Feasting on Proofs
Proofreading reveals patterns between pieces, resonances that emerge from the collection of distinct voices. For me, it was food.
Blog
The Orison Anthology and the Best of the Net Nominations
With the approach of fall, sweaters, apple cider, and pumpkin-spice everything comes the time for literary nominations! We’re excited to share the news that we’ve nominated the following pieces by CR contributors for The Orison Anthology: Karen An-hwei Lee, “Dear Millennium, on the Extinction of Migrant Doves” (poem, 16.1) Brenda Miller, “Chorus” (essay, 16.2) C.T. …
What We’re Reading: Fossils in the Making by Kristin George Bagdanov
In Kristin George Bagdanov’s debut full-length poetry collection Fossils in the Making (Black Ocean, 2019) it is no coincidence that “gyre” rhymes with “lyre.”
Submissions Open September 1
It’s that wonderful time of year again! The Cincinnati Review will open our Submission Manager for all submissions on Sunday
Pas de Deux: Weiss & Pearson
Yesterday, we featured the first part of our pas de deux between authors Joanna Pearson and Jillian Weiss, whose story and essay have eerily similar content, with both references to the devil and to kids in care of the state/foster system.
Pas de Deux: Pearson & Weiss
When we realized we’d be publishing both Joanna Pearson’s story “The Films of Roman Polanski” and Jillian Weiss’s essay “Invisible Man Asshole,” we knew we wanted the two pieces in conversation together
Why We Like It: “A Detail from the Bayeux Tapestry, 11th c.” by Jacques J. Rancourt
Jacques J. Rancourt’s fabulous poem “A Detail from the Bayeux Tapestry, 11th c.” moves beyond simple description, employing the tools of the best ekphrastic work…
Why We Like It: “Confetti” by Marilyn Abildskov
Instead of focusing on how, Marilyn Abildskov’s essay “Confetti” delves into that which often goes unnamed in workshops: What do we write about?
Why Should This Be Beautiful
In Issue 16.1, our literary nonfiction offerings include Emily Block’s essay “Fog Studies,” which meditatively explores many different aspects and meanings of “fog.”
What We’re Reading: To Float in the Space Between by Terrance Hayes
Making a case for what he terms “liquid poetics,” Hayes suggests that great art comes from the ability to stay loose, to change tacks, to shape shift in response to these shifting, mysterious factors. Hayes’ sustained emphasis on personal poetics as both liquid and descendant creates a way for his readers (colleagues, family, fans) to find themselves within the fluctuating matrix he proposes.