NewPages Blog :: Magazine Reviews

Big River Poetry Review publishes lots of poems online—eight in January 2014 and nine in December 2013, for example—then gathers them all annually in this journal. This first volume covers the period between the review’s founding in late May 2012 through the end of the year. Based in Baton Rouge, LA and published in an unwieldy eight and a half by eleven format with a bright red cover, it includes 154 poems by almost as many authors. The magazine is open to a wide range of styles, subject matter, and skill levels, including poems that would benefit from being workshopped. Continue reading “Big River Poetry Review – 2013”

Because of its length (about 133 pages), this issue of The Carolina Quarterly relies heavily on the strength of each of its components. Every sentence must move its alphabetical weight, more so than in one of those torrentially heavy volumes that seek to delight and have enough statistical room to dare to dismay—this collection is systematically frank and urgent. Continue reading “The Carolina Quarterly – Fall 2013”

Through this riveting inaugural volume of China Grove, an editorial team rooted in Mississippi unveils the identity of the last of the great Southern literati, Mark Twain’s intellectual property battles, and love stories real and apocryphal, in one polished collection. Continue reading “China Grove – Fall 2013”

Rather than mar pristine journals with my unkempt scribbles, I’ve taken to flagging particularly insightful or arresting passages in them with sticky notes. Suffice it to say, my copy of Field’s latest issue has more flags in it than the parking lot of a Toby Keith concert. Where other journals can feel bloated with uneven material, the new issue of Field weighs in at a lean one hundred pages. Sporting cover art by British artist Gary Hume, as well as poetry and essays by established and emerging writers, the new issue eloquently makes a case for Field’s place near the top of the poetry heap. Continue reading “Field – Fall 2013”

“Unpredictability” is the word editor Nathaniel Perry chooses to describe what unifies the many poems in this year’s issue of The Hampden-Sydney Poetry Review. And whether you’re reading quatrains about pay phones, a narrative about catching dinner in a water hazard, or an inscrutable ode to the beauty of inscrutability, the narrators encountered in the new issue are an undeniably unpredictable bunch. Boasting over one hundred pages of poetry, poetry reviews, and conversations about poetics, the staff of the review have done their level best to tide readers over until next year’s issue arrives in the mail. The issue’s unpredictability even extends to its individually illustrated covers, a refreshingly communal touch from such an established magazine. Nearly forty years on, the review is still finding new ways to spice things up under its covers as well. Continue reading “The Hampden-Sydney Poetry Review – Winter 2013”

This particular issue of Meat for Tea carries a theme of “Bone.” Visual artists and wordsmiths took every possible definition of that single word, and the editors did a good job weaving together a cohesive, enjoyable 91 total pages of work. A sprinkling of images kept the words from running together, sort of like commercials that I was excited to encounter. Continue reading “Meat for Tea – September 2013”

It would be tempting. Imagine saying,
“Let there be light.” And, poof, there’s light.
The magic word is any word you want it to be—
bucket, for example, or asphalt, and into the world
tumble jet planes, hair dryers, and vegetarian restaurants. Continue reading “Rattle – Winter 2013”

This is one of the most attractive lit mags I’ve viewed. For the astonishing price of five dollars, you can hold in your hands this substantial (eight-inch-by-eight-inch) volume with a technologically progressive cover and an extremely pleasing page design, whose innards are divided between visually striking color art, outstanding poetry, provocative interviews, and stories so good from the first line you want like crazy, but can hardly stand, to reach the ending. Continue reading “Reunion: The Dallas Review – 2013”

A reader who gets a copy of this issue of So to Speak: a feminist journal of language and art will find that it delivers on the promise of its title. A mix of prose, poetry, and images, this print issue from a well-established publication has beauty, intelligence, and provocation. The journal doesn’t insist on any one definition of feminism, preferring instead to take whatever touches women’s lives as its subject. Anyone who cares about women and/or cares about good art will appreciate it. Continue reading “So to Speak – Fall 2013”

