one purpose, to separate
heart from chest.
one purpose, to separate
heart from chest.
My preferred type of journal/magazine to review is one that is heavy. Meaning full of eclectic material that makes this reviewer want to personally reach out to the editors and congratulate them. This is not to say I don’t love a jam packed issue that sits weighty in my hand also, because I do! In the case of Confrontation I am getting the satisfaction of both. The Spring 2015, Issue No. 117 has me as excited as a Harry Potter fan on his first to trip to Universal Studios because it is 185 pages of substantial material.
Founded in 1968, this bi-annual journal is known for publishing Pulitzer Prize winning poets like W. H. Auden, to newer writers like Dustin Junkert who is working on his MFA at Georgia College, along with a curious sort of published authors in between. That fact, as well as an organized platform and firmly structured style, I give this issue of Confrontation Five Stars and here are my five reasons:
1.) Visually this magazine is well formatted with a well thought-out layout that includes five short stories, eight poems, one play and a section called Essays and Memoirs, which had three contributing authors. Smack dab in the middle was four full color pages with artwork by the talented and well-known poet, activist and artist Lawrence Ferlinghetti, whose piece titled The Birds, 1958, also graces the cover. To complement the colored pages is a very interesting non-fiction piece about the artist by authors Susan and Carl Landauer. The article was varied and while it provided the reader with an insight of Ferlinghetti’s very interesting life experiences, it was also sprinkled with facts about Abstract Expressionism and other premiere artists which, as an art lover, enjoyed learning about. The article also does a supreme job of explaining the history of “poet-painters” and how they flourished in the late 50’s and 60’s. Loved that there was such an informative article to coincide with the artwork.
2.) Writers rejoice! While their submission process is still handled via snail mail, this small matter is outweighed by two things; first–short turnaround time. Response time is three to four months which is pretty good considering they work with a small staff and a scheduled reading time frame. They read ALL submissions from August 16th to April 15th. If you submit unsolicited material outside of that time frame, your submission will be returned unread. I like parameters, most writers do. (Note: International writers only are allowed to submit material though email at email@example.com.) Second is that they pay!! Quite handsomely too. If you are solicited by them to submit, you will receive a bonus amount. Here is the breakdown of non-commissioned publication payment:
$175-$250 for stories
$75-$100 for poetry
$100-$150 for non-fiction
3.) Exceptional well-written content is reason number three. Good content requires good writers and Confrontation has a range of authors in this issue, from well-seasoned ones with impressive lists of publication credits to newer writers that hold promise of garnering their own long list in the future. Honestly, there was not one I didn’t enjoy reading but some of my favorites from this issue include Laura Budofsky Wisniewski, Haesong Kwon and Darrell Dela Cruz in the poetry category and Dennis Lang’s essay, Exiled: The Mystery of Baby Boomers and Suicide. Mr. Lang’s approach to the subject was original and informative. He set the essay up to be read as if you were a silent observer within the confines of a grief support group. The dramatic take on the subject, along with the different viewpoints of the participants, left me feeling compelled to reach out to each one of them in offer of condolence. The essay left me truly feeling something. This could also be said of the fine poetic pieces on the pages of the journal. Having just recently visited an elderly friend of the family, Ms. Wisniewski’s poem, entitled Osteoporosis, painted a vivid picture in my mind of the trials my friend is currently enduring and praise for her courage to continue to move forward each day. The following stanza speaks volumes with poignant accuracy and feeling:
My wings are forming
You can see it
in the trembling of my hands
I will lose my love
of the ground.
4.) Variety is the spice of life and my fourth reason for a 5-Star rating. To juxtaposition diverse contributors with varied content was evident in this issue and brilliant on the part of the editors. On one page you fall upon an endearing yet quirky play called Frankie’s Market, written by University of Maryland English Literature Professor Raphael Falco. This piece finds two friends, Abe and Logan, confronting the end of a chapter in their lives as the indoor market they once sold their wares to side by side close its doors. This play had the honor of receiving a staged reading at the Quotidian Theatre in Bethesda, Maryland. Then, as I mentioned earlier, your eyes are treated to the colorful glossy artwork by the talented Lawrence Ferlinghetti as well as a sad memoir by Karen Benning. The story tells of her mother’s mental illness and a moment in time that left Ms. Benning facing the harsh reality of her situation in the moving piece, Why I Stopped Asking. Wrapping up this issue is an excerpt from Martin Tucker’s 107 Confrontations, or The History of Confrontation Magazine, Up to a Point, which is a great read that includes some insight on Confrontation’s humble beginnings in 1968 and delves into how some of the issues evolved. Note: This title is available on Amazon as a Kindle ebook.
