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.
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,
From Editor Christina Thompson’s introduction to the new issue of Harvard Review, number 39: One of the most common topics of discussion here at Harvard Review involves a particular kind of story, one that lacks the full-dress feel of longer fiction and reads more like what I would call an essay. Often told in the
from Matchbook #3 Our Talk lists of ambiguous pauses and jags plague us, mute women wag; blue rosehip, even rats and knives adore the scallops on your leaves.
Amsterdam-based literary journl Versal was the first review copy Luna Park ever received. This was Versal 5, back in the summer of 2007. Greg Napp—founding editor of 971MENU—wrote about the issue for LP’s pre-website blog. Then, a couple years later, LP published an interview with Megan Garr. More recently, Amy Piazza’s cover design for Versal’s
