NewPages Blog :: Magazine Reviews

For a literary journal that is “informed by – or grapples with – religious faith,” Image is really “with it”. Editor Gregory Wolfe’s introductory essay “East and West in Miniature” is a discourse on Pope Benedict XVI’s recent controversial lecture, and meditates on the issue of Islamic extremism in the light of some mystic concepts. Continue reading “Image – Spring 2007”

If you ever thought science and literature didn’t get along, Isotope will prove you wrong. Non-fiction is the strength of this issue. Much is similarly styled in the use of densely layered narratives which are both story and informative (science) writing. David Gessner’s essay, “Field Notes on my Daughter” is as much about his daughter and the family of foxes he observes as it is about his being a father, a scientific observer, a writer, and what all of this means together in one human existence. It’s an amazing piece that, like the observation notes he writes and analyzes, becomes its own surprising creation. So, too, are non-fiction works by Bonnie J. Rough (“Looking for Sacajawea”), Jeffery Thomson (“Turbulence”), Pete Gomben (“Succession”) and George Handley (“Eddies”). If I had been able to learn natural science and history from reading these works in high school, I may have had a much greater appreciation for the discipline – or at least higher grades. As it is, with bare minimum science knowledge, every piece in this magazine is accessible, educational and enjoyable. Continue reading “Isotope – Spring/Summer 2007”

Test the weight of your best thoughts. If they are turgid with inspiration, and quotes like “To be or not to be,” then you are beyond the ordinary good writer. The Journal of Ordinary Thought (JOT) is for those writers who realize that editing is half the writing, and to get to the level of an everyday Shakespeare, there are many thoughts that need to be discarded or reshaped. JOT imagines the landscape of thought as one where no words should be culled. All the ordinariness of language is settled here like the surface of a sea of jetsam and flotsam. Sounds bad, right? But the effect is quite the opposite. In her short essay “Me and Time,” Pennie Holmes-Brinson begins: “Time and I don’t get along well.” She continues the personification of time with sentences like “Then it stands there with one hand on its hip, pointing at its wristwatch with another hand, and reaching out at me with yet another hand!” JOT is littered with such gems, and they all lie on the surface. Continue reading “Journal of Ordinary Thought – Winter 2007”

This issue of The Kenyon Review contains three absolutely delicious article-length book reviews of collected letters: The Letters of Robert Lowell (2005), reviewed by Willard Spiegelman; Love Amy: The Selected Letters of Amy Clampitt (2005), reviewed by Sam Pickering; and A Wild Perfection: The Selected Letters of James Wright (2005), reviewed by Saskia Hamilton. (Hamilton’s review is double, covering also the 2005 Selected Poems by James Wright.) These critiques of three great 20th century poets emphasize the personal letter—that intimate form of correspondence, sadly retired in our internet-driven world—as an art form. The reviewers’ insights into the life and work of Lowell, Clampitt, and Wright renew my reverence for them; yes, I will read the letters and return once again to their poetry! Continue reading “The Kenyon Review – Spring 2007”

While the title may give the impression of wide open spaces, this publication is anything but in its content. A mere 87 pages is packed with over 30 contributors of artwork, poetry, prose (fiction/non-fiction? can’t always tell), and an interview with Ellen Hopkins (author of the poetry novel Crank). The authorship range is varied, with contributions coming from Truckee Meadows Community College students to such well knowns as Suzanne Roberts and Lyn Lifshin (“I Remember Haifa Being Lovely But” reprint). Part of the Hopkins’s interview focuses on the Ash Canyon Poets, some of whose work is featured. Hopkins agrees with the interviewer that the poets’ focus on place is “fed mostly by this stunning place where we live.” Continue reading “The Meadow – 2007”

Having just edited a story anthology in which four contributors were poets by trade, I was particularly interested in reading this installment of Open City, which offers “prose by poets.” It’s a bit of a departure for this venue – if only because those accustomed to its steady professionalism will find the quality here to vacillate wildly. Continue reading “Open City – Spring/Summer 2007”