5.) Without a doubt my favorite contribution to this issue is a short-story from author and MFA Candidate at Rutgers/Newark, Nick Fuller Googins. His story, Furloughed, was all about confrontation and perhaps why it was, for me, the best piece in this issue. This well written tale grabs you from the beginning as you are invited not only into Teddy’s home, but into his heart and head as well. The story tells of his struggles to confront his past, the loss of his wife, his relationship with his son and maybe most fascinating, the destruction of himself. The tale weaves a picture of a see-saw life where Teddy tries to not only justify his drinking but actually plan his day around it as he is furloughed from his job with the highway department. Mr. Googins does an excellent job of carefully showing us Teddy unravel with each ten second countdown. The narrative climaxes with a riveting moment, a near death experience followed by a string of “what-if’s” that has the reader literally urging Teddy to pull himself up and out of the snow and finally confront what he can no longer ignore. The story left me wanting a part two because the author took the time to connect you to Teddy and see him come out of being furloughed better than when it started.
To be honest, I could have gone on and on but I shall leave the rest to you as I am sure, like me, you are sparked to obtain your copy of Confrontation’s Spring Issue 117 soon.
Additionally, to those writers thinking of submitting, I remind you to be mindful of their reading periods and that there is an upcoming Poetry Prize this fall. The submission period is limited. Only post marked entries from August 16th – October 1st 2015 will be accepted. While there is a $10.00 entry fee for the contest, note that it includes a year subscription to the magazine as a bonus.
Stalled affection towards
a torn heart
sharp taste of
A bewildered soul
its own mercy
as the sharp blade
the panes of existence
is the realization
that a closed mind
In line, they wait. Their souls offered up for money that has touched the lining of too many unwashed trousers. Out of fear they trade favors with a god they know doesn’t exist, make promises they never intend to keep. Biting filthy nails, picking at half-healed sores or chewing on their darkly painting lips, they wait. Marking time with the song on the stage that provides their next meal. Adjusting what little material covers their oiled skin while shifting from stiletto to stiletto in an effort to forget a family they no longer know.
Unlike cattle headed for slaughter, they know their fate, their unexpected destiny. The music stops, the microphone booms. Collectively they inhale, lifting their chins. The next girl goes on as the other descends the metal stairs, bare, belittled and destitute as the owner extends his grimy hand before allowing her to pass. Head bowed she delivers the bills to him like a child at the candy store, wrinkled and damp. He slaps her and the surprise sends her reeling against the metal stage and she crumbles to the floor, “Next time do better” he says and steps over her naked body without pause. The girls dissolve into themselves, blind to their reality for the sake of self-preservation.
Octopus is an online poetry magazine that is currently in its 12th year of publication. The magazines founders are Zachary Schomburg and Tony Tost. The editor of this particular issue is Joseph Mains. The listed editors work on a rotating basis. Designers of the site also rotate. This issue is designed by Travis Meyer. In an attempt to find out more about the designer you only need to click on his name, however, in this case I was re-directed to a giant “?”.
When reviewing an online or hard copy edition of a literary magazine I always start with the ABOUT section. This usually gives the reader, reviewer or possible future submitter, an idea of the theme, content, or idea behind the editor’s vision. Octopus has decided to keep it basic by stating, “Octopus is named after a sea creature that is intelligent, lives in dens, and uses ink as a defense mechanism.” So, it seems, they have decided to let the reader explore the contents and judge for themselves. To be honest, the magazine has already perplexed me as a reviewer. That being said I decide to dig right in and consider content since at this point, I find that navigating the site is quirky and complicated. The designer has “hidden” the menu for the page within a long black rectangle at the upper right of the page that I only stumbled upon by accident.
Octopus is a poetry magazine but it also has additional categories which include Reviews, Recovery and Notes. I click on Notes with excitement in thinking I will perhaps fall upon some history or idea behind the title, the contents, something! But nope, the Notes, category is not notes at all but the list of contributors to the mag with short bios. This list is extensive and the bios reveal that the majority of the writers showcased are well-educated, seasoned writers with vast publishing credits, not of which all are poetry. Noted, however, is a couple of new writers.
