Here, writers can get a deeper sense of the journals by reading reviews of the latest issues. This is not intended as a substitute for the actual journals, but merely a way to guide writers toward the journals that most interest them. Plus, this site offers a way for writers to keep in contact with editors. A story might not be right for a magazine, for instance, but a thoughtful and heartfelt..
The Shenandoah is nearly seventy years old now. It feels appropriate that so much of the writing in his brilliant volume is concerned with the body. Founded in 1950, the publication has a list of notable predecessors such as Tom Wolfe, James Boatwright, and R.T.
Bennington Review was originally founded in 1966 by Laurence J. Hyman, the son of Stanley Edgar Hyman and Shirley Jackson. The first iteration of the magazine focused on publishing work by distinguished faculty and alumni — Bernard Malamud, Helen Frankenthaler, and Kenneth Burke, but gradually more and more work came from outside the college community, and the magazine increasingly received national attention. In 1978, Bennington Review was relaunched as a highly visible national journal. Under editors Robert Boyers and later Nicholas Delbanco, Bennington Review became a testing ground for contemporary arts and letters, publishing work by such established figures as John Updike, Joyce Carol Oates, Annie Dillard, and John Ashbery, and by emerging writers like David Remnick and Louis Menand. Fifty years after its original founding and thirty years after its last issue, in 1985, Bennington Review is resuming publication, with poet Michael Dumanis as Editor.
Michael Dumanis now shares his thoughts on the journal's current incarnation and the editorial process.
Interview by Jennifer Stern
What do you feel sets Bennington Review apart from other literary journals?
It's a new year, friends, which means time for some serious resolution-ising. If you've been writing and submitting up a storm lately, good for you. Please ignore everything below and get back to whatever you were doing before.
I was excited to discover a poetry only journal, but that excitement soon gave way to disappointment since the journal is a journal in name only. The site is more like a collection of names with one or more poems posted.
We all know that you can’t judge a book by its cover, yet the cover of the current edition of New South offers readers a strong hint toward the inventive, beautiful, and sometimes strange work found within the journal. Previously known as The GSU Review, New South has been publishing fiction, poetry, non-fiction, and art since 1975. Works first appearing in New South have been anthologized in Best American Poetry, New Stories from the South, Best Small Fictions, New Poetry from the Midwest, and noted in Best American Short Stories and Best of the Net. Anna Sandy-Elrod, Editor-in-Chief, shares her thoughts with The Review Review.
Interview by Chuck Augello
How would you describe New South to a reader unfamiliar with the journal?
Transition defines its goal to be “a pivotal medium for discussion of the global predicament of the African Diaspora in an age that demands ceaseless improvisation.” Publishing short fiction, non-fiction, poetry, reviews, and interviews with these concerns in mind, the magazine is an intellectual forum for reflection on identity. Alejandro de la Fuente writes in the magazine’s submission guidelines, “in an age that demands ceaseless improvisation, we aim to be both an anchor of deep reflection on black life and a map charting new routes through the globalized world.”
Professor de la Fuente is the founding Director of the Afro-Latin American Research Institute at Harvard and the faculty Co-Chair, along with Professor Jorge Domínguez, of the Cuban Studies Program. He is the Senior Editor of the journal Cuban Studies and the Editor of Transition.
Interview by Catherine Fahey
Transition started in Uganda in 1961 by Rajat Neogy as a literary magazine. It was closed in 1968 after Neogy was arrested. It was revived in 1971, and Wole Soyinka took it over in 1973, but it folded in 1976. Henry Louis Gates, Jr.
As I am currently experiencing, for the first time, waiting to learn of your fate in regards to MFA programs can be quite the stress magnet. It’s unnerving to release your writing to the world in any sense, whether in workshop, as a submission to a literary journal, or at a public reading.