If you are a starving artist, take $22 from your last hundred bucks and purchase a subscription to Tampa Review. Every time you behold the volumes, you will feel rich. This journal is one of the most lavish and beautiful publications in the world of literary magazines. Hardcover, with a four-color dust jacket and visual art throughout, the large-format Tampa Review is an instantaneous wow. The dust jacket flaps contain an eloquent orientation to the content, indicating the editorial goal of creating an integrated experience within each single issue. Contributor notes are relatively lavish, providing almost five pages of information about the 55 artists and writers represented in this issue. Continue reading “Tampa Review – 2013”

As a south Texas native who relocated from the state in 1966, I immediately associate the town of Huntsville with its state prison. The Texas State Penitentiary at Huntsville is the oldest of the state’s prisons, having been in operation since 1849. The unit boasts two distinctions: it houses the execution chamber where the largest number of prisoner executions in the United States are carried out, and from 1931 through 1986 it sponsored the Texas State Prison Rodeo. The rodeo arena was razed in early 2012, marking the end of a colorful piece of Texas history. Today, according to the Texas prison inmates’ handbook, the authorized team sports available to prisoners are softball, volleyball, and baseball. Continue reading “The Texas Review – Spring/Summer 2013”

Thema’s distinguishing feature—the prompt that drives every issue—is still and always its delightful strength. Like a well-designed skeleton, each issue’s prompt provides a scaffolding from which to build a full body of coordinated limbs, each of which is, in its imperfect excellence, a strapping member of an unexpectedly vigorous whole. You want to examine every one, especially carefully in this issue, since its theme is perception, seeing well: “Eyeglasses are needed.” Continue reading “THEMA – Autumn 2013”

I’m going to refer to this publication as a “class in a book” for its incredible depth and breadth of content (in only 78 pages); ambitious would be an understatement. Transference is a new journal of poetry in translation published by the Western Michigan University’s Department of World Languages and Literature, which includes Arabic, Chinese, French, Old French, Classical Greek, Latin, Japanese, and Russian. Continue reading “Transference – Summer 2013”

Brevity, the staple for flash nonfiction writing, puts forth another fascinating issue, with authors I couldn’t wait to read. Continue reading “Brevity – Winter 2014”

Jersey Devil Press celebrates their fiftieth issue, and they even made a playlist to accompany it, with a song pairing for each of these intriguing stories. Continue reading “Jersey Devil Press – January 2014”

East Coast Ink’s very first issue is themed “New Again,” perhaps fitting for a first issue, perhaps not. In the editor’s note, Jacqueline Frasca writes, “Every one of us has a moment where we recognize, This isn’t me anymore. It can leave you lost, hopeful, hopeless—but whether you perceive it as a misstep, a leap forward, or a tragic mistake, you are one thing for sure: new, again. All over again.” For Frasca, this magazine is an attempt to move forward. But more importantly, it’s a place to showcase authors’ works: Continue reading “East Coast Ink – Winter 2013”

Really System is a brand new journal that publishes solely poetry, offering up four issues a year and seeking “new, interesting writing that exhibits a keen awareness of the forms, patterns, and channels through which we find ourselves connected with other people, other things, other worlds.” Continue reading “Really System – Winter 2014”

Ghost House Review is a new digital publication that claims to put forth “poetry that haunts the heart.” And while I don’t think that is quite the way I would describe the work in this issue, I would say that it is quality poetry. Continue reading “Ghost House Review – January 2014”

Although, with most magazines, I’m drawn in mostly to the prose (as a personal reading preference), Agave’s first issue held such strong poetry that I couldn’t help moving from one to the next, eager to see what the next poem had to offer. Continue reading “Agave Magazine Summer/Fall 2013”

