TMR Editors’ Prize
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Current Issue: Spring 2014
Featuring the winners of the 2014 Jeffrey E. Smith Editors’ Prize and work by Kai Carlson-Wee, Kerry Hardie, Jill Kandel, David Lee, Monica McFawn, Brian Van Reet, Melissa Yancy and Dave Zoby.
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There are many ways to define “success” as a writer. Writing teachers always focus on craft, and I think they’re right. What really is better than the satisfaction of knowing you got it right—the true dialogue, the description that operates on multiple levels, the existential moment well rendered as all the pieces of the writerly puzzle are drawn, nearly perfectly, to their center of gravity? Truly, these are the reasons to write and to keep writing. And yet, there’s always this other moment when you “have written,” when the craft of writing is temporarily put to bed and you have to think of yourself as a writer in the world, a person who must find readers for this book you’ve made. It’s a daunting moment.
The story of finding my way in the literary world is intimately connected to The Missouri Review. In 2009, my story, “Praha” was accepted for publication. It was a wonderful experience to work with the fiction editor, Evelyn Somers. I think every fiction writer has an editor fantasy. This idea that there’s a person out there who loves your work, and because they get it, are in a position to make it better. This, for me, was Evelyn. It felt, for the first time as a writer, that I was in it together with someone. Sometimes her questions were line item things: Is Beton (a Czech drink of Becharovka and tonic) a proper noun? Sometimes it was a deeper question. Would the character say this just here? What if he never said it at all? What might that silence mean? In any case, this editorial process made a story I was already excited about into something special. I’ll be forever grateful.
The fact that it was beautifully published almost goes without saying. The images that accompanied the text and the quotes they pulled out to give special attention to were perfect. I could have died with happiness right then.
And yet, there was more. The TMR publication was like magic. Suddenly, like wind created from the flapping of a butterfly’s wings, the literary doors blew open: The Blue Earth Review, The Red Rock Review, Pinyon, and then The Kenyon Review, and Epoch. I’m joking a little bit. How does one gauge the influence of a strong publication? It is impossible to know.
However, when Steve Yarbrough selected “Praha” for TMR’s William Peden Prize, I was stupefied. TMR’s best story for 2009? What does that mean? For a little while it meant that I’d visit Columbia, MO, give a reading, and be interviewed by the local NPR affiliate. It meant, for a day at least, that I’d be wined and dined like a literary celebrity. Picked up at the airport, put up in a hotel, and entertained like something that I’d written or said actually mattered to somebody who didn’t already love me anyway. To drink martinis with Speer Morgan and Kris Somerville and Michael Nye—it was a wonderful night.
But how did it happen? If you ask Steve Yarbrough, who was the judge for the Peden Prize, he’d probably say that here was good writing. However, it can’t be denied that there’s a lot of good writing out there. What did he see? Why at that moment, did he see it? The idiosyncrasy of the moment is undeniable. A connection was made. Yarbrough was a reader with an interest in Central Europe. He’s a realist writer and “Praha” was a realist fiction. Call it whatever you wish. Serendipity. Fate. Luck. Okay. Sign me up.
What I can tell you is that the Peden Prize helped me get into the Sewanee Writer’s conference, and in three days in July 2012, upon arriving at the conference, I had a story accepted for publication, Press 53 agreed to publish my story collection, A Fingerprint Repeated, and I found an agent: the Georges Borchardt Agency. Within another six months, my novel Prague Summer had been accepted for publication by Counterpoint, and, frankly, nearly all of my literary dreams come true.
The truth is that I’m living a completely literary life these days. I’m writing, I’m teaching, and I’m publishing books as the co-founder of Braddock Avenue Books. Under these many hats, I often speak to young writers—most recently at the Yale Writer’s Conference—writers who want to know how to make their way in the literary world. Mostly I fall back on the truest thing I know—craft. But what I really want to say, what I should say and often do, is publish a story in The Missouri Review.
Jeffrey Condran is the author of the story collection, A Fingerprint Repeated. His debut novel, Prague Summer, will be published by Counterpoint in August 2014. His fiction has appeared in journals such as The Kenyon Review, The Missouri Review, and Epoch, and has been awarded the 2010 William Peden Prize and Pushcart Prize nominations. He is an Assistant Professor of English at the Art Institute of Pittsburgh and the Co-founder of Braddock Avenue Books.
