Posts filed under ‘Periodicals’
Can you tell us a bit about the history of King’s Review?
KR was founded about two years ago in Cambridge, UK, by a group of graduate students who shared the same frustration: the research we were doing on topics as diverse as climate change, modern political systems and the knowledge economy didn’t find its way out of the small academic circles in which they originated. The King’s Review was founded with the goal of using research and expert knowledge as a basis for exciting journalism. Since then the original idea of an online journal has developed further: besides our online presence, we are now publishing four print issues a year and sell them in shops in Berlin, London, Paris, and with you in New York.
In your mission statement, you say that KR “exists to promote accessible journalism underpinned by long-term, rigorous research.” Do you find that this goal is in response to a lack of journalism with these particular aims: to be both accessible and rigorously researched? Does today’s journalism too often meet only one criterion or the other?
The most recent trend in journalism, particularly online, has been about ‘accessibility’. Buzzfeed et al. are not doing more than filtering information to make it more accessible to readers. What happened to TNR last week shows how good that is for journalism. KR goes beyond this digestible, surface-level form of information à la ‘Here is the 5 most important things to know about Climate Change’. We understand ourselves as being part of the recent re-invention of long-form writing, which is now being published in places like n+1 and Medium, as well as in classic outlets such as the NYRB, LRB and TLS.
December 11, 2014 at 1:28 pm bookcultureblog
Apogee Journal is now accepting submissions for Issue 5, a print and online issue, to be released in Spring 2015.
- We accept original poetry, short fiction, and nonfiction.
- Please keep your prose submissions under 5,000 words and send no more than 3 poems for consideration.
- Send your submissions in either .doc or .docx format.
Apogee Journal’s dual purpose is to showcase writers from the periphery and to provide a platform for all writers to thoughtfully engage with issues of race, class, and identity. We are proudly accepting submissions for the fifth issue–to appear in print and online–from November 1st to December 31st 2014. Our goal is to publish exciting work that sits at some distance from the mainstream and to provide a forum where unheard issues and voices can rise to the fore. To get a sense of what we publish, please browse our previous two issues or click here to order a hard copy of our current issue.
Submissions for our blog Perigee are open year round. We will consider completed interviews, critical and lyrical essays, book reviews and flash fiction for publication.
To submit, please go to: apogeejournal.submittable.com/submit
Apogee is a literary journal specializing in art and literature that engage with issues of identity politics: race, gender, sexuality, class, and hyphenated identities. We currently produce a biannual issue featuring fiction, nonfiction, poetry, and visual art. Our goal is to publish exciting work that interrogates the status quo, providing a platform for unheard voices, including emerging writers of color.
The word “apogee” denotes the point in an object’s orbit that is farthest from the center. Our mission combines literary aesthetic with political activism. We believe that by elevating underrepresented literary voices we can effect real change: change in readers’ attitudes, change in writers’ positions in literature, and broader change in society.
Apogee was founded in 2010 by students of color and international students in Columbia University’s Graduate Program in Creative Writing. Two annual issues were produced in 2011 and 2012. In 2013, the organization became independent from Columbia University.
To learn more, visit: www.apogeejournal.org
November 25, 2014 at 11:01 am bookcultureblog
Our friends at Table Talk have put out a call for new submissions!
CALL FOR SUBMISSIONS
Table Talk is a new kind of magazine that brings together people, both renowned and unknown, from different professions, countries, and contexts. Each issue focuses on a rarely discussed idea or experience that appears in all of our lives. By gathering voices from seemingly unrelated perspectives, speaking through different media, we hope to create a new space for intellectual exchange.
The inaugural issue released this past May focused on duende, the Spanish word for a heightened state of emotion we often experience as shivers up and down our skin when we are moved by a powerful performance. Contributors ranged from the contemporary American philosopher Alphonso Lingis, to Jazra Khaleed, a Chechen-born poet and boxer living in Athens, from the Australian anthropologist Michael Taussig, to Chris Buczinsky, an Illinois-based children’s book author and illustrator. The first issue is now carried internationally in top bookstores and magazine shops in Berlin, Istanbul, London, and New York. Online, the magazine has been read in over 27 countries, from South Africa to Japan, Brazil to Bangladesh.