Apogee, only now in its second issue, looks for “the writing and writers that sit at a distance from the mainstream,” and from what I’ve read, the editors hold up their end of the bargain. Continue reading “Apogee – Spring 2013”

Go to The Monongahela Review’s website, and you won’t find out much about the journal by just browsing. Without much information or submission guidelines, you really have to read the journal to get to know it. Download the PDF or open it in Issuu, and get cozy. Continue reading “The Monongahela Review – Fall 2013”

FictionNow’s Summer 2013 issue boasts the stories of three writers: Henry W. Leung, Sarah McElwain, and Richard Smolev. Continue reading “FictionNow – Summer 2013”

Alimentum, a food journal, transitioned a little more than a year ago from a print biannual publication to an online monthly. Because it is now more frequent, it is unfortunately a bit smaller. There is one piece for each of the sections each month: fiction, nonfiction, poetry, featurettes, book reviews, recipe poems, eat and greet, art gallery, jukebox, food blog favs, and news. Continue reading “Alimentum – December 2013”

The Vietnam War, love affairs, a few ERs, a catastrophic case of acne and its scars: trauma and its aftermath are the subject of this issue of Arcadia, guest-edited by Benjamin Reed. Perhaps because of the nature of trauma, the dramatic and the weird take up a greater-than-usual proportion of the issue, but quieter and more quotidian disruptions are given their places, too. Despite the fragmenting and wounding effects of trauma, the work in this issue is accessible and gripping, at times sad but never depressing. Continue reading “Arcadia Literary Journal – Fall 2013”

In order to commemorate its 40th anniversary, Black Warrior Review decided to focus on “time travel.” The pieces selected for this issue meet the aims of time travel in such interesting and intriguing ways, this is one journal you will want to make sure to read front to back. Continue reading “Black Warrior Review – Fall/Winter 2013”

This magazine hasn’t been reviewed before on NewPages, so remember that you heard it from me: Free State Review is great. It’s a pleasure to look at, hold, and read, and the writing is as fresh and consequential as a sun-drenched, below-zero day. Nobody’s just messing around. Even the contributors’ notes are little works of art. Continue reading “Free State Review – Summer 2013”

One of Glimmer Train’s many claims to fame is its signature black-bordered cover, its distinctive logo title, and the always interesting art—this time, a drawing of curly-tailed pigs making their way home through winter-deadened wheat, erupting in curls from the snow like the animals’ tails. Perhaps the most significant claim to fame, however, is the magazine’s reputation for excellence. Selections from GT have appeared in nearly every annual anthology of “the best.” Its smart look, its dedication to literary fiction, and its consistent attention to the needs of writers reaching for their best, make this always a magazine to watch. This issue is no exception. Continue reading “Glimmer Train Stories – Winter 2014”

As I read this issue of Grain, a quarterly from Saskatoon, Saskatchewan, I kept flipping to the back to find out who the writer is: how was it possible that I had never heard of this person, and that person, and the editors who have eyes for such great, sensitive, and unassuming writing? With one story and poem after another, this issue of Grain made me miss my train stop on the way to work, gasp, and wonder. I’m very, very excited to have discovered it and now to tell you to read it, too. Continue reading “Grain – Fall 2013”

The Greensboro Review has been around now for almost 50 years. Since the journal started up in 1965, it has developed an international reputation, meaning each issue plays host to the best work from both emerging and established writers. This issue is packed with work that seems to gravitate around feelings of longing and desire and the various ways these two emotions shape and impact our life. Every piece reaches out to touch the readers on a different level and engage them. Continue reading “The Greensboro Review – Fall 2013”

This issue of The Idaho Review is a gem; it begins in glory and the energy never sags. From its whimsically sinister cover (Bill Carmen’s fabulist The Earialist), through its parchment endpapers and beautiful inner design, this issue bountifully rewards the reader’s full attention. Continue reading “The Idaho Review – 2013”

