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
Gina Frangello’s recent “Lit-Link Round-up” post at The Rumpus is probably the most interesting—and detailed—thing written yet about the 2010 TriQuarterly transition from national print to student-run online publication: I briefly served as the faculty editor for TriQuarterly Online when the magazine was first transitioning from print. Christ, that was a hot mess. Susan Hahn and Ian Morris
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
To call Joel Whitney’s recent article at Salon on literary magazine connections to the CIA interesting is an understatement, but it’s maybe not interesting for reasons most readers would expect. Though connecting lit mags to the CIA—an organization with a questionable history that helped topple not a few governments—might seem like sensationalist news or a
It was OK to start with literature and art. As long as you said what you meant, and what you really thought on reflection (subject to later correction), then if you spoke honestly about anything you would be striking a blow. The magazine started with just $8,000, which four of us had pooled, plus $2,000
I worked at Mississippi Review for a year and a half in graduate school. Fiction writer Frederick Barthelme—Rick—was the editor of MR, and he was also my graduate school director down there in Hattiesburg, Mississippi. I am fairly certain the only reason Rick finally let me work on the magazine was because I pestered him
Some good news from Robert Scholes—lit mag scholar extraordinaire—over at the Modernist Journals Project: The Modernist Journals Project has been awarded a two-year grant of $270,000 from the National Endowment for the Humanities to digitize substantial runs of five American journals: McClure’s (1901-1910), The Smart Set (1913-1922), The Masses (1911-1917), Camera Work (1903-1917), and The Seven Arts (1916-1917). The
Félix Vallotton painting of Félix Fénéon editing La Revue Blanche [The White Review]. 1896. Oil on cardboard. 52.5 cm. x 65 cm. Private collection.
I don’t remember having explained to anyone that the Little Review couldn’t pay for contributions. It was quite taken for granted that since there was no money there would be no talk of renumeration. No one ever asked me why I didn’t pay, no one ever made me feel that I was robbing the poor
This past October 7th was the 162 anniversary of Edgar Allan Poe’s death in Baltimore, just 45 minutes away from where I am writing this (and where there still exists a struggling Edgar Allan Poe House). I once heard that—along with the many magazines, literary and otherwise, he edited and wrote for—Poe had also planned