If you’d asked me a week ago about Weird Al Yankovic, I would have said it was time to give up the ghost. Weird Al is one of those seminal (artists? singers? comedians?) people whose work has spanned generations. He’s iconic. Most of us under the age of 40 have a Weird Al song they remember from when they were growing up. Maybe it was “Eat It” or “Pretty Fly for a Rabbi.”
Weird Al hadn’t been funny to me for a while, but that just changed. Here are three things that drew me back to Weird Al – a sentence I never thought I’d write – and they all have to do with his new video “Word Crimes.”
1. Weird Al: Normalizing my behavior since 2014.
Last Sunday, while sipping coffee, listening to Weekend Edition, and gazing out at the crappy lot of the body shop behind my apartment, Tamara Keith’s interview with Weird Al began. I was reaching to switch the radio (could Weird Al possibly have anything new to say?) when he started talking about correcting grammar. He said he would be driving around, see a road sign, and fix the wording in his head. I, too, do this. When I’ve asked other friends who love words if they slip into this habit, they look at me like I’m sick. I’m not sick. And thanks to Weird Al for being the one to prove it.
Let’s not look too closely at that logic.
2. Your Dad sends you the video.
Another reason you may, like me, need to give Weird Al some credit for his spot-on-ness with this video is when friends and loved ones send you the link: “Literacy’s your mission!” the song says, “There are dancing question marks in the video!” your friend says, “I thought of you immediately!” your dad says.
There’s also a section in the song where Weird Al discusses the Oxford comma, which I dearly love, regardless of what Vampire Weekend says. This viewpoint, I understand, is contentious. If someone thought to send you the video, you probably have your own opinion on the matter and you probably begrudgingly admit that either/either is acceptable.
An added bonus: Weird Al’s word rules make an exception for Prince. As they should.
An added added bonus: You can finally explain what you’re going to do with that English degree. I quote: “You should hire/ some cunning linguist/ to help you distinguish/ what is proper English.”
3. The music video is in kinetic text.
Man, I love the design of this video. Kinetic text, or a fancy way of saying those videos where the text becomes the movie (like ShopVac ), is not only cleverly done in this video, but also fitting. Animated words: how better to show the emphasis on the right syllable?
Well Weird Al, you got me.
Like the terribly catchy beat of that song, the thing I can’t get out of my head now are questions of what is permissible, what is stickler, and how our language —the thing that unites and binds and evolves with us— is changing.
I’ve been thinking about this because the other day at The Missouri Review, we were discussing the role of blogs and social media in the literary world. One person likened blogs and to pop music— they’re fun, fast, digestible, and have a short shelf life. It can be great and it’s its own thing. Literature, we said as we swirled our brandy in embossed snifters, is like classical music. It takes time. But in the weird space that is the internet, these things are colliding, and we’re still figuring out how they feed and harm each other.
I’m fascinated when pop culture concerns itself with words, language, or literature because it’s a collision of the instantaneous and the ancient.
The challenge to offer curated, thoughtful, unrushed content is steep. It takes a lot of resources and time. That doesn’t mean, though, that readers don’t also want something salient, quick, and fun.
I think there’s room for both. Just as we’ve seen a boom in articles-as-lists and computer-generated material (think Buzzfeed and financial market data), we’ve seen an uptick in long-form reporting and the slow reveal of stories (think The Atlantic and Breaking Bad). It’s a trend that’s crossing media sectors, as John Borthwick points out in his recent article on Medium.
So, the question becomes one of sourcing. Who will provide each? Can some outlets provide both? What will be the effect on and for readers? We’re still trying to figure out the answer. I think the experiment where pop and classic cohabitate is worth watching. In some instances, it’s a question of what happens when proper grammar gets a remix.
So, you’re picking up one of your favorite literary figures (poetry or prose, living or dead) from the airport before taking them to dinner and conducting an interview. You’re a huge fan and you’re super excited about the assignment, but also a bit nervous. Relax. The main thing you need to be concerned with is having a kickass playlist going on the tape deck when you roll up to the terminal and I’m here to help. I offer no guarantees, but with some deductive reasoning, digital crate digging, and intuition I think we can manage something that leaves everyone comfortable, happy, and bobbing their heads.