You will need a pen and paper for this one. Two columns. Two Nobel laureates. Two radically different approaches to prose. In the first column, we have Faulkner and the Gospel of John. In the second column, we have Hemingway and the architectural concept that form follows function. Many journals published today feature prose that ascribes to one camp more than the other. But Lumina seems to capture the two styles precisely down the middle. The balance is perfect: in the fiction column, we have three of each and two that cross camps. In the nonfiction column, we have twenty-five percent Faulkner, seventy-five percent Hemingway (which makes sense considering he was a journalist with a night job), one excellent satire, and one chiseled memoir of sex and acid in the 1980s. Continue reading “Lumina – 2013”

My heart leapt at the title of this poetry journal, at the thought of one of my favorite Emily Dickinson poems granted prominence in the title, promising readers a connection to this master. The poets granted space in this issue exhibit a level of skill bordering on Dickinson’s inimitable greatness, some stopping just short of poems that endure and take the breath away. Continue reading “A Narrow Fellow – October 2013”

I am enamored of literary magazines devoted solely to poetry. I look forward to immersing myself in metaphor, surrendering to symbolism, and indulging in sensory imagery to my heart’s content. This issue of Southern Poetry Review delivers a compilation of poems of such craft and mastery that leaves me nearly speechless and most assuredly breathless. Continue reading “Southern Poetry Review – 2013”

Compose has a wide variety of writing to enjoy from fiction, to nonfiction, to poetry, to a couple of features. The artists conjure up images of a widow-bearing tequila bottle that sits on the kitchen table, mermaids that “swim the high school pool,” mussels and clams and a bonfire, “Lint from your best-loved old jumper / sprinkled with grains from your childhood / sandbox,” and 26 tea lights in memory of those lost in the Sandy Hook shooting. Continue reading “Compose – Fall 2013”

This issue of Blue Lyra Review has a special theme: “Stories We’d Rather Not Tell.” This, of course, is a little contradictory considering if the authors didn’t want to tell the stories, they wouldn’t submit. But it’s intriguing nonetheless, and I dove right in. I was instantly drawn in to the nonfiction section, eager to hear those stories first, and I wasn’t disappointed. Continue reading “Blue Lyra Review – October 2013”

Chagrin River Review, now in its third issue, publishes fiction and poetry, leaning toward the more traditional styles, nothing extremely experimental or flashy, just good writing. Continue reading “Chagrin River Review – Fall 2013”

This issue of Lines + Stars is the perfect introduction to winter, as in some poems, the snow has already fallen and is already deep, and in others, it has only just begun. Many of the pieces are reminiscent of the holidays, with the sounds, smells, and tastes of the seasons. They all have vivid imagery that brings the poetry to life. See, for example, these lines from Dan Ferrara: “dancing red from ice and vodka, / juggling knives and strangling accordions.” And: Continue reading “Lines + Stars – Fall 2013”

With a url such as “readthebestwriting.com,” Ascent offers up some high expectations. While I’m not certain how to qualify any writing as “the best,” there is no argument that Ascent really does publish quality writing. Continue reading “Ascent – Oct/Nov 2013”

Each issue of 32 Poems is an intimate encounter that is made the perfect size with clever cover art that makes me want to carry it around everywhere. This issue of 32 Poems features cover art from Elliot Walker as well as a humorous back cover titled “32 Things We Really Should Apologize For” by Aaron Alford and Liz Anderson Alford. Literally, this issue of 32 Poems is a must read from front to back. Continue reading “32 Poems – Spring/Summer 2013”

Jelly Bucket is the literary magazine of the Bluegrass Writers Studio at Eastern Kentucky University. As previous reviewers have noted, this magazine welcomes a broad diversity of work in fiction, nonfiction, interviews, poetry (including translation), and art. Graphic design is bright and lively without sacrificing readability. Big pages and proportionally ample margins present writers and artists well. The quality of the work is a bit uneven, but overall, standards are high and there are some really fine works. Continue reading “Jelly Bucket – 2013”

