Well, here are a few recent issues of magazines that I thought I'd flag up, and no, not just because I've something of my own included in them, which in several cases I don't, but because I've subscriptions to many poetry mags and journals for the simple reason that, in many ways, they're the lifeblood and engine rooms of new writing and, on this slightly gloomy looking Wednesday morning, I'd like to encourage you, dear
Wasteland reader, to consider subscribing to a new publication today.
First off, the latest issue of
New Welsh Review dropped with a satisfying thud through my letterbox the other week, and aside being excellently produced (nothing superficial about enjoying the look and feel of a stylish book or magazine with high production values, and to be honest, NWR holds its own against most
books, never mind journals), it also contains plenty of engaging new writing, including two new poems from
Samantha Wynne-Rhydderch, fiction from
Nii Ayikwei Parkes, plus reviews of
Philip Gross's T.S. Eliot prize-winning collection
The Water Table, and a new collection of short stories inspired by the work of Jane Austen.
I'd also recommend the latest issue of
The Rialto, celebrating 25 years of this major publication's appearances, and including - among new work from
Carol Ann Duffy, Andrew Motion, Lorraine Mariner and
Rachel Curzon - 'Look Out', the first part of a special feature on new poets under 35 edited by
Nathan Hamilton, with poems from
Andrew Jamison, Luke Kennard, Chris McCabe, Heather Phillipson, Keston Sutherland and
Jack Underwood. Well worth a look.
The latest issue of
Orbis, #150, is also packed with poems and reviews of recent books, and its usual 'Lines on Lines' section of candid reader comments on the previous issue. Where the poems in #150 are concerned, highlights for me came in the shape of
Rupert Loydell's 'Paper Children',
Eoghan Walls's 'Terminal One', and
Todd Swift's 'The Port Daniel House'. Reviews include a round-up of recent pamphlets from the indefatigable Smith/Doorstop (the publishing house of the, now Sheffield-based, Poetry Business), including
Sally Goldsmith's Singer, a short little book that packs an emotional yet unsentimental punch, and one which I'd recommend getting hold of.
Lastly, the latest issue of the
Times Literary Supplement (No 5590, May 21 2010) contains the usual array of incisive, decisive, highly readable and thought-provoking literary reviews, not least a piece on Merrill Chleier's study of architecture and gender in American film,
Skyscraper Cinema, and Michael Hofmann's translation of
Gottfried Benn's poem, 'Englisches Café'. But I'd like to point you in particular towards the poetry reviews, not only because of pieces on new collections from
Selima Hill and
Antony Dunn, among others, but because there's a review of my own included of
Sian Hughes's excellent debut,
The Missing. It's a real shame that this book didn't come away with a prize or two, having been shortlisted for the Forward Prize for Best First Collection and chosen as a Poetry Book Society Recommendation. As I say in the review, the collection is a short one of, often, short poems: something that perhaps belies its exactitude, hard-won emotional truths, and long road to completion. At any rate, it really is a great debut collection, and one which I've returned to on several occasions recently. So I'll end by saying that, as well as subscribing to a poetry magazine today, you should really push the boat out and go and order
The Missing, which you can pick up from Salt's website,
here. And if you need any more convincing, you should first read
this powerful and emotive elegy, 'The Send-Off', which won Hughes the Arvon International Poetry Competition a few years back. Moving isn't the word.
