Literary Journals

The Economy Magazine was an online literary journal that ran from 2012-2015. During this time, the magazine published some of the most important and exciting voices in poetry, fiction, and visual art.

THE ECONOMY MAGAZINE ANTHOLOGY includes work by:

Rae Armantrout
Brooklyn Copeland
Schuyler Dickson
Emily Kendal Frey
Annelyse Gelman
Chloe Honum
Fanny Howe
Douglas Kearney
Nate Klug
Rickey Laurentiis
Anthony Madrid
Michael Martone
Ange Mlinko
Allan Peterson
Christina Pugh
Michael Robbins
Jacob Saenz
Joshua Marie Wilkinson
Christian Wiman

Editor: Anthony Opal

This chapter seeks to examine a phenomenon that has gone largely unexplored: the rise of digitally-born Australian literary journals since the 1990s. My intent is to demonstrate how such journals in the digital sphere also exert material influence within the literary field in very specific ways. In particular, I will argue that the journals I have chosen to examine display the five key traits—also common among other digitally-born Australian literary journals—which clarify the way that such publications shape the broader literary field: 1) they focus on specific, high-cultural literary forms; 2) they circulate among established literary networks of producer-consumers; 3) they increase the social capital of their editors; 4) they either problematise or reinforce the boundaries of national literary discourse; and 5) they either seek to include writers who are typically excluded by more mainstream literary discourse, or else reflect the hierarchical distinctions and exclusionary practices of material literary networks.

This autoethnographic essay discusses my own experiences and understanding of internships within the Creative Industries. I find myself in the fortunate position to not be seeking an internship, but instead to be offering one, through my own Creative Industries endeavour, a short story literary journal.

Freedom of speech. Immigration status. Families separated across continents and cultures. Racial misunderstanding. Lying military officials. Corrupt political administration. These topics call to mind current headlines on travel bans and deportation forces in the United States, but they also highlight the troubles for characters in Samrat Upadhyay's new story collection, Mad Country, published by Soho Press in April.

Lambda Literary established a new award in Transgender Poetry for the first time one year ago. On the eve of a new Lammy Awards this year, we sat down to have a conversation with U of A Poetry MFA alumna Trace Peterson, publisher of the first trans poetry book to win the award: succubus in my pocket by kari edwards.

В статията се разглеждат две пародии на „Небето“ на Гео Милев, публикувани в сп. „Българан“ и техният контекст в изданието – „Квинтесенция на Експресионо-футуризма (философична амалгама)“ от Alkali и „Небето (Естето-критична фантазия по Гео Милев)“, подписана от Глан (Димитър Гимиджийски). Тези два текста, както и много от литературните пародии в „Българан“, в голяма степен представят българския модернизъм по-скоро като мечта/„фантазия“ на българските автори, отколкото като художествена реализация. Но ние ще попитаме дали в опита за пародийно възпроизвеждане на манифестната страст на Гео Милев, дали в осмиващата фрагментаризация на текстовете и парадоксалност на тезите не може да се разпознае авангардният импулс към зануляване на смисъла, експерименталният жест, с който се прави опит за отхвърляне на поредната естетическа утопия.

This study deals with Enlightenment literary criticism in the Czech lands within the
broad context of Central European literatures and criticism at that time. The authors previous conceptions of literary criticism and present a relational model of literary criticism, which considers criticism as a form of negotiation between critics, authors and the public, i.e. within the coordinates of aesthetics, the canon and the public. At any particular time their relationship always creates the current form of the critical field in which it is legitimate (or not) to make critical judgements about literature. As opposed to the older scholarly discipline, the more recent Enlightenment criticism bases its authority on the indefinite nature of its judgements, the processual and periodical nature of its communications and thus on the newly established scholarly, social and literary journals and reviews. The second part of the study focuses on the development of journals and their characteristic critical debates in the 1770s–1790s, as well as the ongoing development of literary criticism written in Czech at the turn of the 18th and the 19th centuries. The conclusion of the text focuses on and analyses criticism through the eyes of the epoch. It also shows how criticism gradually established itself as a form of communication that helped to create the key literary institutions in spite of the ongoing reservations of writers and the public.