These new writers are Marshall Walker Lee and Nico Alavarado. Mr. Lee is from Austin, Texas and contributes his writing skills to this magazine with a well-written review of Knox Americana: The Mystery of the Hidden Driveway by Jennifer L.Knox. This piece reviews a poetry collection which I only discovered after reading it in its entirety. A quick summary of what was about to be reviewed would have, in my opinion, been a better opening to this write up. This point brings us to our next newcomer, Nico Alavarado, whose addition to this issue was a recovery piece entitled,The Enormous Chorus Pressed Wafer, by Frank Kuenstler. If you are not familiar with what a recovery is, here is a great explanation from the issue itself, under the tab SUBMIT:
Recovery projects are brief essays celebrating a single book that you feel people should be reading but are not reading. The recovery should be about 1000 words, about a book that is at least 20 years old & out of print, but all those are flexible. The only real requirement is that the recovery inspires a reader to want to track down that book and read it as soon as possible.
Bravo Mr. Alavarado, I did want to read this book after your recovery and rushed right to my library’s website to request it. Sadly, it was not in our system but I work for the library and I have my ways. But back on task, this recovery was very well-written, concise, persuasive and thorough. I hope to come across this writer’s other work soon. Alavarado’s opening summary of what he was attempting to “recover” was appropriate.
Despite the diverse and varied backgrounds, as well as publishing credits of the poetry contributors, I had a difficult time finding any of them to my personal taste, although some held merit for writing structure, formatting and quirkiness. Several of the poems, including one by Elaine Kahn, however, were just difficult to read. Her “Name like an Empty Bag” was jagged, disconnected and far too obscure for me to even try to extract any feeling from it. However, I found that several of her poems held promise if only for one or two particular lines from a stanza. For example in the poem, “Reality Steve,” the second stanza is brilliant. She writes:
I’m going to send you a drawing and a letter.
The drawing is going to have spit all over it
and the letter is going to say
I don’t want to be your friend.
I love this particular stanza and the rest of poem is good but it quickly lost momentum for me when the poem became repetitive:
The feeling of being with you,
in the sense that
being with you feels,
is being nowhere…
Another poet, Ashley Toliver is from Portland, Oregon and obtained her M.F.A from Brown University. Her contribution to the magazine is a set of four prose pieces, all entitled, Housekeeping. This poet’s work was relatable and stood out for me for quality content and well-written prose. The fact that all four works bared the same title made it all the more interesting to read and I will say it again, quirky. Perhaps there is a theme here after all.
In general, the poetry of Octopus is free-verse and diverse. I don’t sense any definitive theme with this particular edition or that the selection of poems is in any way relative to the visual design which has a basic black and white hand-drawn feel to it representing a cityscape in the background and loading dock in the front. The drawings show great talent and I would compliment the artist if the name was posted. It is possibly the designer, Travis Meyer, but that is just a guess on my part. It also has a sliding feature that I found to be obtrusive when you attempt to navigate the site. From researching past issues, I did take note that each issue has its own unique design and varied from very manageable to difficult for a visitor to the site.
Note to writers, both new and previously published, considering submission: Research some of the former issues on the site. Several of them had excellent content, varied contributors and were exceptional reads from start to finish. The submission guidelines are well laid out and straight forward.
This online poetry magazine gets a 2-star rating from me for many reasons. First, it feels like it was put together under a tight deadline. It is not edited appropriately for spelling, sentence structure or content in what should be the basics of each issue. My second problem was with the entire layout and design of the website. It was not user friendly at all. The moving opening page made navigation difficult and the mislabeled (rather hidden) menu bar made searching the site for content virtually impossible unless, unlike me, you found it rather quickly. Then there was the content itself. Some good poetry here but since the overall feeling of the magazine itself leaves you perplexed, the reader’s desire to continue on lessens with each entry. Consistent good poetry and content is what makes a reader delve in. If there is a struggle to find anything worthwhile the reader will move on.
As I stated before, I did take the time to look at other issues and I suggest that interested readers do the same as I found the majority of the past issues to be very good in content, visually pleasing and user friendly, as well as properly edited. Taking into consideration that this magazine is well established I can only hope that this particular issue is just a fluke. I intend to take an interest in further issues and perhaps will get the opportunity to review it again.
Room is Canada’s oldest Literary Journal dating back to 1975 when a collection of like-minded woman decided to gather the female voices in literature and give them a place to showcase their work. Currently published by the West Coast Feminist Literary Magazine Society, the journal prides itself in being a “forum for women writers, including trans* persons, gender-variant and two-spirit women, and women of non-binary sexual orientations.”
Room accepts original submissions from woman only and frequently chooses to keep their editions attuned to a theme so be mindful of this when considering submitting to them. Because they publish quarterly, adequate time to research what they are looking for in regards to future editions is not difficult to ascertain.
