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This issue of The Bitter Oleander is heavy on translations and features an interview with writer and editor Nicomedes Suárez-Araúz as well as a selection of his poetry, which, overall, provides an international flavor to the collection. The translations in this issue are accompanied by the pieces printed in their original languages, from German to Spanish to Swedish, which I think adds nuances to the reading that otherwise might not be caught.

Continue reading “The Bitter Oleander – Summer 2003”

This new-ish journal (only on its third issue) has already generated lots of positive talk among poetry insiders and continues to showcase a wide variety of writers: experimental, traditional, narrative, lyric – name a style, and you’ll probably find it in here. A feeling of whimsy and humor pervades this issue; in the editor’s notes, Ian Randall Wilson confides that they used a “Dada” method to organize the submissions. But the felicitous juxtapositions created work in the reader’s favor.

Continue reading “88 – October 2003”

Phantom Drift is an annual journal of slipstream writing: fiction, nonfiction and poetry which experiment with fantastical and realist elements. The work published in Issue 5, Navigating the Slipstream, is unapologetic and unseats us from our perceptions of reality. Continue reading “Phantom Drift – Fall 2015”

For Polychrome Ink, the goal is simple: prove that “diversity is not a niche market.” The contributors and their content exhibit diverse sexuality, gender, religion, race, ability, and more. The authors featured dig into the intersection of power and vulnerability to tell stories where people are diverse, but most importantly: where people are people. Continue reading “Polychrome Ink – October 2015”

The Gay and Lesbian Review (G&LR) analyzes and affirms queer culture in the arts. The March-April 2016 issue, The Art of Memoir, compiles essays, book and theatre reviews, and a smattering of poetry to comment on and question how far the queer movement has come (or hasn’t). Continue reading “The Gay & Lesbian Review – March/April 2016”

Since 1973, Saskatchewan’s Grain: the journal of eclectic writing has been publishing new and emerging writers. The Fall 2015 issue entitled “Who’s Knocking?” complied by guest editor Alice Kuiper, begins with a quote from Thomas Edison:  “Opportunity is missed by most people because it is dressed in overalls, and looks like work.”

Continue reading “Grain – Fall 2015”

With sixty poems, eight fiction pieces, three nonfiction essays, four reviews, five new translations and a featured artist, the 223-page 2016 winter issue of The Cincinnati Review has more than a little something for everyone. It’s biblical in scope, thick in thought and entertaining as hell. Continue reading “The Cincinnati Review – Winter 2016”

“(Re)Collecting the Vietnam War” is the theme of unrestrained poetry, prose, drama, and art in this special issue of The Asian American Literary Review. This hefty volume can be regarded as a history, much like survivor accounts of other wars. Its five sections are each prefaced by a curator, some offering more explanation than others to illuminate what follows. Contributors to this volume straightforwardly talk about the past, present and future, while not glossing over the conflicts in Southeast Asia four decades ago.

Continue reading “The Asian American Literary Review – Fall/Winter 2015”

Melissa Gwyn’s oil painting on the cover of Catamaran Literary Reader hints at the 40 spectacular works inside by various artists. Gwyn’s creations are hard for me to describe, so I’ll let her do it: “Drawing upon the opulence and detail of Netherlandish painting and the sensual materiality of Abstract Expressionism, my work explores an ‘embarrassment of riches’ that is both visual and thematic.” Her description still leaves me hanging, but it doesn’t distract from the beauty and complexity of her paintings that appear to be flowers or buds and other times appear otherworldly. Continue reading “Catamaran Literary Reader – Winter 2015”

Micro-mag Blink Ink has seen some exciting changes thus far in 2016, including a new and improved website, a special glossy-covered issue at the beginning of the year, and in the latest, #23, a postcard insert of Kristin Fouquet’s black and white, gender-bending photograph “Edgar Allen Poe-Boy.” But there’s more to Blink Ink than a new site and a fun postcard: there are also great little poems packed into every issue, issues small enough to comfortably fit in the back pocket of one’s jeans. Continue reading “Blink Ink – Number 23”

I Wanted to Write a Poem, William Carlos Williams explained why he reduced a five line stanza so that it would match a four line stanza: “See how much better it conforms to the page, how much better it looks?” Unsurprisingly, this same attention to form–form for form’s sake, as an aesthetic consideration, perhaps even more than a literary one–characterizes much of the work of the fifteen writers Seneca Review features in their Spring 2005 edition “New Lyric Essayists.” Continue reading “Seneca Review – Spring 2005”

This issue’s guest editors, Crystal Wilkinson, a professor of creative writing at the University of Indiana, and award-winning poet, Debra Kang Dean, have selected four stories, five essays, and fifty pages of poetry by established and emerging writers. I was struck by the volume’s unifying tone, which might be best described as poignant — quiet, traditional work, deeply felt, writing that is both psychologically astute and moving. Edmund August gets my vote for the most poignant title in the issue, perhaps for one of the most poignant titles of all-time: “How Will We Know Which One of Us Died First?” Continue reading “The Louisville Review – Fall 2005”

“Ooh, mail art!” Such was my glee in flipping through Fourteen Hills, which is chock full of collages by collaborators Mike Dickau & Jon Held Jr., not to mention the inimitable Winston Smith. This issue of the journal is something of a collage itself, boasting a variety of talented writers from San Francisco and from around the world. Binyavanga Wainaina’s “Hell is in Bed with Mrs. Peprah” takes the reader to a beauty shop in Kenya in the late 70s, where a young girl sits among the hot combs and gossip and listens to the educated, eccentric, and undeniably strong “Auntie” Peprah defend herself against naysayers. Continue reading “Fourteen Hills – Winter/Spring 2005”

