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
Excerpts and complete works from new and old issues of literary magazines.
You can’t be part of the problem if you don’t see how you’re part of the solution. “For a poem is not the Poetic faculty, but the means of exciting it in mankind.” -Poe, Drake-Hallek Review Information wants to be free—from personification. As if all we are and do revolves around a hollow center. Every
Tomorrow, October 19, Chimurenga—a pan African literary & political magazine—releases The Chronic, a once-off edition of an imaginary newspaper for the week of May 18-24, 2008, a time when xenophobic violence tore through South Africa. According to a press release from Chimurenga, the October 19 release date is significant as well, “a historic day in South Africa
Had 9/11 never taken place, we would all be living in a different world. A saner, likely better world. That world would be a lot more natural for most people than the one we are in. But 9/11 actually happened, and the world turned out the way it has. This is where we have to
As creative writing degrees continue their exponential growth, the influence literary magazines and small presses have on tenure increases—and as we all know from that 2009 Luke Wilson movie, even without the addition of the literary press tenure is a strange loop. In “An Open Letter Concerning the Evaluation by Colleges and Universities of Publishing by Creative Writers,” in
Do I bend genre? Or does genre bend me? —from “On the EOE Genre Sheet” by Jenny Boully in 1913 a journal of forms #5
Running across Michael Copperman’s short story “It”—and his accompanying craft essay “Race, Authenticity, Culpability”—in Copper Nickel‘s new online venue COIN reminded me why I read literary magazines. Life is hectic. Motivations can get confused. Students and neighbors alike look at me quizzically when I tell them what I’m reading—the new issue of Conjunctions at the moment—and
Now he’s sending me text-messages from a room full of furs and samovars, vodka and dumplings, walking around his living room in an old uniform remembering his comrades and The Great War, his medals are heavy, the ribbons float from his chest to the floor like nightgowns while his grandmother makes borscht and his little
I have trouble choosing the words, so I repeat them with variations. The problem is the verbs. The past tense, I suppose. The past tense is the sad one, the nevermore. But it’s more than that. I didn’t cry when I heard the news. I didn’t cry in her little room, where she smiled and
The following interview with publisher André Schiffrin is excerpted from Issue No. 1 of The White Review, a new quarterly arts, culture, and politics magazine edited, designed, and defined by an emergent generation of London-based writers and artists. The name The White Review is a reference to La Revue Blanche, a Parisian political, literary and artistic magazine which ran
This is what Haiti is both victim and symbol of—this new, rapacious stage of capitalism. A cannibal stage where, in order to power the explosion of the super-rich and the ultra-rich, middle classes are being forced to fail, working classes are being re-proletarianized, and the poorest are being pushed beyond the grim limits of subsistence,
