Big Changes Coming Soon!

There are some big changes coming to, and we're excited to share those with you. First, our publication schedule is changing from themed issues to rolling publication. Second, we are fulling merging the blog into Third, we are expanding our Reviews section. And fourth, we are launching a redesigned website. Look for the new site, and new contributions, in early February.

Scott Russell Sanders is Giving Away His New Novel — Here’s Why

Scott Russell Sanders' newest novel is Divine Animal, and he's giving away the e-version -- which is available now -- and selling the print version at cost. That one comes out in March. "A wound may be inflicted in a heartbeat--from an explosion, accidents, or cruel act--but healing, if it comes at all, comes slowly," says Sanders. "Divine Animal is a story of healing, traced through the lives of characters bound together by a secret trauma." Pushcart Prize Nominations

The editors of are pleased to announce our nominations for the 2014 Pushcart Prize, the prize chosen by Pushcart Press that anthologizes the best of the small presses publishing in the last year. continues to publish a rich mix of literary work, including these lovelies by Martha Silano, Andrea Cohen, Priscilla Long, Langdon Cook, Courtney Amber Kilian, and Anya Groner.’s Elemental Issue Now Live

We are pleased to announce the launch of's 34th issue: Elemental. Issue 34 -- Fall 2013 -- includes a wonderful mix of literature, including the winners and finalists of our 4th Annual Contests in Poetry, Nonfiction, and Fiction. With a guest editorial by Priscilla Long, an interview with earth scientist Fred Swanson, poetry by a dozen leading poets (including our first video poems), searing nonfiction and fiction, outstanding photography, and well-traveled columns, you'll want to dive right in.

Places in the Making: MIT Report Highlights the “Virtuous Cycle of Placemaking”

From the Project for Public Spaces When the foundational work for what we call Placemaking today was taking place back in the 1960s, pioneers like Holly Whyte and Jane Jacobs were on the outside of the castle walls shouting to be heard. Today, though, Placemaking is being recognized, through the release of a groundbreaking new report, by no less than the Department of Urban Studies and Planning at the Massachusetts Institute of Technology (MIT), the world’s foremost educational institution for urban planning and design. 4th Annual Contest Winners in Poetry, Fiction, and Nonfiction is pleased to announce the winners and finalists of our 4th Annual Contests in Poetry, Fiction, and Nonfiction. The winning and finalist entries will appear in our forthcoming issue, No. 34, with the theme of "Elemental". The issue will launch on October 31st. The winners and finalists are: Poetry, judged by John Daniel
  • Rob Carney, winner
  • Janie Miller, finalist
  • Mark McCaig, finalist
  • Cal Freeman, finalist
Fiction, judged by Teague Bohlen
  • Eloise Schultz, winner
  • JoeAnn Hart, finalist
Nonfiction, judged by Kathryn Miles
  • Nancy Geyer, winner
  • Emily Wurtman-Wunder, finalist
  • Jennifer Hirt, finalist
  • Melissa Matthewson, finalist

4th Annual Contest Submission Deadline Fast Approaching!

Friends, peers, writers, artists, rabble-rousers, hooligans, good folk, and everyone else: the deadline for the 4th Annual Contest in Fiction, Nonfiction, and Poetry is Sunday, September 1. Get your submissions in now! Follow the link for full details... Theme: Elemental We accept contest submissions year-round. The deadline for our 4th Annual Contests in Fiction, Nonfiction, and Poetry is September 1, 2013, for publication October 15, 2013. All notifications will be made by October 1, 2013.

Do You Care if Coastal Cities Drown?