Below is a 12 track set that I think should get you from the airport and back again with some stops in between. You can play it in sequence, but it will work on mix-mode as well (this might even be better). The important thing is to have it already playing when you pick them up and to not discuss it at all unless they bring it up first. Basically, play it cool and act like you’ve been there before. I can in no way guarantee that they’ll actually dig this, but I have my hopes. Worst case scenario, just have NPR locked in as station preset 1 in case things get desperate. Best of luck!
Your passenger this week is none other than the legendary Maya Angelou. Poet, memoirist, journalist, activist, dancer, singer, ICON. Quite simply she was, and remains, essential. Her accomplishments and importance are too numerous and too enormous to list here. Just get ready for a hell of a ride.
1. Singing Sweet - When I See You Smile Given all the tragedies, losses, and challenges she endured in her remarkable life it’s amazing to notice just how often Angelou was smiling (if not beaming) in the many photographs of her taken over the decades. Through everything she experienced she never deviated from her own dictum: I can be changed by what happens to me. But I refuse to be reduced by it. For her, a song as beautiful as her smile. Just try not to spend too long in a state of awe-struck disbelief over the fact that this is a dancehall cover of a hit tune by Bad English.
2. Brownstone - If You Love Me Waterfalls, On Bended Knee, Fantasy, Candy Rain…it’s pretty clear that the 1995 Top 100 chart represents an indisputable annus mirabilis for Modern R&B. As a culture we can only hope to scale such heights again. And not least among the bounty was this one from Brownstone. The song is infectious and unforgettable on its own, but as far as I’m concerned it reached icon status as a central element it the Holly Hunter / Queen Latifah rollin on E lesbian club dance sequence in Living Out Loud which will be recognized as a top-10 1990s movie moment in history books 1,000 years hence.
3. Fuentes All Stars - Pégale a la Nalga I have no idea what’s going on at the beginning of this song. Is the dude having a seizure? Catching the Holy Ghost? Presiding over an auction? Whatever it is, I dig it. Your average Toyota does not allow much room for dancing while seated, but I’m sure you’ll find a way…you’ll need to. Any passenger who refuses to move with you to this one can be promptly deposited on the nearest curb/exit-ramp. Not to worry, Dr. Angelou is definitely down. P.S. I got curious and Google translated the title, it seems to roughly mean “Hit him in the ass”. Sounds about right.
4. Cymande - Dove 11 minutes of effortless cool, plain & simple, from Cymande (among Spike Lee’s favorite soundtrack adds). There won’t be any talking while this song is playing. You and Dr. Angelou won’t need language. Just lean your seat back a bit, stiff-arm the wheel and go where the track takes you. Warning: chanting will likely ensue.
5. Louis Jordan - Beans and Cornbread This is quite simply the greatest song ever recorded about two anthropomorphic food items getting into a brawl. Always fun, always energetic, this is a solid trip-starter. Also, speaking of Spike Lee soundtracks: it’s a little iconic due to being prominently featured during a scene of utter (and fairly comic) mayhem in Malcolm X (if you’ve seen the movie you’ll remember it well.) It’s a fairly sure bet that Dr. Angelou would dig the Louis Jordan, considering she covered his Run Joe on her only official full-lengthmusical release. I dare you not to be singing this to yourself 3 days later.
6. Rashaan Roland Kirk - What’s Goin’ On’/Mercy Mercy Me (The Ecology) She wrote seven autobiographies, but make no mistake Maya Angelou never took her eyes off the injustice, the strife, and the resilience in the face of both that she saw around her in both America and the wider world abroad. Still, she met it all with grace and the conviction that things can (and will) get better with our hard work and willingness to change. I dig Kirk’s cover of Marvin Gaye’s classic jams because he honors their original depth and truth without losing his own essential joy.
7. Common - The Food (Ft. Kanye West) Put aside the fact that Dr. Angelou referred to herself & Dave Chappelle (on whose show this track was recorded live) as “soulmates”, or that she appeared on Common’s song The Dreamer, and you’re left with a ridiculously chill cruising song that manages to incorporate some super-sly shots at pop cultural/consumerist sacred cows. This one makes the playlist on a musical level, no question. But the biographical extras don’t hurt either.
8. Lyn Collins - Think (About It) Sure this is basically a James Brown song with a guest vocalist…but there could never be anything wrong with that, so crank this! Hard funk, in-you-face lyrics, female empowerment, endlessly sampled (Dj E-Z Rock I’m looking at you). Hell yes, play it twice.