This paper examines the attempt by the Turkish underground journal Sizofrengi (1992–98) to provide a space for psychiatrists, artists, and mental patients to voice their personal concerns as a means to critique problems in Turkish society. Sizofrengi was founded by young psychiatrists in order to critique the problems they felt were endemic to their field. Rejecting the institutional practices and assumptions the editors found constraining in their psychiatric community, Sizofrengi sought to give the patient a space to speak for themselves in order to deconstruct the vaunted role of the psychiatrist in Turkey. But Sizofrengi also sought to appropriate the language of psychology and the “madnesses” of the patients it strives to cure in order to revitalize what the editors felt was a moribund literary culture. The journal gave a voice to marginalized, underground writers, critics, and film makers that would go on to become far better known outside the confines of the journals’ pages. While the result demonstrates that care must be taken when borrowing the discourse of the mentally ill, Sizofrengi presents an interesting case of a journal that was able to draw on issues of psychiatry in order to critique both literary and mainstream society.

Cet article choisit l’angle souvent délaissé des revues et des éditeurs pour examiner les modalités de transmission entre l’avant-garde dada et la génération suivante de poètes, et se concentre sur trois exemples : Klaus Rarisch et l’ultimisme, « héritier naturel de Dada » à Berlin (R. Huelsenbeck)  ; les néo-dadaïstes et Raoul Hausmann, un échange polémique ; Walter Höllerer, Akzente, Transit et l’évitement d’une institutionnalisation de l’avant-garde dada au profit d’une avant-gardisation de l’institution littéraire.

Download the paper here

https://www.allegoriaonline.it/4337-anna-baldini-lautonomia-letteraria-tra-stato-e-mercato-sotto-il-regime-fascista

The essay offers an analysis of the Italian literary field in the 1920s and 1930s. It specifically focuses on the instruments and practices of literary consecration, i.e. the institutes and institutions that contribute to the social recognition of literary value, and on the conflict between literary autonomy and economic and political heteronomy. The essay also shows the relevance of the transnational literary field not only in relation to the study of translated literature, but also to the history of literary institutions, such as magazines and literary prizes.

Foreign and Ours: Czech Literature After the Split of Czechoslovakia using the Example of the RAK Literary Journal. Jana Pátková in her study looks into the reception of Czech literature in RAK (RAK-Revue aktuálnej kultúry) a journal that was published in Slovakia between 1996-2014. The journal adopted a new approach to contemporary literature based on intellectual views and sharpness of the founding editors (P. Darovec and V. Barborík) and presented a series of original columns and sections to reflect on books and the literary context. Pátková observes that Czech literature and its image after the Velvet Revolution in Slovak culture has been reflected minimally despite the closeness of Slovak and Czech cultures before 1989. RAK was one of the exceptions and occasionally (rather than systematically) offered insight into contemporary literary production in Czechia. The journal did not attempt to cover the whole of Czech literature but rather a personal selection that either picked world-famous Czech authors (K. Čapek, J. Hašek or M. Kundera) or writers with whom they shared artistic values. Pátková traces the key articles, in which there were analyses of Czech literature (including one "Czech issue" focused solely on Czech literature) conducted by both Czech and Slovak literary critics and historians. In her concluding ideas, she states that despite obvious insufficiency in what was once rich cultural exchange, there remain, in terms of mutual cultural interest, much better results on the Slovak side.

This chapter aims to examine the case of a Syrian revue, al-Qīṯārah (The Lyre, 1946-47), published in Latakia in 1946 by an apparently unknown Ǧamā‘at al-Ši‘r al-Ǧadīd (The Group of the New Poetry). Completely devoted to arts and poetry, the revue aspired to contribute to the development of poetry. It involved a relevant number of poets who were to become the main representatives of the new upcoming trends: Nizār Qabbānī, Sa‘īd ‘Aql, Mišīl Ṭrād, ‘Alī Aḥmad Sa‘īd (Adonis), and Yūsuf al-Ḫāl, quoting only some of the most notable names. Clearly, this revue shared many features with a more well-known previous case, the Egyptian Abūllū (Apollo, 1932-33), including the short life. It had much in common with a later revue as well, Ši‘r (Poetry, 1957-1970), not least the presence of two of its main promoters. Yet, al-Qīṯārah did not obtain the same share of popularity, either among its contemporaries or in the academic studies. Given the relevance of its contributors and the period in which it appeared, al-Qīṯārah seems to effectively represent the poetic transition that occurred in Syria and Lebanon between the forties and fifties.