The ten stories of this issue are eclectic in style and, alas, quality: most are engaging, many are well-written, and some could use a bit more work. Descant opens with Paul H. Williams’ “Seeds in the Cellar” about a young man who is somewhat embarrassed by his Cherokee heritage but embraces it in a private moment of mourning for his dead grandfather. Continue reading “Decant – 2004”

“The memory is merely a summary/of the last time I remembered it,” writes Michael Penny in his wonderful poem, “In Memory.” Memory is the theme of the issue, which, among a collection of poems worth remembering, includes interviews with poets Aislinn Hunter, Laurie Block, and Doug Nepinak. I was unfamiliar with many of the poets here, most of whom have published primarily in Canadian journals, and I was happy to be introduced to their strong, original work. Continue reading “CV2 Contemporary Verse – Winter 2006”

From the moment you pick up Quick Fiction, something tells you it isn’t a standard literary journal. There’s the diminutive size, the quirky cover art, and, most notably, the refreshing and innovative selections of flash fiction. Each piece clocks in at five hundred words or less, the subject matter ranging from a surreal sexual encounter to sea turtles to an overdue library book to an interview with the CIA, featuring styles both lyrical and gritty, with some entries blurring the line between prose and poetry. Continue reading “Quick Fiction – Fall 2005”

Poetry dominates the spring edition of Bitter Oleander, a handsome, glossy journal produced by Bitter Oleander Press. This issue features work by twenty-six poets, with six excellent translations among them. Standouts include David Johnson’s stark and affecting three-part poem “Morning” and Christine Boyka Kluge’s “Swallowing Darkness”: “This is the time of night / when blackest dreams unfold / like bats from secret eaves.” Continue reading “The Bitter Oleander – Spring 2005”

Lake Effect, an annual journal published by Pennsylvania State Erie, features an eclectic selection of poetry, fiction, and creative nonfiction. This issue includes the winners of the Sonnenberg Poetry Award, the Rebman Fiction Award, and the Farrell Nonfiction award, plus brief paragraphs stating the judge’s reasons for selecting the winning manuscripts. Both winners in the prose categories are short pieces, two to three pages, and lush and surreal in tone. R.M. Evans’s “Seahorse,” the nonfiction winner, is a particularly innovative look at the author’s recurring dreams and filled with unique imagery, “I feel my alveoli distend like spinose balloon fish.” Continue reading “Lake Effect – Spring 2005”

isotope, a journal of literary nature and science writing, published by Utah State University, boasts an impressive selection of fiction, nonfiction, and poetry, in addition to a striking, full color portfolio of artwork by Richard Gate. This issue includes the winners of the first annual Editors’ Prizes: “Consumption,” a remarkable essay by Sunshine O’Donnell, and a suite of poems by Thomas Joswick that examine the life and art of John James Audubon. My favorite of Joswick’s poems is “Audubon Anticipates Dawn and Blood”: “Before sunrise, from scratching grounds, / where males assemble to strut and boom, / you may hear their rumpled notes, / followed, at times, by rapid / and petulant cackling, / like laughter.” Continue reading “Isotope – Spring/Summer 2005”

Too beautiful by half, Bardsong, The Journal for Celebrating the Celtic Spirit, is an unabashed 8.5 x 11-inch publication devoted—in both senses—to the Celtic theme which is expressed by Assistant Editor Kathleen Cunningham Guler as: “[. . .] hiraeth. Untranslatable into English, my own understanding of it has come to mean several ideals: a melancholy longing for an unfulfilled dream of the way things should have been; a need to return to the ancientness of our culture and people; and that beneath the surface of what we consciously see in the present world lies another place, one that is sacred and holds the secrets that are the heart of our heritage.” Continue reading “Bardsong – Summer 2005”

32 Poems could have taken a more minimalist approach to poetry, as its design and layout would suggest, but instead it touches on every fundamental poetic theme—life, sex, change, death—with the varied imagination of the finest journals around. With a book binder’s precision, each poem is designated to one page, never longer. Continue reading “32 Poems – Spring/Summer 2005”

This issue of AQR devotes 80 pages of photo-essay to: “Chechnya: A Decade of War,” by Heidi Bradner. “A Chechen woman holds photographs of her missing sons [. . .].” For those not au courant, Stalin deported the Chechen nation to this desolate area during World War II. Deborah A. Lott’s “Fifteen,” a moving account of her father’s legacy of insanity provides this remarkable insight: “That I made the mistake of aligning myself with the parent who was crazy because I confused his intensity with love.” Continue reading “Alaska Quarterly Review – Fall/Winter 2005”

From its attractive table-of-contents pages to ads for the Missouri Review, Notre Dame Review, and Shenandoah, New Letters is a class act, including the inside-cover ads for books by and about Peter Viereck as well as for New Letters itself. Robert Stewart’s “Allow Yourself to Say, Yes, An Editor’s Note,” includes this quotation: “‘This playfulness,’ says scholar Richard Rorty, ‘is the product . . . of the power of language to make new and different things possible and important [. . .].'” Continue reading “New Letters – 2005”

Editor Jaime Robles chooses a quotation from Umberto Eco’s The Name of the Rose to help define “uncanny love,” this issues’ theme: “first the soul grows tender, then it sickens…but then it feels the true warmth of divine love and cries out and moans and becomes as stone flung in the forge to melt into lime, and it crackles, licked by the flame…” But there isn’t much moaning here, as it turns out. The work in issue 22 is, for the most part, controlled, tightly wound, sure of itself, and intense. Continue reading “Five Fingers – 2006”