9. Alice Coltrane - Journey in Satchidananda If only every journey down the interstate were as mellow, expansive, and as full of possibility as this, the title track of Alice Coltrane’s 1970 release. A perfect light-night tune, no one in history has ever managed to switch this off past 11 p.m. If you acquire a single harp record in your entire life, make it this one.
10. Nirvana - Where Did You Sleep Last Night Angelou often spoke of how the rhythms & mysteries of the blues acted upon her writing and how important the music was, not only for African-Americans but as part of the DNA of the country. This song, originally an Appalachian folk tune, but most famously recorded by blues legend Leadbelly, was covered by Nirvana for their 1993 MTV Unplugged set and it just might be the most searing moment from that entire series (for real, check out 5:08 in the clip when Cobain finally opens his eyes). I can never listen to it without thinking of Angelou’s Insomniac.
11. Wendy Rene - After Laughter I’ll admit, this isn’t necessarily the most road-friendly song out there. For one it doesn’t have the kind of intense & pulsing beat that you generally appreciate on the open road. Beyond that, it’s difficult to stay in your lane when your sight is occluded by open weeping. Still, this is one of my fav tracks of all time and Rene’s raw emotion is compelling to the nth degree.
12. Latyrx - Lady Don’t Tek No Look back at her life and you can really only come to to one conclusion: Maya Angelou was a superhero. Sure, she suffered, she knew loss, and she battled doubt…but so did Peter Parker. To overcome everything she experienced in her long life while never retreating, while never pitying herself in the face of steady racism, sexism, and tragedy took someone with undeniably singular character and resolve. The fact that she had the talent to share her experience so effectively with the rest of us, well…we’ll just have to be eternally thankful for that. If there were a movie about Dr. Angelou as a superhero this just might be in the opening credits sequence.
On Friday, July 18th, at 630 pm, we’re throwing our annual summer launch party, in celebration of the release of our latest issue. We’re calling it FAST LIVING! (yes, in all caps and with a slammer at the end) because, well, that’s also the name of our summer issue, which will be arriving from our printers this week and available to you, dear reader, at the Friday night launch.
Our launch party will be held at The Vault, the speakeasy style venue at the Tiger Hotel. The Vault is located at 23 S. 8th Street, if you’d like to get your Google Maps on. We get going at 630 and wrap up at 930, though if you have ever been to one of our launch parties, you know full well that 930 just means we’re taking our celebration out into the streets of Columbia and hitting up the next venue. If you’d like, please RSVP with us on our Facebook page.
All the tables will have gold (painted) boxes filled with trivia questions to test your Hollywood knowledge. Don’t worry: we have questions on all the Hollywood eras, from the 20′s and 30′s as well as questions from the 90′s and 00′s, so whether you’re a fan of Joan Crawford, Audrey Hepburn, Meryl Streep, or Jennifer Lawrence, we have you covered.
Our new issue features new stories by Ben Hoffman, Carol Ghiglieri, Amanda Harris, Sharon Pomerantz; nonfiction by Marin Sardy and John Hales; and great big poetry features by Andrew Grace, Valerie Nieman and Diane Seuss, as well as the omnibus review and art feature that we’re known for. Come by for fifteen minutes, one hour, three hours, it doesn’t really matter. We just want to raise a glass with you and have a blast!
Follow Michael on Twitter: @mpnye
“Nothing needs to happen to a writer’s life after they are twenty. By then they’ve experienced more than enough to last their creative life.” – Flannery O’Connor
Flannery O’Connor produced wonderful work in her relatively short life, but I can’t help but disagree with this particular quote of hers. I am currently twenty years old and I know I have not lived long enough or have experienced enough in these past twenty years to write great stories.
Great writing comes with great experiences and great experiences come from a life well lived. It’s too difficult to create the feeling involved with losing a parent or raising a child without actually living them. Furthermore, I’ve never experienced true love, so I’m confident I can’t accurately portray it in any book I plan to write without first experiencing it for myself.
A person’s twenties are a time of discovery. Discovering who you are as a person as well as discovering who you are as a writer.
I believe one’s life is just beginning at twenty. Before a person hits his or her twenties, many have been living with parents, relying on them for money and advice, and have spent most of their time in the school system. I’m not saying people don’t have life changing experiences before they’re twenty. They do. A person can experience both their first love and their first heartbreak before twenty. They can learn what it’s like to move out of their parent’s home and go away to college. They can take part in regular teenager shenanigans. They experience for the first time that money does not grow on trees.