Submissions are now open for the second issue, centered on the idea of dyno. In rock climbing one normally needs three points of stability to safely navigate an ascent. There are some moments, however, when the climber reaches an area that she cannot overcome using this particular approach and must instead let go of everything, leaping through mid-air in order to surpass the obstacle ahead. Climbers call this dyno, a dynamic move. This decision to surrender all comfort and risk everything for one’s goal is not restricted to rock climbing. From fishermen who venture into dangerous waters for the big catch, to poets who abandon the rules of convention and risk their reputations to create new styles of writing, this moment of dyno is an intriguing lens through which to look at perseverance, innovation, and creativity across professions and disciplines.
Any form of writing (essays, fiction, poetry, interviews, recipes, etc.) or visual art and media (photography, paintings, films, documentaries, etc.) that approaches the theme in innovative and accessible ways is open for consideration. Dyno can be explored directly or used as an underlying theme for the piece. Written submissions should be limited to 2,000 words, visual submissions 8 images, and video submissions 10 minutes. Any selected films will be featured in the print magazine as a QR code that links to the video on the website. Previously published submissions will not be accepted. Simultaneous submissions are allowed as long as we are immediately notified upon acceptance to a different publication.
All submissions are due by September 16th, 2014.Please submit via this link: https://tabletalk.submittable.com and address any queries or thoughts to: firstname.lastname@example.org.
Issue II set to release early November.
July 23, 2014 at 5:10 pm bookcultureblog
Can you tell us a little more about the history of Prufrock? What was the motivation in starting a magazine of writing?
Well, back home in South Africa we don’t have many. So there seemed to be a space for it on the shelf. James, Annie, Nic and I had graduated not too long before, and seen many of our peers (and ourselves), go into jobs in social media – we knew there were good writers there, and guessed that there must be many more. Not only that, but South Africans who’d grown up after apartheid were going to graduate soon, and it seemed that this was a whole generation who needed a space to write too. These were the lofty ideals. The practical side of it is that we were young enough to take the risk, and wanted to do something that would be fun, satisfying, and meaningful. So we climbed up on stage at the end of events at a literary festival, and spoke to these big crowds of people, and tried charming them into buying the first issue. And they did!
As mentioned in the Editorial at the beginning, Volume 2, Issue 1: Magic Lantern has an “inky” feel to it. I really loved the piece in the middle, “Quarter-century, or, The Year I Was 25” by Rosa Lyster, and found myself devastated while reading the Diane Awerbuck, “Harvest”. It is suggested that this inkiness may be a result of the idea of “feeling at home at the moment”. Could you elaborate on this feeling, and how it informed the selection and organization of the pieces?
It’s eerie how an issue comes together with one feeling. Rosa writes for each issue – she’s written about picnics in books and dogs in books, and Narnia, and this piece came in and it was sadder, darker (though it ends happily, in summertime). The strange thing was that all of the best pieces submitted for that issue had been – we shy away generally from anything violent or horribly sad (overrepresented things in young writing), unless it’s very very good. At the time, Jacob Zuma had just been re-elected as our president (his first term was marred by corruption, violence, indifference). One of our big media companies had been sold a few months earlier to someone who seems to have scarily deep sympathies with the ANC, the ruling party. So home felt a bit under threat. There was frenzy over the Oscar Pistorius trial, and the Marikana massacre’s Farlam commission is ongoing. When the best nonfiction pieces we got centered on violence, it seemed linked. Many of the pieces reflected on the past, all of the fiction is told by child narrators. So that inkiness is the darkness, weight, permanence, of things that shape us.
Prufrock Volume 2, Issue 1. Available at our 112th street location.
You have a small staff, but it seems like you’re building a large following and distribution. What is your role, and what is it like to work on a magazine like Prufrock?