“Consider this the definitive statement of how to succeed in your life,” says the spine of Opium‘s fourth issue. Right under this is written, “What? No, that’s all we wanted to say.” Maybe this issue, subtitled “Live Well Now” will have too much slapstick and too many cheap jokes for my taste, I think before opening it. Before that thought settles, it’s erased. Easily the most zine-influenced journal I have ever read, Opium thrills me from cover to cover with its variety and is packed full of punch. This single issue is as thoroughly conceptualized as a Pink Floyd album, complete with background street sounds and stray barking dogs, even sparrows in the thirteenth layer of sound. The editorial statement “We promise it’s like nothing you’ve seen before, and better yet: we promise you’ll laugh,” is the truest one in the journal. A lineage of man follows, worth witnessing first-hand. Aptly enough, the first fiction is F. John Sharp’s “Primal Urges.” The editors share with us more information: “Estimated reading time: 5:59.” Continue reading “Opium – 2007”

Once yearly, Poetry eschews its commentary and letters sections to focus on its namesake; this year, the month chosen is June, and the result is not disappointing. Left to fend for itself, the poetry feels less intellectual, and more kinetic, than generally. Its strongest offerings are surrealist satires; David Biespel’s “Rag and Bone Man” struggles to fasten a trickster mask around a Literatus; Ralph Sneeden’s “Prayer as Bomb” provides vibrant satire in which explosives come to be seen as individualized elements of misplaced hope. Heidi Steidlmayer’s brief, deft “Scree” is worth citing in its entirety: Continue reading “Poetry – June 2007”

Poetry East is a 220-page journal containing nothing but poetry and contributors’ notes. The journal often publishes theme issues, past themes including post-war Italian poetry, Finnish poetry, and issues dedicated entirely to Robert Bly, Muriel Rukeyser, and “Ammons/Bukowski/Corman.” I’d like to get my hands on some of those past issues. The current issue has no purported theme, but a majority of the poems would fit well with the past issue “Praise,” (Poetry East has actually published a Praise I and a Praise II) or with the forthcoming issue, “Bliss.” I don’t mean to suggest that I don’t care for praising or blissful poems, but this relatively thick journal seemed to me, taken as a whole, a bit too even in tone. A good many of the poems could have pushed the envelope a little more. Continue reading “Poetry East – Spring 2007”

In a world of the increasingly gritty, beyond-experimental, post-post-modern and devil-may-care, The Sewanee Review feels almost old-fashioned in its emphasis on clarity, craftsmanship, and quality. It was a treat to carry it around with me, leave it beside my bed, and, before falling asleep underline stand-out bits of analysis in critical essays. Christopher Clausen’s “From the Mountain to the Monsters” intrigued me from the opening lines: “Take nature as your moral guide, and before long you find yourself haunted by nightmares of monsters. The relation between cosmic nature and human ethical conduct was the most important intellectual problem of the nineteenth century.” Continue reading “The Sewanee Review – Spring 2007”

The Southern Review prides itself on excellence, on not letting the reader off the hook. This issue has three essays on “Mind and Metaphor,” none of which are an easy task to read, partly because each of will unsettle your preconceived notions of those two abstract concepts. Continue reading “The Southern Review – Spring 2007”

Two short stories in this issue of Sou’wester just knock me out: April Line’s “What It Would Be Like To Have a Baby With a Turnip” and Patricia Brieschke’s “Eat!” Both feature ordinary women as protagonists and both cover themes done before: the experience of pregnancy (Turnip) and self-starvation (Eat). Continue reading “Sou’wester – Fall 2006”

Though Yellow Medicine County in southwest Minnesota is home to the native Dakota People, the first issue of Yellow Medicine Review includes artists indigenous to places as distant as Papua, New Guinea and Australia. It’s expected that a journal with “Indigenous” in its title would have considerable negative references to the colonizing culture. As with most white American mutts – lineage too mixed to be certain of anything – I have enough Indian blood to be an embarrassment to the indigenous. Regardless of my whiteness, as a reader, the strongest pieces in this journal were not the ones condemning the past but those expressing the Indigenous experience as it is now. Continue reading “Yellow Medicine Review – Spring 2007”

