Poems on Loan: Vol. 7

A continuation of our Poems on Loan series. The seventh installment comes from writer Rich Ives, whose poem here first appeared in elimae. It is entitled: “A Treatise on the Structure of Romantic Art”.

Ives has published in North American Review, Massachusetts Review, Northwest Review, Quarterly West, Iowa Review, Poetry Northwest, Virginia Quarterly Review, and Fiction Daily, among others. He has received grants and awards from the National Endowment for the Arts, Artist Trust, Seattle Arts Commission and the Coordinating Council of Literary Magazines for his writing and photography.

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Interview: Brian Barker

Often a poet becomes overly comfortable with a certain mode of expression; lending his voice too-often to a style or method of conveyance that quickly becomes over-used. The freshet poets, then, are those who renew their language with each iteration of their art.

Brian Barker is such a poet; his work constantly employs new forms, encouraging a range of artistic and potetic enterprise to be enjoyed and savored. Check out his site here, and some of his poems here, here, and here.

Brian holds an MFA from George Mason University and a Ph.D. from the University of Houston. His poems, reviews, and interviews have appeared in such journals as Poetry, Ploughshares, Quarterly West, American Book Review, The Writer’s Chronicle, The Indiana Review, Blackbird, Pleiades, fugue, and storySouth.

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Interview: Anne Valente

Anne Valente is the author of over twenty published stories; her work has been included in multiple anthologies, and has been nominated for two Pushcart Prizes, as well as for honors from a variety of journals from Story South to Best of the Web.

Her most recently published story, “By Light We Knew Our Names,” tells a harrowing story of an insular Alaskan town, and four women within it who are held emotionally captive by men–fathers, brothers, husbands. These men are either haunting in their absence, or dominating in their presence.

Anne’s writing is pitch-perfect in this story, and elsewhere; it seems that she gives her characters just enough ability to navigate a troubled world, but never frees them entirely. Her work deals in tuned details, finely timed events, and conflicts that shock and excite. How artfully she demonstrates the trouble and resilience of the worlds to which she lends life.

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Journal Profile: Guernica

This post kicks off a new series on Pages to Pixels, “Journal Profiles”. In this series, popular online literary journals will be reviewed and explored in regards to mission, innovation, design, and intention. The first magazine to be reviewed is Guernica.

Since its recent inception, Guernica, “A Magazine of Art and Politics,” has quickly risen to Internet fame. Esquire has called Guernica a “great literary magazine,” and George Saunders has said that the publication “respect[s] the life of the mind with an intensity rarely seen these days.”

A varied range of worldwide contributers ensures unique content, refreshing literary depth, and a mixing of diverse viewpoints that stand as the foundation to all progressive movements, artistic and political alike. Through informative interviews, impressive fiction, an accessible design, and a mission worthy of popularity, Guernica should expect a bright future.

This interview is with Joel Whitney, an Editor in Chief with the magazine. In the piece, I’ve labeled his responses with  “GUERNICA MAGAZINE” rather than with his name. Guernica is published twice monthly, and accepts submissions of Essays, Interviews, Fiction, Poetry, Art/Photography. Follow the magazine on twitter here.

The Profile:


The Internet has allowed hundreds of arts magazines and literary journals to flourish. How does yours differ–in either intention or success–from the others?


In some ways ours differs by taking little pieces of what we loved most. We’re hybridized. We loved the long writer interviews that The Paris Review does, and wondered if you could have a series that honors the voice of polemicists and activists and political thinkers in the same way; we loved the cross-genre arts interviews that BOMB does and saw a possible model for interviews-as-conversations in that; we loved how Ploughshares and the BestAmerican series use guest editors to create micro-climates within their own aesthetics. And we stole.

But maybe the single biggest difference is that Guernica looked at politics as the arts’ twin sibling in the family of culture. We want our ratio of arts coverage–our attention to aesthetics–to be higher than in current events or general interest magazines. And we wanted politics to be seen as part of that culture, which it undeniably is, and to be handled the way it is in opinion journals, in the sense of taking sides in the disputes. So there’s that.

But we’re really just looking for great writing and great ideas, and we’re not afraid to spark arguments, and this is why we’re cited widely in places like Slate, the Times Book section and its blogs (Arts Beat, Idea of the Day, now defunct, or Freakonomics), on Arts and Letters Daily, at The New Yorker‘s Book Bench blog or in The New Republic, in Best American Essays–to shamelessly name a few.

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Poems on Loan: Vol. 5

A continuation of the Pages to Pixels’ Poems on Loan series. The fourth installment has been graciously provided by Brian Laidlaw, and published in Pank. The poem is entitled “Elegy for the Analog Self”.

Brian is a poet and songwriter out of San Francisco. He studied Creative Writing at Stanford, and earned his MFA in poetry from the University of Minnesota. His lyrics have been featured in American Songwriter Magazine and his poems have appeared or are forthcoming in New American Writing, FIELD, VOLT, Quarter After Eight, The Iowa Review, among others.

The Poetry:

Interview: Ricardo Maldonado

In certain poems, I find a passion and excitement that creates an irresistible aura; as if the poet invokes an art that reaches––and destroys––the rigidity of the written word.

In all the poetry I’ve read of his, Ricardo Maldonado exudes such a passion. With writing reminiscent, in parts, of the exuberance of American transcendentalism–certainly, America! America!–Ricardo couches his electric work in philosophical, grave subtexts.

Certainly, there is a seriousness that extends beyond the work, here.

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Interview: Mary Ann Caws

The best translators bring the beautiful, subtle intricacies of a writer’s language to a forefront in their translations. They become poets of transition and unimaginable flexibility.

Mary Ann Caws is such a translator. Her work––translations of a myriad of french writers––breathes with the original intention of each primary piece. Her writing is superseded only by her passion for French, and those artists; a passion that informs and improves her wonderful renditions.

Mary Ann is currently a distinguished professor of English, French, and Comparative Literature at the Graduate School of the City University of New York. She has published too many impressive volumes to enumerate here, but her writing merits careful investigation.

The Interview:


What interested you in translating, rather than, say, ‘selfish’ writing?


I like to do both, but was a terrible poet, so I turned to translating poets I found great, and wrote about them, as well as translating them.

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