Oh it’s the best thing in the world! It’s also overwhelming at times, and it’s scary to feel so attached to something. We all do everything at the moment – distribution, social media, editing, though James is the design whizz. Our following is growing partly because we’ve had the support of some big guns back home – that’s been due to persistence, but a bit of luck too. This year Cape Town is the “World Design Capital,” and we were named one of the official projects, which meant we could crowd fund with the promise of having what we raised matched – and we did, we reached our top goal last week! Then, Exclusive Books, the country’s biggest bookstore chain has recently been sold, so there’s new energy and blood there. That’s helped, as well as the unwavering support of smaller independents. So there’s been plenty of good news to go around, which helps us get through deliveries and late late nights – though these have their appeal too. I came to New York in January to intern at Harper’s Magazine, and that’s how Prufrock met Book Culture.
What can we expect from the next issues? And where would you like to see the magazine go in the future?
Lots! More non-fiction we hope – as the magazine grows, we hope to be able to commission more pieces. One of the pieces that was written just for us has just won an award back home – “Vida Loves You,” from issue 3, by Nic Mulgrew, which is about drag kings and queens in Cape Town. We’ll also be bi-monthly from August. Perhaps we’ll add more regular features. We’re all mad about cooking, so maybe something there.
Where can people find out more about Prufrock?
This piece is a good place to start, but otherwise our website is www.prufrock.co.za (and we do offer international subscriptions for those of you who can’t make it to Book Culture), tweet @PrufrockMag, and facebook.com/PrufrockMagazine.
July 15, 2014 at 7:00 pm bookcultureblog
We conducted an interview with Benjamin Moe, Editor-in-Chief of the new interdisciplinary magazine, Table Talk.
Where does the inspiration to start an interdisciplinary magazine come from? Can you tell us a little more about the inception of Table Talk?
The idea came a summer ago while I was spending a sort of monastic two months helping to clean up the land around our family’s new home. Early nights and early mornings lended time to reading and writing and allowed for the idea to incubate without me really knowing it. One day while shoveling a compost hole the name Table Talk just appeared in my head. It’s funny how things start like that, out of nowhere and usually while we’re doing the must mundane tasks. From there the idea traveled to Istanbul, where my co-founder Maya Frodeman and I began to lay down the mission. Then in the fall, with her in Paris and me in India, we skyped every day over a crackly internet connection getting the project off the ground. From the get-go we felt we wanted to facilitate a new kind of discussion, one that tried to confront hard to describe experiences and concepts without getting bogged down by the language of academia. The most intuitive way to do this, we felt, was to bring people together from different disciplines, fields, and professions to talk about a concept in one place. It was also equally important from the start that this discussion would include both established thinkers and up and coming ones. Now when we call Table Talk an interdisciplinary magazine we don’t just mean promoting dialogue across academic disciplines but also creeds, cultures, ages, and professions. It’s an opportunity to redefine the kind of content that gets published side-by-side and hopefully, out of that, create an engaging conversation.
As readers will find out, the subject of Issue I is duende. Each contributor takes on this hard to translate idea, sometimes experienced as the chills one gets from exceptional music or art. You start with a piece on Federico García Lorca’s depiction, move through a series of essays, poems, and photographs, and end with a critical rumination by Michael Taussig. How did you select these contributors, and why are they organized in the way that they are?
In the beginning we sent out letters to artists and thinkers we respected and thought would approach the concept of duende from interesting perspectives. We found that some resonated with the idea more than others, and it was this enthusiasm that we based the first issue around. The pieces themselves are organized into a narrative, as if each one is a new voice in a conversation that grows as the reader progresses through the issue. The first two pieces focus on duende as a mischievous spirit, the folk definition that the word originally had. Then with the third piece, a poetic evocation of duende, the issue begins to look at the word as an emotion and sensation. The word itself went through this transformation of meaning when the flamenco players of Andalusia began to use it to describe the feeling they would get when they were moved by their song and dance. Each of the subsequent pieces feeds into the next, introducing new elements to the concept, while bringing up and adding to ideas that were brought up by the pieces before. By the end we reach Michael Taussig’s essay which critiques the idea of duende, while tying it back to Federico García Lorca, where the issue begins. Through creating a visual backdrop with pictures that were all taken in a sculpture garden in Varanasi, India, and organizing the pieces in this way, we hoped to make the volume feel like an extended conversation that the reader becomes a part of.