In Translation, Volume 38.1, is Room’s first publication for 2015 and they have come out strong. Without reading a word I had a good feeling about it as it sat in my hands weighted with the promise of a lot of material along with a striking cover that had the art lover inside me clapping. This particular volume has a theme, as explained by Rachel Thompson in the Editor’s Letter, she writes:
“In this issue of Room we explore literature translated from languages other than English, and the act of translation in all its senses.”
The journal is sensual in its obscurity to define language as something separate yet oddly exactly the same in the sense that it is the one thing that binds us as humans together. In other words, through communication, no matter the language, we are one despite the varying degrees the translated words spoken in various dialects, accents and tongues. The journal conveys this with its memorable artwork, interview, fiction, creative non-fiction, poetry and a play written by Erin Moure, a Montreal based poet and translator. I will get back to this little nugget which was probably my favorite piece.
The look and feel of it right off tells you the pages within won’t disappoint but lets start with the look. Visually the journal is truly a work of art in and of itself. The benefit of this particular volume is that throughout its pages you are graced with delicious appetizers for the eye in the remarkable, even breath-taking imagery provided by Meryl McMaster, an Ontario based artist whose digital prints not only graces the cover but is sprinkled throughout the journal. Along with Ms. McMaster’s work, the eyes are fortunate to enjoy the work of Amy Goh, originally from Singapore she specializes is black and white illustrations and Christina Tjandra, a free hand artist whose Indonesian culture is expressed magnificently as well.
Now let’s dive right into the feel.As I mentioned before, the journal has a little bit of everything. The poetry is strong and mostly written free-verse and juxtaposition-ed nicely with several works of art, almost to give visual aid to the words on the counter page. The opening poem, “Pregnant”, by Souvankham Thammavongsa sets the theme to the entire work by showing us that the word pregnant in the Lao language opens up the mind to a different way of seeing the word through this interesting translation leaving the reader to ponder the translation if only for a moment as it leaves you anxious to turn the page for more.
As mentioned before, the Room, has a wide variety of well written material. The read in general is easy, slows well and while diverse in the writing level with seasoned to beginning writers throughout, the collective is obviously chosen with care and consideration of the theme of the volume in terms of context. Two standouts for me personally was the poem entitled, “Notes From Across the Atlantic”, by Jane Iordakiyeva. She takes you into her personal world of the unknown in a different country than her native one and you truly feel her “voice” when she says “I miss the conversation, but I cannot say that I need you”, with a matter of fact tone that is telling of her underlying true feelings of being just fine in the foreign country she writes from.
The gem of this particular volume for me was “from Kanycta” by Erin Moure. A play that is written in both french and English in a way that the two languages seem to battle for stage presence, leaving the reader breathless between feelings of sadness and utter joy with the banter of the cast of characters (living and not) and there is no winner in the battle, they equally share the spotlight. I found it to be refreshing to read and also challenging and I love a good challenge, especially one that pays off in the end.
The 128-page journal consists of more that just the written word for creative purposes but also has a section that reviews books of fiction and poetry collections. Following this, the reader gets a treat in a section called Book Mate where the reader gets the privilege to get a behind the scenes introduction to part of the Room team. In this issue we were introduced to Sheida Azimi, Room’s poetry coordinator via a short question and answer section I enjoyed. This is a true bonus to writers reviewing the journal for possible submission as it gives you a connection to someone on staff. There is also a few pages of advertising and contest announcements. This particular issue reveals that Room itself is holding a contest for cover art and a call for submission from woman of color.
This journal gets a well-deserved 5 star rating without a bit of hesitation. With forty years behind them and no doubt some high hills and bumpy roads to overcome in the past, they have certainly mastered the art of a good literary magazine in my opinion.
Overall, this journal delivered some damn fine writing by talented and diverse female contributors and kudos to the editors with regard to choosing just the right work to fit this puzzle together in a way that results in a fine collective.
Joanne C. Spencer
Underneath the box is a stand
Upon the box there is a polish
An engraved flower
Around the box is a cold gray
Beyond that box is a chapel
Inside the chapel there is another box
On a stand like the first
Within the same cold gray
Beside the box is nothing
Aside from the box
There are no important features
Of the onlookers who grieve in sorrow
With the people who loved him dear
Throughout the day people cry
About the boy they knew so well
Above the ground he lays now
Under it he will rest soon
Among the people that grieve
There is someone who sticks out
Except for the preacher
He is the only one who didn’t know the boy
Between the Mother and the Brother
Stood the Father he never knew
Until the day the mourners move on
His face will be ever present…