A critically acclaimed literary magazine, found by Ou Ning under the Modern Media Group in 2011, stopped publication in 2014 for mainly financial reasons. Over its print run of 16 issues, Chutzpah! has earned rave reviews by lovers of literature for its presentation and edgy selection of literary content—subjects ranged from dialect literature to minority literature, poetry, diaspora, and the last on the “Diamond Generation” of post-89 youth. Each issue also included an abridged English-language supplement consisting mainly of translations from the Chinese. To commemorate it's closing,  the English pullout Peregrine editor Austin Woerner said in an interview by Asymptote's Lee Yew Leong:
"What was unique about Chutzpah! was that it didn’t see itself as a journal of Chinese literature per se, but rather as part of a global literary conversation … the magazine’s Chinese editors were very plugged into international literary goings-on, and in addition to translating 'hot' Western writers into Chinese—Arundhati Roy, Roberto Bolaño, Jesmyn Ward, and Junot Diaz are a few of the bigger names—we collaborated with n+1 and A Public Space, and published interviews with prominent Western intellectuals. But that’s just one facet of the magazine’s identity. A big part of Ou Ning’s mission was to promote the work of younger Chinese writers and some older ones who hadn’t gotten the attention they deserved, and to create a niche in the Sinophone literary ecosphere for more offbeat, unconventional writing. The issues were themed and carefully curated, and the style was eclectic—we published everything from traditional realism to avant-garde experimentation to scifi, fantasy, and detective fiction—and our Sinophone contributors hailed both from mainland China (including ethnic minorities like Kazakhs, Uyghurs, and Yi), and from Taiwan, Hong Kong, and throughout the Chinese diaspora, from Singapore and Malaysia to the U.S. and the U.K. … As far as the English supplement goes, the notion was to make some of these new Sinophone writers available in English so that their work might eventually find readers outside of China and the exchange might become more bidirectional."

The study focuses on contats between the poet R. M. Rilke and some important Czech writers in the middle of 1890s. Further is followed Rilkes participation in the rather conservative presentation of the Czech poetry in the Bertlin journal Neue litterarische Blätter.

In 1864 Florence briefly became the capital of the newly-founded Italian Kingdom. Though losing such a political status already in 1871, the city remained one of the intellectual hubs of the nation, ascending during the first decades of the XXth century to the role of Italy’s literary capital; there resided until WWII the most acclaimed writers, influential literary journals and prestigious literary publishers.
This ascent began in 1903, when a 22 year-old aspiring philosopher, who will soon convert his rampant ambition to literary writing, Giovanni Papini (1881-1956), founded the philosophical journal «Leonardo» (1903-7), along with likely-minded peers. Around this journal and its successors «La Voce» (1908-1916) and «Lacerba» (1913-15) gathered a group of young intellectuals and artists, which I will define as the Florentine Avant-garde. Though usually not described as such by literary histories, this group of intellectuals can be read as a typical example of what the French sociologist Pierre Bourdieu defines as an avant-garde: an alliance of new entrants in an intellectual field, whose interest in accumulating a symbolic capital of prestige and recognition explains their structural opposition to the dominant cultural hierarchy, as well as their need to overturn it.
By drawing on Bourdieu’s sociological theory of cultural fields, I will explore the crucial role played by the journals «Leonardo», «La Voce» and «Lacerba» in the ascent of the Florentine Avant-garde. I will highlight its opposition not only to the established intellectual figures of the time, but also to another Avant-garde: the Futurists led by Filippo Tommaso Marinetti (1876-1944). I will also recount how new periodicals were born from the struggles and secessions characterizing the life-span of this avant-garde, as well as of any other alliance of new entrants in a literary, artistic or intellectual field.

A literature review that revolves around one particular literary magazine—n+1. The review consists of the magazine’s first three issues,—published in 2004 and 2005, 'City by City: Dispatches from the American Metropolis' (a collection of essays edited and published by n+1 in 2015), and selections from n+1’s most recent three issues published in 2015 and 2016.