Long before highbrow carpetbaggers followed the Silicon Valley free-market bubble west to begin San Francisco’s literary “reconstruction,” there was Howard Junker, the cantankerous eccentric who started Zyzzyva from scratch and clawed his way to a position where he could tell Thomas Pynchon’s agent to call Thomas Pynchon bad names. An original do-it-yourselfer, Junker reads every submission that comes through the transom; provides the email addresses of his contributors; even maintains one of the most informative literary blogs on the net. Junker’s reaction to foreign incursion, after several infamous softball skirmishes, has been exceptionally Southern: namely, he has continued publishing Zyzzyva almost exactly as before. Continue reading “ZYZZYVA – Spring 2007”

In case you were wondering, yes, 32 Poems is just that—a journal of thirty-two poems, one to a page. This issue’s works, chosen by guest editor Carrie Jerrell, are mostly of a straightforward, narrative style, with a couple of wryly amusing “list” poems kicking things off. (Having said that, I wonder if Daniel Nester, whose “Queries,” a list of creative writing class comments, begins “Isn’t everything tucked always lovingly tucked? / Don’t loomers always appear from overhead?” would ask, “Must everything amusing be wryly so?”) Continue reading “32 Poems – 2007”

If you’re interested in testing Antioch Review’s stellar reputation, just pick up the current issue. Everything that has made AR a benchmark standard for literary journals is in evidence here, as always: intelligent essays, eclectic themes, engaging stories, and unsparing poetry—all of it thriving in an ever-evolving habitat of exploration. It’s almost impossible to choose standout pieces in a collection as accomplished as this. Jeffrey Meyers opens the issue (and this writer’s eyes) with “The Literary Politics of the Nobel Prize,” a revelatory inside look at the Oscar-like machinations pulling the strings of literary prestige. Continue reading “The Antioch Review – Spring 2007”

This issue’s charming cover photo, taken during WWI in Vichy, France, shows a nurse from Bellevue’s medical staff helping a dog apply a stethoscope to the temple of a man in uniform—eavesdropping on the man’s thoughts, perhaps? This image says much about the journal’s literary aesthetic; the stories, poems, and essays inside are about death and loss (of health, loved ones, ways of being in the world—the many things there are to lose as we encounter the human body’s various limits), but these are not depressing tales melodramatically told. Instead, they are creative and sometimes humorous engagements with realities we usually prefer to avoid. Continue reading “Bellevue Literary Review – Spring 2007”

This British Poetry Issue is likely to be enjoyed by those with a strong academic interest in poets of the so-called “Cambridge School.” An introduction by Sam Ladkin and Robin Purves defines this label as a “widely-promulgated apparition” that is “associated with elitism and self-serving obscurantism . . . held to stand for a deliberately inaccessible mode of writing, engorged with critical theory, often held to be ‘only about language itself’ and written purely for the delectation of a smug coterie of reclusive adepts.” Continue reading “Chicago Review – Spring 2007”

Greatcoat: an oversized, catch-all garment designed to protect in all kinds of weather. Practical, not flattering, it provides comfort without ostentation. The debut issue of Greatcoat is thin enough, at 83 pages, to fit inside a greatcoat pocket, yet it lives up to its name, enveloping the reader in poems and essays which blur the design lines and obliterate genre seams. The first of the two essays exemplifies Greatcoat’s vision. “Electric Energy,” excerpted from a 1998 book by Lynn Strongin, is a spinning centrifuge of non-sequiturs and vivid imagery. From the quotations about aging which open the piece, Strongin distills ideas of a “cell-like enclosure” trapping the women in her life: “I used to dream I made myself a home in a beehive as a child: clean, solitary, holy.” Continue reading “Greatcoat – Spring 2007”

This attractive issue includes the 2005 Indiana Review Poetry Prize Winner, “Galloglass,” by Susan Tichy (“Likes to meet with potentates,” said John Dean on the radio. “Doesn’t like to kiss babies.”) and the 2006 Indiana Review Fiction Prize Winner, Marjorie Celonam’s imaginative “Y” (“That perfect letter. The wishbone, fork in the road, empty wineglass.”) Continue reading “Indiana Review – Winter 2006”

Nature poetry, whether well or poorly written—and this issue of Isotope contains some fairly nice examples of the former—is something we’ve all seen before. Continue reading “Isotope – Fall/Winter 2006”