What factored in to the decision to launch both digital and print editions?
It was important that the magazine be a real, felt object and not only pinged up and down to earth through satellites to our screens. We don’t think that existing in the digital age means there has to be the death of print, we just need to find better ways for these two mediums to co-exist. For us we acknowledge that our print readership may stay on the margins but we feel it gives a backbone to the whole project. One of ways we think we can sustain publishing through both mediums, is by creating a digital model which can help support print. As of now the whole first issue is available for free on our website, www.tabletalk.io, but with the launch of the second issue next fall we will be releasing a redesign of the site and start charging a small amount for certain content. I have been working closely with a programmer in Portland developing an online platform for collaborative text annotation that will allow readers to highlight and comment on specific lines of an article. Other readers will be able to see their comments and respond to them, developing a conversation that comes directly out of the text. This really came from our frustration with online commenting systems today, where all responses are piled in a disorganized bunch at very bottom of the page. Through this new way of interacting with digital content, we hope that readers will be driven subscribe online and make digital publishing a sustainable outlet.
Above: Editor-in-Chief, Benjamin Moe
What has been the most rewarding part of putting this project together? I imagine building a magazine on a subject as soulful as duende affected you.
I’ve found that there is a sort of rhythm to long-terms projects like this. One goes from feeling excitement, a sense that everything connects and works together, to utter confusion, where all the pieces seem to come undone and you are at a loss to move forward. Although I think that’s very much the pattern of creativity in general, it’s really come into relief through making this first issue. Through this whole process there were two points that really felt the most rewarding. The first was when we finally figured out the order of the pieces. Seeing all the connections and realizing that they all were dialogue with each other was truly a joyful moment. The second was the day after our launch when I realized that after 11 months the magazine was finally out there in the world. Hearing from our first readers that they too were seeing the connections we had spent all this time trying to create was worth every hill and valley of this process.
What can we expect from the next issue? And where would you like to see the magazine go in the future?
Moving forward we want our contributors to be from even more disparate backgrounds. We are not only going to search for submissions on the well worn paths of academic mailing lists but also go on foot and put up flyers in hospitals, lumberyards, and factories. We believe that there are immensely wise people embedded within all trades and professions and we want to invite them to our table. We are also committed to having a range of voices from around the world, and have team members who will be on the ground searching for submissions, from our Managing Editor Angel Shin, who will be Morocco, to our Publishing Editor Ourania Yancopoulos, who will be in Greece, as well as others in Germany, Lebanon, and India. We are releasing the call for submissions for the second issue this summer and encourage people to sign up for our mailing list so they can hear word of that. As I mentioned before, the second issue will release on a redesigned website which will allow readers to have conversations directly coming out of the text. In the fall we will also be releasing a video series called “Table Talks” that will bring thinkers from diverse backgrounds, from chefs to composers, from carpenters to philosophers, to discuss the theme of the current issue around a table. These will be filmed in locations that are off the beaten path, like abandoned shipping yards and old barber shops, and then turned into short films that will be released on our website.
Where can people find out more about Table Talk?
Visit our website, www.tabletalk.io, to read the magazine, find distribution locations, order a copy online, and sign up for our mailing list. Also this past weekend The Guardian wrote a feature on Table Talk which can be found here. We hope you can get a chance to read the first issue and if you have any responses, questions, or thoughts please email email@example.com.
Above: The New York-based team at the magazine’s launch event in Brooklyn
June 4, 2014 at 12:10 pm bookcultureblog