La revue Algérie Littérature/action, fondée à Paris en 1996 et portant sur la littérature algérienne, permet d’appréhender les transferts de capitaux, symboliques et économiques, entre deux pays marqués par leur histoire coloniale, l’un dominant et l’autre dominé dans la République mondiale des lettres. C’est dans le contexte de la guerre civile algérienne que, de manière tout à fait exceptionnelle, la revue, portée par des militants, reçoit des soutiens économiques et symboliques français considérables, faisant d’elle une revue centrale pour la littérature algérienne. Mais ce capital français, en bonne partie politique et conjoncturel, est difficilement reconvertible à long terme en France pour cette revue par ailleurs « marquée » comme algérienne. Il est également difficilement reconvertible en Algérie, puisque la maison-sœur implantée à Alger, à la fois trop petite et trop grosse de ses capitaux français, ne parvient pas à s’adapter durablement au marché local, tandis que le caractère politisé de ceux-ci est stigmatisé par la jeune génération.

Ce texte étudie le dispositif photo-textuel et l'usage des documents visuels dans le numéro spécial "Intervention surréaliste" de la revue belge Documents 34. Il fait apparaître la profonde rupture qui existe entre le surréalisme belge et le surréalisme français quant à la question du document.

La revue Algerie Litterature/action, fondee a Paris en 1996 et portant sur la litterature algerienne, permet d’apprehender les transferts de capitaux, symboliques et economiques, entre deux pays marques par leur histoire coloniale, l’un dominant et l’autre domine dans la Republique mondiale des lettres. C’est dans le contexte de la guerre civile algerienne que, de maniere tout a fait exceptionnelle, la revue, portee par des militants, recoit des soutiens economiques et symboliques francais considerables, faisant d’elle une revue centrale pour la litterature algerienne. Mais ce capital francais, en bonne partie politique et conjoncturel, est difficilement reconvertible a long terme en France pour cette revue par ailleurs « marquee » comme algerienne. Il est egalement difficilement reconvertible en Algerie, puisque la maison-sœur implantee a Alger, a la fois trop petite et trop grosse de ses capitaux francais, ne parvient pas a s’adapter durablement au marche local, tandis que le cara...

Jerónimo Pizarro, «Sudoeste e Iberia; Arte y Política», Almada Negreiros en Madrid. Coordinadores, Antonio Sáez Delgado y Filipa Soares. Madrid, Ediciones UAM, 2016, pp. 153-163

© Ediciones UAM, 2016
Ediciones Universidad Autónoma de Madrid
Campus de Cantoblanco
C/ Einstein, 1
28049 Madrid
ISBN: 978-84-8344-563-1

Visada por la Comisión de Censura, la revista Sudoeste salió en junio de 1935, tres años después del regreso de José de Almada Negreiros a Lisboa, ciu- dad que dejó por Madrid entre 1927 y 1932. Almada –como se lo conoce, como si su nombre lo leyera un español y no un portugués–, subtituló la revista que fundó “Cadernos de ALMAdA NEgrEirOS” y, con el tono casi oral de algunos manif iestos y conferencias, escribió una serie de textos de índole sociopolí- tica que reunió en esos “cadernos”. de Sudoeste salieron tres números que hoy se pueden leer como un portafolio intelectual del pensamiento almadia- no, justamente en el año en que Salazar impuso, en Portugal, una serie de directrices para evitar que aquello que los intelectuales escribieran contra- riara los principios del Estado Novo. El propósito de este texto es volver a abrir ese portafolio y discutir algunos de los planteamientos de Almada sobre la cuestión ibérica.

In honor of the upcoming hundredth anniversary of the emergence of Buenos Aires as a center of Yiddish culture (the first collection of Yiddish writing by Argentinian writers, Af de bregn fun Plata, was published in 1919), we are honored to reprint the annotated catalogue of an exhibition held at the Jewish National and University Library of Jerusalem 45 years ago, in 1972, which encompassed materials on the history and culture of Jews in Latin America, with an emphasis on the Jewish community in Argentina.

To cite this article: Borschke, Margie. Little Magazines and Modernism: New Approaches [Book Review] [online]. Media International Australia, Incorporating Culture & Policy, No. 134, Feb 2010: 156-157. Availability: <http://search.informit.com.au/documentSummary;dn=953288109879264 ;res=IELLCC> ISSN: 1329-878X. [cited 09 Jan 12].