The Massachusetts Review is truly a quarterly of literature, the arts, and public affairs as evidenced by this issue’s rewarding stories, poems, and essays. “Fear and Torment in El Salvador” by Noel Valis provides a comprehensive overview of El Salvadorian terrorism and opposes Adam Smith’s The Theory of Moral Sentiments and Elaine Scarry’s The Body in Pain, the Making and Unmaking of the World. Valis reminds us of the early 80’s writings of Carolyn Forche, especially her unforgettable prose poem “The Colonel,” and of Joan Didion’s Salvador (“Terror,” she says, “is the given of the place.”). Also mentioned is Robert Stone’s film Salvador, as well as the work of others who have explored the moral hell of torture, which Valis, although conceding that it is born in the imagination, posits imagination as the site of its demise. Continue reading “The Massachusetts Review – Spring 2007”

This rewarding collection of essays, poems, and fiction avoids direct confrontation with current concerns—war, poverty, ecology—in favor of a Jewish boy’s memoir of 1938 Berlin and Vienna and Bertolt Brecht’s poem on WWII propaganda. From Brecht’s “The Government as Artist”: “It is well known that an artist can be stupid and yet / be a great artist. In this way, too / the government resembles the artist. As one says of Rembrandt / that he couldn’t have painted any differently if he had been born without hands, / so it can be said of the government that it couldn’t govern any differently / if it had been born without a head.” Continue reading “Michigan Quarterly Review – Spring 2007”

If one looked for themes in this splendid and beautifully presented collection, it would have to be drug addiction, past or present, in each of the four fictions: “The Yoshi Compound: A Story of Post-Waco Texas,” is a delightful satire of phony spirituality by Todd James Pierce; Rebecca Rasmussen’s “Partway,” is a terrific story of a drug addict’s daughter and the people who love her; “The Girl Who Drank Lye” by Colleen Curran traces the shocking decline of an ostracized fourteen-year-old picking up bad habits when befriended by the class bad girl. Jason Ockert’s “Piebald” tells the story of a father dying of some strange malady while mourning the death of his son, but, of course, it’s more complicated than that. Continue reading “Mid-American Review – Fall 2006”

When I can, I like to single out one or two stories in a journal for particular praise, but all four fiction entries in this issue of Phoebe merit attention. “Forgery,” by Steve Yates, is a tale of corporate revenge set in the offices of a company that sells pornographic toys, yet it manages to be sweetly romantic. “Harvest,” by Danielle Evans, sets a group of women of color, Ivy League college girls all, against a friend who is able to sell her eggs to infertile couples for loads of cash simply because she’s white. William Jablonsky’s “In Dreams” features a fireman who is able to perform amazing acts of courage because he has seen his own death in his dreams and “knows” he won’t die as long as he doesn’t drive his truck through a certain fateful intersection, while “The Good Life,” by Jonathan Lyons, centers on a character who is so blitzed out on drink and drugs that he and his buddies can’t quite manage to care when they kill four strangers in a tragic highway accident. Continue reading “Phoebe – Spring 2007”

This issue of SRPR is longtime editor Lucia Cordell Getsi’s swan song before retirement; tempted though I am to draw a parallel between her moving on and this issue’s many poems of grieving, I won’t. Continue reading “Spoon River Poetry Review – Summer/Fall 2006”

In a recent New Yorker article, Milan Kundera charted the genealogy of some of the most important writers of the last five centuries by tracing a map of “influences” that criss-crossed continents, hemispheres, and oceans. In doing so, he made a case for the importance of translation, which allows literature to jump outside of the “provincial” context of the country (and language) in which it was written, and resituate itself in the vastly more important “supranational territory of art.” Absinthe – a journal that dedicates itself to publishing translations of “new European writing” – is a small but wonderful island in that territory. Some of the pieces (from writers working in Greek, Italian, Spanish, Polish, and a slate of other European languages) are occasionally tinged with a tone of political irony that struck me as clichéd. Although these writers are clearly “correct,” I found their seemingly rote anger disturbing.  Continue reading “Absinthe – 2006”