But these are just the tip of the iceberg. For me, I have barely begun to hit some of the essential milestones. Yes, I have traveled, read over a hundred books, met people from all walks of life, and have been stressed trying to balance school, work, and a social life. But there is a lot I have yet to experience: entering the work force, getting married, having a family, traveling more, and of course, reading more.
I think there is a major difference between reading about an experience and actually living the experience. With the numerous books I’ve read over the course of my life, I have read about love, loss, traveling around the world, and being successful. I have felt twigs snapping beneath my feet in the Alaskan woods with Chris McCandless from Into the Wild and I have travelled across the country on a train with Jacob Jankowski from Water for Elephants.
But the main difference is that I have read about them, not actually experienced them for myself. The key to producing great writing is to be able to portray the five senses (sight, smell, touch, taste, and sound) and to make that reader feel as though he or she is in the character’s place. But if a writer has not done these things for himself or herself, than the writing is not as authentic. The character’s experiences will stay on the page instead of leaping out and being felt by the reader.
Of course, this is a little easier if an author is writing a work of fiction or nonfiction. So what about those who write science fiction or fantasy? They can’t possibly experience an entire hotel coming alive with the ghosts of past guests like in The Shining, nor can they say that they have ever defeated aliens. But I think the key to remember is how important those five senses are to telling a story, as well as recognizing the underlying emotions that are present in particular situations.
Maybe a person can walk in a graveyard late at night and allow all their fears to consume them so that they can get a better sense of what their characters may experience in their book when they encounter a ghost. Or, if due to financial reasons, a person cannot afford to fly to California to swim in the ocean for the first time, he or she could find a nearby lake or river that they can swim in, and just spend the time thinking about how it affects their five senses and how it would be similar or different to swimming in an ocean.
A writer cannot simply sit around, hoping that an idea for a book will just magically appear. Instead, they have to leave their home and experience the world around them. And because money does not grow on trees, they will be prevented from experiencing everything they’ve ever wanted. But if that’s the case, then a person needs to find adventures closer to home and just constantly be aware of the emotions at play when they do something as simple as swimming in a nearby lake or experiencing a new culture by walking into a different restaurant, church, or club.
Experiences, both big and small, have to be sought out. If they’re not, than a person is just limiting his or her opportunities for creativity. And if they are actively seeking them, then I I still don’t think it is possible to have had enough of these experiences by the age of twenty.
Yes, my past twenty years have been wonderful. But I don’t think I have experienced enough to last my creative life, and in all honesty, I don’t think I want to. I hope I never feel like I have reached my creative limits, because a writer should never want to stop learning about himself or herself or about the world around them. It’s exciting not to have all the answers just yet because it means there is that much more to learn. As an aspiring writer, editor, traveler, wife, and mother, I look forward to the experiences I have not yet lived and I can’t wait to write about them and share them with the world one day.
I’ve thought about writing this piece for a long time.
One of the things I’ve long argued that literary journals need to embrace is transparency. Too often, writers believe that magazines simply publish their friends, and editors believe that writers only want to publish in our pages and won’t read the issue. Both stances are a bit extreme, but broadly, these are fair assessments of an environment that is too frequently opaque and combative.
I had decided that writing about which literary magazines I subscribe to would be a neat post to do, and yet, I often backtrack from it. Will I offend anyone by acknowledging I don’t subscribe to his/her magazine? Are their magazines I should be subscribing to that I’m not? How many magazines is enough? Who benefits from this? Does it just become gossip? There are many additional rhetorical questions I could ask about it, but in the end, I’ve sorta answered this in a public format already and walking through it might be compelling to our readership.
So here’s some caveats.
All literary magazines do “exchanges” with other literary magazines. On our complimentary list, we send copies of TMR to roughly forty other literary magazines, and vice versa. So, we receive copies of (off the top of my head) Antioch Review, Georgia Review, Meridian, Poetry Ireland Review, and many others, in our office. I could very easily not subscribe to any literary magazines and all and just read the ones we receive “free” in our office. This influences which journals I buy. Also, I’ve been involved with literary journals for about a decade, so I have a good sense of what I like. What I try to do is a keep a core that I regularly subscribe to, and then try new ones here and there.