Harvest time is my favorite time of year, so I was naturally drawn to this “Harvest” issue of Kindred. From the photographs to the stories and poems to the how-to pieces in this issue, Kindred not only brings the harvest season to life on the page, but also accomplishes its goals of bringing the sense of home and togetherness, fusing two themes of harvest and community. Continue reading “Kindred – Fall 2013”

In the most recent issue of New Ohio Review (NOR), the editors feature a series of “Translation Cruxes,” inspiring meditations on the method by which we are able to access voices from afar. The trick, of course, is that the journal is full of translations—maybe not in the nature of the subjunctive, but rather in the way feelings are translated. Continue reading “New Ohio Review – Fall 2013”

If surrealism is a vehicle for expressing the unsaid, then The Southeast Review smartly packages its fiction in a way that says a great deal through a scrim of restraint. In this way, the magazine honors the Southern vernacular tradition of saying something poignant innocuously. Continue reading “The Southeast Review – 2013”

Above the lintel of a passageway in Dublin’s Kilmainham Gaol is a quote from Dante that reads: “Abandon all hope all ye who enter here . . .” The struggle for Irish independence mirrors this bleakness, but that struggle also corresponded to a pantheon of literature that no occupation could suppress. In this issue of The Stinging Fly, a literary journal based in Dublin, the Irish spirit is robust enough to signal outward. Not only did the editors cull a magnificent, relentlessly balanced collection of short narratives, they did so through translation. Voices from Brazil, Morocco, Belgium, Italy, China, Rwanda, Poland, Ukraine, Greece, The Netherlands, Spain, Austria and Finland come through translated from their native tongues into a worldwide map of disciplined craft. Continue reading “The Stinging Fly – Summer 2013”

This “Wild” issue of Tin House is special in that it contains both cover art and a feature from Matt Kish’s illustrated version of Conrad’s classic Heart of Darkness. As usual, Tin House features great work from poets, fiction writers, essayists, and reviewers. It has everything from essays on Vegas brothels or snakes to a “Readable Feast” that ends with a recipe for barnacles. Fair warning though, with a cover this visually stunning, you may never be able to actually open it. Continue reading “Tin House – Fall 2013”

This issue of the Asian American Literary Review is packed with ambition. While many literary journals experiment with the elements and the appearance of language, this issue of AALR crosses the physical conventions of the idea of the literary journal. The contents, like the challenges to the physical form, provoke questions and emphasize ambiguities rather than entertain, which is perhaps fitting when the issue centers on “mixed race,” a sometimes questionable and often ambiguous term laden with history, exultation, and pain. Continue reading “The Asian American Literary Review – Fall 2013”

The hallmark virtues of this issue of Cimarron Review are polished works that are immediately accessible yet amply reward closer inspection. Continue reading “Cimarron Review – Summer 2013”

The Gettysburg Review deserves its reputation for excellence and consistency. Editor Peter Stitt and his colleagues have put together another issue packed with work that examines the human condition from a number of geographical and emotional perspectives. Continue reading “The Gettysburg Review – Autumn 2013”

I’ve eyed Grasslimb for a couple issues now, drawn by its simple, clean tabloid-style design. Each issue has had only two sheets, center folded, for eight, 11×14 pages of reading. I like this ‘local newspaper’ style, and the heavyweight paper adds to the reading pleasure. Easy enough to hide behind on a bus ride, solid enough to stand up through bumps and turns. Continue reading “Grasslimb – July/August 2013”

This edition of Green Mountains Review draws us to its content as soon as we see the cover. The artwork is a compelling collage done by the featured and multi-talented artist, Lou Beach. As with Beach’s work, this issue is a collage of multiple works by or about the same authors, but what you notice is the collective quality of them all, that as a whole provides more than just surface entertainment. Continue reading “Green Mountains Review – 2013”