Alaska Quarterly Review is approaching its 25th anniversary, which alone attests to its position among the top literary magazines in the nation. Simply opening to the first piece in this issue, Samuel Ligon’s story “Drift and Swerve,” readers will learn (or relearn) that AQR surviving and thriving for a quarter-century is certainly no surprise. Ligon’s story takes the reader on a ride-along where a drunk driver may not be so dangerous when a force of nature, like a normal – if slightly dysfunctional family of four (again, pretty much normal), happens to share the same stretch of highway. Mike Harvkey’s “One Owner, Part II: Won’t Last” is a haunting story of a man-on-the-run who stumbles untouched in the wake of a mysterious plague, finally settling with a family in Mexico. Eventually, he learns that he has not escaped, he cannot; he must face the past that hounds him and account for what he has done. Harvkey renders the protagonist’s consciousness with fresh language, brilliantly weaving the story’s haunting, hallucinatory atmosphere. Continue reading “Alaska Quarterly Review – Spring/Summer 2007”

The theme of this issue of American Short Fiction is prison, according to Editor Stacey Swann, whether by prison bars or self-imposed limitations. The former is the concern of the pictorial essay, “Captain, Don’t You Know Me, Don’t You Know My Name?” Nathan Salsburg, curator of this historical collection, notes in the preface, these stunning photographs, interviews, and work-gang songs are from the work of the late folklorist Alan Lomax during his visit to Mississippi State Penitentiary in the late 1950’s. This prison, also known as Parchman Farm, is the setting for his 1993 memoir The Land Where the Blues Began, wherein he quotes a 1957 New York Post article describing Parchman Farm as “simply a cotton plantation using convicts as labor.” Continue reading “American Short Fiction – Winter 2007”

Given editor W. Scott Olsen’s own work in nonfiction, one might assume that Ascent would demonstrate a bias for personal essays, place-based work, and travel writing. But what really stands out are the poetry and the fiction, especially the three short stories. The opening story, “Puck,” by Edith Pearlman, about a statue that seems to draw forth the desires of those who view it is both puckish and hopeful. Snappy dialogue and quirky characters keep the reader interested. Continue reading “Ascent – Winter 2007”

This very cerebral and provocative issue of Black Warrior Review begins with an unexpected critique of U.S. culture and international perceptions of the U.S. in Beth Ann Fennelly’s poem, “Cow Tipping.” The idiotic “tradition” of cow-tipping is juxtaposed with the speaker’s confusion about negative views of U.S. society/culture in other countries; in the end, she begins to understand that these international criticisms view bragging about cow-tipping “at a party for a laugh” as representative of a self-centered approach to the world. This issue is full of great poetry, notably Stephanie Bolster’s “The Life of the Mind.” Bolster’s poems interpret paintings, Sylvia Plath’s last residence, and captions from books and newspapers. Her words animate material objects. Continue reading “Black Warrior Review – Spring/Summer 2007”

Everyone loves cake, right? There’s nothing more satisfying than trying a new flavor of cake. It’s something sweet and different, bringing excitement to your mouth and soothing your anxious craving. Caketrain is like a bakery that’s open twenty-four hours to successfully serve even the pickiest of cake eaters. Or in this case, readers. The prose in this magazine is definitely something to dive into. Pedro Ponce’s “Fortune Fish” explores the life of a curious anti-social boy obsessed with Fortune Fish. The boy, due to peer pressure, turns his curiosity to sex and accidentally walks in on his parents. Continue reading “Caketrain – Fall/Winter 2007”

Colorado Review is probably best known for its poetry. And this issue includes over fifty pages of poems, including the powerful “Orders of Infinity” by Jacqueline Osherow, a meditation on the inexpressibility of trauma and the loss of singularity when faced with infinity. The narrator of Osherow’s poem returns to a now-tree-lined Treblinka in an attempt to make sense of the thousands who were killed. What the narrator finds are cremated bodies measured in piles of stone. Although the poetry is stellar – and really every piece in this issue demonstrates an exceptional quality of craft – what captures the reader’s attention in this issue is the prose – including the winner of the 2006 Nelligan Prize for Short Fiction, a haunting story of a man’s unraveling by Lauren Guza, and the essays. Continue reading “Colorado Review – Fall/Winter 2006”