Grist energy and politics writer David Roberts on global warming sea-level "lock in" versus sea-level rise, and what that means for our coastal cities, and when. By David Roberts Humanity’s difficulties dealing with climate change trace back to a simple fact: We are animals. Our cognitive and limbic systems were shaped by evolution to heed threats and rewards close by, involving faces and teeth. That’s how we survived. Those systems were not shaped to heed, much less emotionally respond to, faceless threats distant in time and space — like, say, climate change. No evil genius could design a problem less likely to grab our attention. This is a familiar point, but some new research on sea level throws it into sharp relief. Let’s quickly review the research, and while we do, keep this question in the back of our minds: “Does this make me feel anything? Even if I understand, do I care?” Issue 33 Now Live!'s Summer 2013 issue features a guest editorial -- Confessions of a Failed Energy Martyr -- by Raymond Welch; To Know a Place on light pollution by Paul Bogard; an interview with Joni Tevis; Fayetteville, Arkansas' Willow Bend as the Unsprawl case study; nonfiction by Rick Bass, Kurt Caswell, Beth Baker, and Claudia and George Kousoulas; poetry by Wendell Berry, Andrea Cohen, Nathaniel Perry, Melissa Kwasny, Kristi Moos, Jack Johnson, Sally Bliumis-Dunn, Christopher Locke, Clara Changxin Fang, and Jody Gladding (image poems); fiction by Anya Groner and Shannon Sweetnam; ARTerrain gallery of time, erosion, and texture photographs by Luke Parsons; and more.

A Worthy Project: A Narrative Social History of Crowding

By Aaron Gilbreath Be it sitting on a plane near a screaming baby, or brainstorming ways to organize your office cubicle, crowding touches most everyone’s life, because density is one of modernity’s defining issues. Even if you’ve never tried to articulate it, spatial requirements – of room, of silence, privacy and calm – form part of our definition of “the good life.” How far apart do you need to be from other people to find peace? How far apart do your living room walls need to be to feel comfortable? Even when we’re unaware of its influence, roominess is a condition, and the degree to which we have it determines livability. My book will argue that we need to treat overcrowding with the same gravity as other social and ecological issues, and take steps to manage it in a humane way that minimizes crowds’ dangers while capitalizing on their benefits. In the process, Crowded will test the counterintuitive principle that the smaller our home, the happier our life. With the story driven by characters, scenes, action and dialogue, and rooted in solid reporting, Crowded qualifies as narrative nonfiction. The book is one urbanite’s vision of human history through the story of the crowd. The problem is: to write the proposal, I needed to do some preliminary reporting, and that required travel, and funding.

Announcing Issue 32: Craft

Spring 2013 Issue Issue 32 features a guest editorial by Mark Sofield; interview with New Urbanism founder Andrés Duany; Massachusetts' BioMap2 Conservation Road Map as the Unsprawl case study; a 15-sequence Utah poem by Christopher Cokinos with accompanying photographs by Stephen Trimble; Kate Protage's dynamic "Urban Slice" painting series as the ARTerrain gallery; poetry by David Wagoner, Maureen Kingston, Susana H. Case, Al Maginnes, Jenny Morse, Julie Lein, and Lauren Eggert-Crowe; an online chapbook from Dezhou, China with images and audio by Jeevan Narney; Nathaniel Brodie on earth, craft, and rock on the Grand Canyon Trail Crew; Tamie Marie Fields on fishing in Uyak Bay, Alaska; Mark Spitzer on pursuing the seven-foot gar; Julene Bair on farming above the Ogalalla Aquifer; fiction by David Rose, Steve Edwards, and Katie Rogin; reviews; and more!

LitBridge Interviews Editor-in-Chief

Over on LitBridge today there's an interview with our tall drink of water and editor-in-chief Simmons Buntin. Here's an excerpt; read the whole thing over at What sort of qualities do you look for in a manuscript or piece of work that you are considering for publication?  Surprise, delight, tone, voice—you know, excellence. What we seek is place-based work that sings (sometimes literally). That’s broad, I realize, but if you look at, you’ll find we like a variety of work in a variety of styles. In nearly every case, however, the work is eloquent, concise, and questioning. It has a sense of place, or a yearning to find that sense. What we don’t want is the stuff everyone has read before, or that feels like that—the nature walk, the suburbs are bad, the end of the world. Unless it knocks are socks off, which sometimes it does. And we don’t like typos. Now get ye over to the full interview.