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
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
Click here for voting page. Top ten stories to choose from are below: “The Oracle” by Diana Abu-Jaber (From Guernica Magazine) “Home for the Holidays” by Kevin Carey (from Apple Valley Review) “On Familiar Terms” by Kelly Cherry (from Blackbird) “Awesome Like Us” by Elizabeth Ellen (from Barrelhouse) “Comedy Central” by Alicia Gifford (from Frigg
3:AM Magazine editor-in-chief Andrew Gallix writes for The Guardian about what this week’s momentary disappearance of his online magazine might mean for literary publishing in general: When I am not running late, I often check the website, along with my email, before setting off for work. The last time I performed this routine, I sat,
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
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
While reading a brief history of Twitter recently, I was introduced to the idea of “narrowcasting,” which, according to Webopedia, is “To send data to a specific list of recipients.” Normally the term is used in reference to technologies that send out information to specific groups (eg, email lists). But every technology is an extension
I had an interesting conversation at AWP the other week that I thought worthy of a little post. I was talking to the Nonfiction Editor at Salt Hill Journal in Syracuse about online literature, and we came up with a strange question: If we think of literature, in any form, as something that enhances experience
http://publishyourstory.blogspot.com/ http://www.fictionuncovered.co.uk/ http://www.fourthirtythree.com/ http://shortstoriesforwomen.wordpress.com/ http://www.litro.co.uk/ http://ponytail-zine.blogspot.com/ http://www.shortfirepress.com/ http://alliteratimagazine.com/ http://www.spiltmilkmagazine.com/ http://spillinginkreview.com/
http://shortzmag.blogspot.com/ http://qarrtsiluni.com/ http://www.otherother.org http://www.penpushermagazine.co.uk/ http://sidebmag.com/ http://www.lightningflashmag.com http://naplitmag.com/ http://willowswept.com http://taintedtea.com http://asymptotejournal.com
What makes an object, a practice, a custom, or a movement defunct? When its use value has been exhausted? Or when its emissaries have abandoned it for something else? These are just a few of the questions Defunct, a new literary magazine, raises. In his essay Sum of Zero, Chris Offutt writes about the defunct