If anything about this hundred-fifty-page poetry journal can be generalized, it’s that this volume is a collection of stories. Court Green might be considered a relatively new publication, but its formula is already a winner. Aspects of the poetic narrative are in play everywhere, especially in David Hernandez’s “Fork Lines in White Frosting”: “With his presence he contaminated the birthday party, / his aura the dark plumes of a burning tire. Buttonhole // eyes and hair that rebelled the idea of lather and rinse. / Overmedicated, his heart snoozed inside his chest.” Of course, the confessional “I” can be overbearing, but many of the authors resist it, often without elaborate tricks. Occasionally you get a line that hooks you, like the opening couplet from Kirsten Kashock’s “Maiden Mead”: “It was when September, ending jealous, eats bees. We / nervoused again for the island in a boat still made of rocking.” The second half of Court Green is a dossier on bouts-rimés, in which every poem adheres to the same fourteen end-words that the editors advertised when seeking submissions. Although it’s fun to see what results from such concrete rhymes as “Garbo” and “hobo,” the amusement wears off fast, and most poems don’t allow for a deeper reading. Continue reading “Court Green – 2006”

Cranky is a slim little journal just bursting with spunky prose and poetry. The first poem, “When Company Comes,” by Robert Nazarene, sets the tone: “Mommy sweeps me under the sofa / beside the rotten Easter eggs / I was too dumb to find last spring.” There is little lyricism or slow contemplation here; turn to Cranky when you’re ready for sore spots and surprise. Take “The Bitter and Melancholy Exile of a Mummy,” the tale of an exhumed mummy who finds himself in New York City in 1935, which shows that it’s hard to make friends when you’re undead, but easy to become a celebrity. Before heading to Hollywood to make a depressing, falsified film of his own life story, the mummy meets Noel Coward at a cocktail party: “‘I have been often alone,’ Coward says softly, his gaze sliding from the Mummy’s eyes to hide from him the remnants of a desolation felt too often in the past. ‘Not like me,’ the Mummy says bitterly.” And it’s true—you can’t help feeling for someone whose own world is long out of reach and who, undead and immortal, has no way out of this one. Continue reading “Cranky / 2007”

This issue’s first story, “Fat Girl Outside” by Kathie Giorgio, is about an obese woman working in the “Large and Luscious Women’s Apparel Store.” Giorgio uses phobias, image-consciousness and fragmented sentences like, “Underwear that could flap for surrender in the wind” to create a dreamy narrative. It makes the reader side with the fat girl, despise her and admire her all at the same time. Continue reading “The Dos Passos Review – 2006”

Ellipsis, like many student-run literary journals, cleaves tightly to a sense of journalistic “normalcy.” It’s the type of journal in which you’re likely to discover solitary photographs of installation art projects hung out to dry on the spare end of an empty page, stories that sink into the easy chair of the quotidian, and poetry slouching towards the sentimental. Continue reading “Ellipsis – Spring 2006”

In a preemptory explanatory note, Fence’s editor seems slightly apologetic – and certainly nostalgic – as the magazine’s move from its New York City birthplace to the suburbs is explained. It may seem shocking that any journal as cosmopolitan as Fence was willing to migrate at all. Occasional bouts of realism may provide inroads into the altering psyche of the editors: they both mention children. Continue reading “Fence – Winter/Spring 2007”

This issue’s cover, graced by a cool-toned color photo of a flooded home on a river in South Dakota, is intriguing, and the writing inside eclectic. Perusing an issue of Flyway is like attending a series of author readings; each story, essay, or poem is followed by an author’s note that lets you in on what inspired the writer to write the piece, or what the work means to him or her. Continue reading “Flyway – Spring/Fall 2005”

“There are no more quiet places to read.” This is poem XI, by Joshua A. Ware, and it captures the essence of this issue of Harpur Palate. The journal begs to be read, it shouts, and even nags with lines like, “By now you will recognize / that I have taken some liberties… and that when / I describe the third most / happening bar in town I mean / this one,” from Jeffrey Dodd’s “Translator’s Note.” Continue reading “Harpur Palate – Winter 2007”

