publication for two years. Instead of the writer drawing me in on an exotic travel
“ALL GOOD DISCOURSE MUST, LIKE FORWARD MOTION, KNOW RESISTANCE.” -James Merrill, Scripts for the Pageant Poetry is at our mercy. If the most successful of “little” literary magazines were ever in need of humiliation, we would have but to mention the following: T. S. Eliot’s “The Love Song of J. Alfred Prufrock” was held in
One author climbs to the top of a tree trunk support beam that’s part of the architecture of the writing space. Another is balancing a couch cushion on his head and explaining wog: a dog who uses a dog-sized wheel chair to get his back end around San Francisco—a topographically challenging place for animals on
When I arrived at Café Lazziza’s, an African themed restaurant and night club on the corner of Chartres and Frenchman Street in the New Orleans’ Faubourg Marigny neighborhood, I asked around for Robin. I got there a little late and most of the sixty-three vendors had already set up their tables and booths and were
Seth Abramson’s Poetics A poetics of economy often results in staid lines, the severe compression wrangling emotion from the verse. Yet such compression can also produce a curious mixture of specificity and spaciousness, as in the poetry of Seth Abramson. In an eight-poem set profiled in the current issue of the Notre Dame Review, Abramson
In the spring of 1987, just a few months before the debut of The Gettysburg Review, founding editor Peter Stitt declared his intention of creating a literary journal focused not on “opaque” essays meant for a small circle of academics, but on literature that is accessible, thought provoking, and well-written. “The highest criterion I will
Her mother was happiest in the Arctic. She, on the other hand, seems most content reading and writing about art, happiest—if there must be a place—in the pages of an arts magazine Robert Fulford has called “indispensable.” She is Meeka Walsh, editor of that indispensable arts magazine, the Winnipeg-based Border Crossings. One Saturday afternoon at