Also, this is my taste; my subscription list does not speak for anyone else on TMR’s senior staff. Because I have a full-time job, I’m able to subscribe to this many magazines. Most people cannot do this, and this is not intended to be a “shame the readership” exercise. Of course, I hope if you can only subscribe to one literary magazine, you subscribe to the Missouri Review. That’s probably an obvious statement, but worth saying anyway.
The writer Cathy Day has written about “literary citizenship” and while I believe literary magazines are a foundation of that citizenship (new and emerging writers published first; innovative design and marketing; etc.) plenty of people focus their dollars on books rather than magazines. I try to do both, but that’s another post for another time.
Without further ado, here are the magazines I currently subscribe to:
American Reader. I’ve followed them on Twitter for a while, and then met the staff at AWP this past March. I like to add one magazine whose editors I’ve met at the conference, and since they were two booths down from us and I like the content they’ve been sharing, I wanted to give them a spin.
Boulevard. This is a St. Louis based journal that I’ve been familiar with for over a decade. Their Symposium feature is terrific, and they have a nice balance of regular contributors and names I’ve never heard of in every issue.
Cincinnati Review. Long a favorite of mine, the work they publish tends to be more … surreal? unusual? … than my own writing, but there is something hauntingly familiar about the world their writers dramatize. It’s also visually one of the best, both in layout and design; I love the fonts, art features, and, of course, the content.
Hobart. They’ve put a ton of material online in the last year or two, with less emphasis on the print journal: their web feature “Great Moments in Cinematic Drinking” and their annual baseball issue (every April) are two of my favorites. And when the print edition comes out, it’s always terrific. The content tends to be playfully serious.
Kenyon Review. Maybe because we both use the word “Review” or something dumb like that, but KR strikes me as the sister/brother publication of TMR. This probably makes no sense whatsoever, but they have a similar, though somehow different, aesthetic from ours, and the size and publication period and all that creates a natural kinship for me. Their poetry scholarship is always wonderful.
Natural Bridge. The very first journal I’ve ever worked on, NB is a publication from my graduate program. They do a regular feature of Author-Editor-Reader about a piece in their pages, giving all three stages of a story a chance to discuss the Why and How and Whoa! of something they publish.
The Normal School. Looks like a “regular” magazine only in size; everything else about what’s in their pages is strange and memorable. Sophia Beck steers the ship, and her sensibility can be felt in all the work selected. Shane Seely’s poem about being at a reading where a heckler attacked the poet at the podium (not Seely) about Hart Crane is a recent favorite.
One Story: The concept is so obvious and so brilliant, I wonder why no one created One Story before One Story. It fits in the back pocket of your jeans. It’s one story, every three weeks, and there’s nothing flashy about the design of the magazine or of the site: all energy is focused on the story. I’ve been a subscriber for a very long time.
Poetry. I’ll admit it: I read less poetry than I should. Poetry is digestible in size, stylish in format, and the quality is always high. Seemed like a good place for me to get my fix of verse and essays about poetry.
River Styx. I worked at RS for five years as the managing editor, so I have a fondness for them. The poetry tends to be formal in style and humorous in content. If you like sonnets, villanelles, ghazals, and pitch perfect rhythms, this is the journal for you. RS also publishes fiction and essays, too, so it’s a true miscellany.
Tin House. This is actually a fairly expensive journal to subscribe to, but it’s well worth it, and there is always one absolutely amazing story in every issue. TH has a cornucopia of extras in every issue: cocktail or pie recipes, Lost & Found essays on forgotten classics, very short essays by Big Name Authors, all wrapped up in a layout design that is elegant and sleek.
I think that’s all of them?
Here’s another question that came from Twitter: do I actually read all these magazines? Absolutely. Do I read them cover to cover? Of course not. I won’t pretend that I read every single piece. I gravitate toward fiction first, then usually the … “oddities” isn’t the right word, but Cincinnati Review has three writers review one book, Tin House has its literary artifacts, you know, stuff like that. I read as much of the journals as I can, and (try) not to beat myself up because I haven’t read every single word of every single magazine.
There are far too many books and magazines published every year to read all of them. There is a logic to how I divide up what I subscribe to, what I borrow, what I ignore, and, as with all things, sometimes those plans go sideways. I could probably subscribe to more magazines and read more work. I could also probably subscribe to fewer and read less. This is what works for me. Whatever works for you, I hope TMR remains in your plans.
Follow Michael on Twitter: @mpnye