What are the implications of being human in a complex age? Interim offers a special feature on the subject, and it’s likely to stimulate debate as much as inform. Maxine Chernoff and Paul Hoover, partners in art as well as life, make cases for literature as an ancillary tool for improving the human person in an age plagued by deception and frivolity. Continue reading “Interim – 2006”

As Journal of New Jersey Poets quietly celebrates its thirtieth anniversary, something curious remains about the manner in which poets write about the Garden State. More than a locale but less than a state of mind, New Jersey is evinced in its most dignified sense: fond and often dryly ironical memories of family gatherings, wooded communities, and The Shore, The Shore, The Shore. Continue reading “Journal of New Jersey Poets – 2006”

There’s a lot of death in this issue. A lot of death. Also: depression, senility, thoughts (and acts) of suicide, and many, many old people. If, as Andrei Tarkovsky said, “the aim of art is to prepare a person for death,” you’ll get some good practice here. Personally, I prefer art that prepares me for something else. I don’t know what, exactly – call it mystery. Continue reading “The Kenyon Review – Spring 2006”

Meena is a literary journal that prints all contributions in both English and Arabic. This second installment of the journal focuses specifically on Hurricane Katrina, the ramifications of rising floodwaters, and related global political-environmental concerns. Its prose elements include a discussion on the anthropological significance of famous bodies of water (the Ganges as bringer of tranquility to the dying, the Volga as a “strong citadel in the face of invaders,” are only the two most obvious metaphors referenced). Through reading these, we learn that the allocation of the Nile River resources has become a major component of the Arab-Israeli conflict, especially after Sadat’s plan to enrich Sinai with an irrigation channel was stunted by Ethiopian resistance. It is now suggested that Israel’s impending water crisis – which already leads to enormous imbalances in usage – may furnish grounds for another war. A brief socioeconomic history of the now-notorious 9th Ward, and a speculative history of the death of Atlantis that’s really about New Orleans, aren’t far behind. Continue reading “Meena – 2006”

Driving on an Oakland freeway not long ago, a recent Iowa MFA graduate defined contemporary poetry as something that was less of a craft, than a handicraft: after adamantly denying my knowledge of the various journals where she had published, she described a world of self-made chapbooks distributed solely among “friends.” There doesn’t seem to be anything wrong with this, until one remembers that she and her “friends” have been granted inroads into the poetic establishment, its scarce jobs and grant monies. Continue reading “Melee – January 2007”

This issue of The Midwest Quarterly offers a broad selection of essays, beginning with Mark Glouberman’s “The Birth of Death in Athens and Jerusalem,” a comparison of death and origins in Homer’s Iliad and the book of Genesis. Continue reading “The Midwest Quarterly – Winter 2007”

I selected this attractive volume for its beautiful cover—aware of literary potential, of course, as Mississippi Review is one of the better-known journals—and opened it to find a masthead identified as “Actualization” and a collection of “prose poems.” Continue reading “Mississippi Review – Fall 2006”

This issue of the attractive journal, New Madrid – named for the seismic zone of the central Mississippi Valley and published by Murray State University in Murray, Kentucky – is devoted to writing by former teachers at Murray State. Continue reading “New Madrid – Winter 2007”

New Ohio Review (/nor) clearly states, “This year we are particularly, though not exclusively, interested in innovative and cross-genre work that blurs conventional boundaries and resists easy definition.” /nor succeeds on all accounts. /nor is allusive, elusive, packed with experimental poetry, essays, fiction, philosophy, and everything in between – at once lyrical and pushing the boundaries of meaning, drawing from any and every source, exploring as well as indulging the natural slippage of language and the shifty exchange of meaning and context, where form is often as informative as text. One such example is Rachel Blau DuPlessis’s poem,“Draft 68: Threshold,” wherein words and, increasingly, entire lines and almost whole stanzas are blacked out as though at the hand of a censor, some silencing Other. This censorship leaves a “twist[ed] discourse,” “obliterates statement,” but ultimately is self-defeating, as what is blacked-out – these “wordless words” – becomes more interesting and more beautiful than what neutralized scraps are left. Continue reading “New Ohio Review – Spring 2007”