New England Review is among the journals selected for the new Journal-of-the-Month Club. Subscribers will receive a new issue of a different literary journal every month — exactly which journal (Agni, A Public Space, The Believer, Carolina Quarterly, The Common, Harvard Review, Iowa Review, New England Review, New South, Raleigh Review, or another) is a tantalizing surprise!
Samar Farah Fitzgerald (32.1), whose story “Where Do You Go” was recently published in NER, has been awarded a fellowship of $5,000 from the Virginia Commission for the Arts. Fellowships are awarded annually to artists residing in this state in recognition of creative excellence and to support their pursuit of artistic excellence.
The new issue of New England Review has just shipped from the printer, and a preview is available here on our website. Order a copy or subscribe today to receive the full content of this beautifully printed issue of NER.
In these pages, you’ll find new stories by Peter LaSalle, Zana Previti, Katya Reno, Caedra Scott-Flaherty, Gregory Spatz, Megan Staffel, and David Yost, appearing alongside new poems by Larry Bradley, Adam Giannelli, Janice Greenwood, A. Van Jordan, Laura Kasischke, Matthew Olzmann, Jacques J. Rancourt, and Carrie Shipers.
In nonfiction, Eileen Pollack revisits the ranch house of her childhood, Theodore Leinwand contends with Charles Olson contending with Shakespeare, Robert B. Ray asks if movie stars are ultimately unskilled workers, and Jonathan Levy makes a case for the use of dialogues in learning. Plus a new translation of Virgil’s Aeneid Book 5 by Ian Ganassi, Samuel Butler‘s thoughts on memory, Norman Davies on “How States Die,” and cover art by Tim Fitts.
For NPR, Gregory Orr chooses Jennifer Grotz‘s new collection, The Needle, as one of five best poetry books of 2011 in “Truth and Beauty: 2011’s Best American Poetry.” (Grotz’s poems “The Fog and “The Forest” appear in the current issue of NER.) Orr also recommends NER poetry editor C. Dale Young’s book Torn, because, as Orr writes, “no critic can refrain from recommending more books than he’s supposed to.”
One of the few things almost everyone can agree on about contemporary American poetry is that no one can agree on much. At present, poetry is a jumbled landscape, with no single, dominant style and few living figures whose importance is accepted in more than one or two of the art form’s tiny fiefdoms. Although some might find this state of affairs discouraging, I think there’s good reason to be optimistic — poetry often needs to undergo periods of confusion to achieve the clarity for which we’ll later remember it. Here are five books that suggest that even if American poetry isn’t entirely sure where it’s going, that doesn’t mean it’s gotten lost.